International Journal of Case Method Research & Application (2010) XXII, 1 © 2010 WACRA®. All rights reserved ISSN 1554 7752
STRATFORD SHAKESPEARE FESTIVAL
Gabrielle Bernardi-Dengo University of Guelph-Humber TORONTO, ONTARIO, CANADA
Abstract
This case illustrates the managerial issues facing organizations and leaders in the development of internal talent, involving the design and implementation of professional development programs. The industry background provides the context of the current environment of the performing arts related to theatre productions. The organizational contexts and major options facing the decision maker are described including the critical issues that face the production department in terms of the development of the leadership and management skills required and the significance of the organizational structure and culture, as well as budgets and constraints on the management. Qualified case user can request a detailed teaching note from the author.
KEYWORDS: Management and Leadership Development, succession, arts management, theatre
INTRODUCTION
In August 2007, mid season at the Stratford Shakespeare Festival (Ontario, Canada), Douglas Lemcke, Director of Production, was preparing his departmental strategic plan. He knew two of his Department Heads would be retiring within the next few years, but no one currently on staff was qualified to take the place of these managers. According to Doug, “Employees often have excellent technical skills and experience but lack the theoretical, managerial, and leadership tools and knowledge necessary.” He also recognized that a subtle but important change had occurred in the performing arts industry. Prospective employees were no longer willing to uproot their families and relocate for the sole purpose of a ‘job’, particularly at the management level. The best way to address this problem, thought Doug, was to develop internal talent. As he sat at his computer, Doug wondered, “What should a management and leadership development program entail? How should it be designed? How could high potential employees from within the department be identified and integrated into this new plan?” Doug knew it was critical for his department to have an effective and comprehensive leadership development initiative to support its strategic plan.
PROFESSIONAL CANADIAN THEATRE
There are over 140 professional theatres in Canada of varying size, budget, and diversity of repertoire (see Exhibit 1 for the largest of these). Most theatre companies currently in operation were founded after 1950 and can trace their roots back to determined groups of artists committed to creating an important piece of Canada’s cultural heritage. These not for profit organizations have weathered much economic adversity and have developed their own unique identities. Stratford Shakespeare Festival is the largest professional theatre in Canada and the largest Shakespearian theatre in North America, drawing audiences of more than 600,000 each year. 46 International Journal of Case Method Research & Application (2010) XXII, 1
Second in size is the Shaw Festival, located in the town of Niagara on the Lake, Ontario, and founded in 1962. From the beginning, its mandate has been to produce the dramatic works of George Bernard Shaw and his contemporaries. Its Festival Theatre building was opened by Her Majesty Queen Elizabeth II in June 1973. Since then, the Shaw's performances have attracted national and international acclaim. The Academy is the professional training branch of this company. It engages coaches as well as salaried apprentices in acting, directing, design and stage management. The Shaw's play development programme develops new adaptations and translations as well as producing new plays. Throughout the season, established and developing playwrights are in residence at the Shaw. With a budget of $23 million, performances are mounted in one of three theatres, seating 328 to 856 people. Over seventy percent of the Shaw's annual income comes from box office sales and other earned revenue. The Shaw produces ten to twelve plays each season, totalling over 800 performances. Another prominent theatre group is The Canadian Stage Company located in Toronto, Ontario. Founded in 1988, it can nevertheless trace its heritage back eight decades. It is Canada’s largest not for profit professional theatre company focussed on contemporary theatre. Its Play Development department initiates and develops new work through commissions, workshops, and the Play Creation Group. The Dream in High Park series is an important part of The Canadian Stage Company's schedule – in which works by Shakespeare are performed outdoors in Toronto's High Park. Admission for all Dream productions is “pay what you can,” so that money is not a barrier to attending. Individuals working in the cultural industry have formed associations in part to address the particular realities they face as a work force. These associations include: The Professional Association of Canadian Theatres, Canadian Actors’ Equity Association, The Cultural Human Resources Council, and the Cultural Careers Council of Ontario. Stratford Festival’s active participation in these associations has influenced their policies and procedures, and contributed to best practices and knowledge sharing for the benefit of the overall cultural community.
THE PROFESSIONAL ASSOCIATION OF CANADIAN THREATRES (PACT)
The professional theatres listed in Exhibit 1 comprise the largest members of the Professional Association of Canadian Theatres (PACT). PACT is an advocate for Canadian theatres, working to influence cultural policy at all levels of government. PACT’s objective is to educate stakeholder groups and to support the development of theatre companies by sharing resources and knowledge. This organization was also instrumental in developing working standards and relationships with professional theatres, related associations, and their members, by taking part in the development of labour relations policies and practices that promote optimum working environments for all theatre practitioners. PACT informs and connects theatres across Canada through a communications network. Its Advocacy Committee directs PACT’s advocacy agenda to educate and inform the theatre community, government, funders, and the general public. PACT’s Cultural Diversity and Membership committees promote and protect diversity within theatre so that all artists and all forms of professional theatre may thrive. PACT was a supporting contributor of a report completed in 2000 called “Professional Development for Performing Arts Managers in Canada, A Needs Assessment.” Prepared by Janis Barlow and Associates, this report explores the professional development needs of entry level and mid career managers in the performing arts, and the current infrastructure and programs in place to meet those needs. Its findings indicate that there are no industry standards in performing arts management for professional development. Respondents to the survey reported an average expenditure of less than one percent of their annual budgets on professional development, while other fields appear to allocate between one and three percent to professional development. The survey results also indicate that the best training tools to create managers in the field are apprenticeship, internship and mentorship. Managers, according to focus groups consulted by the report authors, are “infused with a passion for the art” and learn on the job. The first priority, the report says, should be to enhance programs already in place, or to translate existing activities into programs that serve development objectives. Suggested strategies for developing skills include utilizing peer exchanges, mentoring, and on the job experiences. Professional development opportunities provided by PACT are limited to Artistic Directors, General Managers, and Board of Governor members all senior administrators. These offerings include an annual International Journal of Case Method Research & Application (2010) XXII, 1 47 conference, and peer to peer networking opportunities through the Arts Leadership Network (a learning strategy for senior performing arts managers).
CANADIAN ACTOR’S EQUITY ASSOCIATION (EQUITY)
Canadian Actors’ Equity Association is the professional association of performers, directors, choreographers, fight directors, and stage managers who are engaged in live performance in theatre, opera, and dance across Canada. Equity is run by artists for artists. The organization is responsible for negotiating and administering collective agreements and benefit plans, for interpreting and enforcing agreements and policies with employers, and for coordinating interactions with national and international cultural, labour, and funding organizations. Equity’s policies outline the minimum terms and working conditions required for the employment of an Equity member. The organization manages members’ RRSPs and insurance coverage, as well as membership dues and bonding. Equity hosts conferences that give its members opportunities to network and to participate in various industry related courses. The Canadian Theatre Agreement (CTA) is the collective agreement negotiated between Equity and PACT. It outlines standards and terms and conditions of work. The Stratford Addendum is an addition to the Canadian Theatre Agreement that has been negotiated between the Stratford Festival and the Canadian Actors’ Equity Association.
THE CULTURAL HUMAN RESOURCES COUNCIL (CHRC)
The Cultural Human Resources Council (CHRC) is a not for profit national organization that initiates, coordinates and promotes human resource planning, management, development, and training in the cultural sector. Via its website, the CHRC offers career development tools and guidance on topics such as recruiting the right people and managing performance. There are links to external HR resources in cooperation with Cultural Careers Council Ontario, including information on job descriptions, coaching, mentoring, motivating people, and succession planning. CHRC collects and publishes research on human resource issues in the cultural sector and communicates HR information through newsletters, round tables, forums, seminars and conferences. CHRC advocates on behalf of artists and cultural workers across the country to decision makers and the public. CHRC operations are significantly funded by contributions from Human Resources and Social Development Canada. CHRC hosts a career website where cultural workers post resumes and employers post corporate profiles and available job openings.
CULTURAL CAREERS COUNCIL OF ONTARIO (CCCO)
The Cultural Careers Council of Ontario was incorporated in 1998 as a not for profit organization with a mandate to support the human resource and career development needs of Ontario’s cultural sector. It provides culturally relevant career development programs, publications, and services to a broad range of cultural disciplines including theatre, and is funded by both government and non government organizations. The CCCO works to create awareness and understanding of the value of human resource practices to benefit Ontario’s entire cultural community, and advocates to all levels of government, educational institutions, the media, and employers. Part of this organization’s mandate is to share information on foundations or government programs that support human resource practices and career development in the cultural sector. It develops, facilitates and promotes apprenticeships, internships, and mentoring in cultural human resource and career development. The CCCO communicates through various publications as well as on its website where it also hosts an arts and culture job board where job opportunities are posted as a free service. The Director of Human Resources at Stratford Shakespeare Festival is a board member of the CCCO.
STRATFORD SHAKESPEARE FESTIVAL
The Stratford Shakespeare Festival began as a dream of Stratford born Tom Patterson, a reporter for Maclean’s magazine. During an economic downturn in the early 1950s, Patterson conceived the idea of a local theatre festival, featuring the works of William Shakespeare, to help supplement the economy. The Festival helped make tourism a significant industry for the city. With the support of the city council and 48 International Journal of Case Method Research & Application (2010) XXII, 1 members of the community, the Stratford Shakespearean Festival of Canada was incorporated as a legal entity on October 31, 1952. A $23,000 circus tent was ordered from Chicago. It weighed 3.5 tons, was 150 feet in diameter, and 61 feet high from peak to stage. It required two days to adjust the ten miles of rope and two miles of cable that held the tent in place. The innovative design ensured that the poles were positioned so as to not block the sight lines for the audience. Raising and securing the tent was itself an amazing feat, which foreshadowed the success of the Festival. The foundation stone of the permanent theatre was laid in January 1957 by His Excellency the Governor General, the Right Honourable Vincent Massey. The new theatre was designed to resemble a tent in honour of the Festival's innovative and unique beginning. Its thrust stage is a reproduction from Shakespeare’s time and was designed by one of the 20 th century’s best known theatre artists, Tanya Moiseiwitsch. Believed to be the first of its kind in western theatre, the structure resembles both a classic Greek amphitheatre and Shakespeare’s Globe Theatre. It has since been copied all around the world. Stratford Shakespeare Festival is renowned for its excellence, and plays to repeated sold out houses. Many notable actors have graced its stages, including Christopher Plummer, William Shatner, Bruno Gerussi, William Hutt, Dame Maggie Smith, and Meagan Fallows. The Festival performance season runs from April to November, and includes a full programme of fringe activities appealing to a wide audience, such as concert recitals, discussion sessions, lectures, and readings by esteemed authors. An extensive program of educational and enrichment activities has been developed and is offered to students, teachers, and other patrons. The Stratford Festival Conservatory for Classical Theatre Training was established as an in house school for professional artist development, intended to aid in the speaking and understanding of Shakespearean English. In 2004, with support from the provincial Ministry of Training, Colleges and Universities, the Festival developed a two year training program for the artisans who create Stratford’s costumes, sets and props. Stratford Shakespeare Festival’s productions take place in one of four theatres. The Stratford Festival Theatre seats 1,824, was magnificently renovated for the 1997 season, and houses the revolutionary thrust stage. The Avon Theatre was totally renovated in 2003, seats 1,105, and has a proscenium arch stage. The Tom Patterson Theatre has an elongated thrust stage and seats 487. The Studio Theatre seats 256 and opened in 2002 as a venue not only for the classics, but for new play development.
LOCATION AND ECONOMIC IMPACT OF STRAFORD SHAKESPEARE FESTIVAL
The town of Stratford is located 155 km west of Toronto in the heartland of Perth County in rural south western Ontario. The Festival Theatre is situated in the parklands alongside the beautiful Avon River. (Stratford's signature swans were introduced to the park system in 1918. Each Spring, the swans are ceremoniously released from their winter quarters and marched to the Avon River in the Annual Parade of Swans.) In 1997, the international Nations in Bloom competition named Stratford the “Prettiest City in the World.” Each year the Stratford Shakespeare Festival generates approximately $180 million worth of economic activity in the surrounding community (see table 1 below), and directly or indirectly provides more than 3,000 full time jobs. The Festival itself has grown to employ over 1,770 people, 150 of which enjoy year round positions.
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TABLE 1
ECONOMIC IMPACT ON REGION
Spending Attributable to Stratford Festival of Canada $125,000,000 Impact on Gross Domestic Product 145,327,000 Accommodation 10,348,000 Restaurants 8,689,000 Other Services 17,827,000 Estimated Taxes Generated for all Three Levels of Governments $55,800,000
NUMBER OF FULL YEAR JOBS CREATED:
Direct 1,773 Indirect and induced 1,523 total 3,296
WAGES AND SALARIES:
Direct $50,171,000 Indirect and induced 46,315,000 total $96,486,000 * 2006 Annual Report
ORGANIZATIONAL STRUCTURE OF STRATFORD SHAKESPEARE FESTIVAL
The 36 member Board of Governors advises the executive, approves the strategic plan, marketing direction, legal decisions, budgets, and participates in fundraising. In April 2006, it appointed Antoni Cimolino as General Director, a newly created position. The General Director reports to the Board of Governors and oversees the entire organization. He works directly with the Artistic Director, who for the past fourteen years has been Richard Monette. At the end of 2007, Monette is expected to be replaced by three new artistic directors. The artistic side of the house includes the actors, designers, play directors, producers, the Director of Production, and all creative and artistic personnel. The enterprise side of the organization includes the Director of Advancement, and the Administrative Director who is responsible for audience development, communications, marketing, finance, facilities, IT, human resources, education, and archives.
OVERALL FINANCIAL POSITION OF STRAFORD SHAKESPEARE FESTIVAL
The overall financial position of the Stratford Shakespeare Festival for 2006 was $52,106,043 total assets. Total revenues reached $38,536,857 and support from donors tallied $11,574,036. The operating expenses totalled $50,091,157, leaving a surplus of $19,736 the 14th surplus in the same number of years under Monette's management. This surplus was in spite of the recent decline of the United States leisure market in southern Ontario. According to Cimolino, “Ticket sales were affected by the ongoing decline in U.S. attendance and tourism trends in general, attributable to the exchange rate, fuel prices, perceived border delays, and the passport issue.” Exhibit 2 is the Consolidated Statement of Financial Position for 2006. The Festival has almost reached its target of building a $50 million Endowment Foundation to ensure a financially stable future.
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TRAINING RESOURCES
An annual training budget of $115,000 attests to the Festival’s commitment to professional development and job training. According to Shelley Stevenson, Director of Human Resources, “Approximately 25% of the budget is allocated to Health & Safety compliance training and initiatives, 60% is allocated to department initiated training such as skills upgrading, customer service training, and new techniques or technology, and 15% is allocated to individual requests.” Several management development courses have been sponsored by the Festival over the years. Schulich School of Business has provided training on such topics as coaching and mentoring, project management, innovative and critical thinking, financial management for non financial managers, change management, and marketing and sales management. Other initiatives provided by HR with limited success include: supervisory skills, conducting effective performance reviews, and successful hiring strategies. There have been some challenges bringing in outside professional development programs, particularly at the supervisory level. Stevenson reports, “I got lots of feedback that people did not like to be put into ‘boxes’ and generally, creative staff resist anything that looks like ‘corporate’ as they want to be a theatre not a company.” Thus a range of skills and career development initiatives have been offered and provided by the Festival to employees at all levels. In addition to the organizational allocation of professional development and training funds, each department also allocates funds for department specific training and development.
THE PRODUCTION DEPARTMENT
The organizational structure of the production department is illustrated in Exhibit 3. The scenery, furniture and props in a production of a play make up the set design. This represents the physical surrounding in which the action takes place. The overall look of the set and costumes gives the audience information about the concept, environment, and period of the production. The set, costume, lighting, and sound design must be well choreographed to ensure the creation of a unified look and feel. This is the responsibility of the production department. A tour of the Production Department reveals how common everyday materials such as steel, wood, foam and fabric are fashioned into fanciful props, scenery, and costumes. According to the Director of Production, Doug Lemcke, “It is a recognized fact in the theatre industry that people who want to focus on Shakespeare come to Stratford because it is the best and largest Shakespearian theatre in North America The Festival offers competitive wages and fulfilment in the job.” Of the approximately $18 million budget assigned to the production department, 88% is allocated to the wages of the crafts people, trades people, and other staff. Fifty fulltime employees and 350 450 seasonal employees complete the departmental complement. The budget is assigned as indicated in the following table:
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TABLE 2
Stratford Shakespeare Festival Production Department Budget Fiscal 2007 Director of Production Wages Operations 3,893,373 524,587 Supervise Production Administration Technical Management Design Coordinators Stage Managers and Assistance
Technica l Directors 6,812,517 815,642 Supervise Stage Crew Heads Construction Carpenters Scenic Artists
Wardrobe Manager 3,929,393 595,904 Supervise Wardrobe Coordinators Wardrobe Construction
Head of Props 665,884 145,750 Supervise Properties Supervisors Properties Builders
Head of Wigs and Makeup 913,708 74,242
Supervise Asst. Wardrobe Managers Cutters/Sewers
Total 16,214,875 2,156,125
*Table provided by the Production Department
DIRECTOR OF PRODUCTION
Doug Lemcke entered the theatre business in 1974. In 1976, he became the Assistant Production Manager at Theatre Plus in Toronto, and has continued to work as a manager or director of production ever since. Over the years, he has worked as a consultant, and has taught his craft in universities and colleges. Doug recalls a conversation early in his career, “I will never forget that day when the head carpenter asked me, 'Are you a director of production or a production manager?' I replied, 'I guess it depends on how you define those terms.' The carpenter replied, 'A director of production looks ahead – a production manager manages the department as it now exists.' From that day on my intention was always to look ahead,” says Doug. The Director of Production’s function is to efficiently manage the production department in the mounting and operating of all Festival productions in all four theatres, in addition to the operation of the Brunswick Street Warehouse. The director must arrange for all production services and ensure efficient use of time, money, personnel, equipment, and space to meet production needs. A crucial component of this job is the facilitation of the flow of information between artistic, administrative, and production staff. The Director of Production reports directly to the Producer. The Director of Production is responsible for the preparation of the overall operating budgets for the production department, for authorizing purchasing, for implementing and maintaining budget control, for maintaining records of inventory, purchases, rentals, and the disposal of production material and equipment (including capital purchases and projects related to production). Also, within budgetary boundaries, the Director is responsible for development and implementation of the production schedule (including the workshop schedule, lighting and sound schedules, photo calls, and deadlines), and further advises on the rehearsal and performance schedule. 52 International Journal of Case Method Research & Application (2010) XXII, 1
As chair of the Festival’s negotiating committee for collective bargaining with locals 357, 924 and 828 of the IATSE (International Association of Theatrical Stage Employees, Moving Picture Technicians, Artist and Allied Crafts of the United States, its Territories and Canada), the Director is also responsible for implementing five Collective Agreements – and must resolve any issues that arise. The Director must select IATSE Heads of Department, and is responsible for the Technical Directors and the IATSE work crews, as well as for workers who do not fall under any collective agreements. Finally, the Director of Production must advise and assist the Artistic Director and General Manager in the organization of special production activities (i.e. television, film, touring, displays, etcetera), and in long range planning and development.
ROLE OF TECHNICAL DIRECTORS
There are four Technical Directors (TDs) within the Production Department, each responsible for one of the Festival’s theatres. The TDs are an integral part of the Production Department and directly support the Director of Production. They are accountable for specific details of choreography, and stage requirements such as props, special effects, lighting, and sound. Along with managing the technical facilities and equipment, they are also responsible for managing financial and human resources. They coordinate scene setup and takedowns, as well as liaise with other related departments. The TDs implement and enforce the Festival’s health and safety policies and procedures. They advise designers and the Director of Production on all matters related to each theatre including installation, maintenance, inventory of technical equipment and facilities, and department capital expenditures.
PROPS DEPARTMENT
All of the props used on stage at the Festival, from an antique carriage to a wrought iron staircase, are created by artisans in various workshops within the ‘Prop Shop.’ This prop shop contains a welding area, woodworking shop, paint booths, and various workbenches that house an extensive array of tools. One area designated ‘Creative’ boasts floor to ceiling art supplies, from crayons and canvas to latex body parts. A 25,000 square foot scene shop is where all the large stage props and scenery are produced from concept to reality beginning with miniature models of scene designs.
WARDROBE DEPARTMENT
Wardrobe is a large department with numerous areas. The dyeing department is responsible for dyeing fabrics for costumes to the particular shade specified by the designer. There is a decorator who paints special designs onto the fabric as required. There are cutters and seamstresses who perform their craft in a large room with row after row of cutting tables and sewing machines. The sewing shop is next to the fabric storeroom housing hundreds of bolts of fabric. In the sewing room there are numerous ‘judies’ draped in fabric pieces at various stages of completeness, since every detail is checked before the costume is completed. Tailors are employed to create suits, custom designed as specified by designers for different plays. The fully assembled costumes, ranging in cost from $1,500 to $10,000, are carefully labelled and then custom fit to each actress and actor. The jewellery and decorating shop is responsible for decorating the costumes as well as the actors with beads, chains and colourful jewels. In the hat department, hats from every era (as well as new designs) are created. The boot maker makes custom boots of every description, and modifies them for special effects and in ways that make them comfortable for actors to stand in on stage for many hours. Wardrobe completes each character's costume literally from head to toe.
WIGS AND MAKEUP DEPARTMENT
The Wigs and Makeup area is responsible for construction of wigs, hair pieces, and facial hair for the Festival and organizes all departmental fittings with Production Stage Managers, Designers, and the Wardrobe Department.
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COSTUME AND PROPS WAREHOUSE
The Costume Warehouse was completed in November 2005 as a state of the art facility. Located on Brunswick Street, a 10 minute drive from the Festival Theatre, it was built with a $1.5 million grant from the Government of Canada (through the Cultural Spaces Canada Program), and its 88,500 square feet of storage space is home to over 50,000 items, from hats to swords to dishes. Costumes are stored in custom built racks. Some are available for rental to other theatres, while those reserved for re use at the Festival are stored in different sections. The Brunswick Street building is also home to the Festival’s archives, scene shop, paint shop, and call centre.
PROFESSIONAL DEVELOPMENT IN THE PRODUCTION DEPARTMENT
Professional development is important in the production department and approximately $10,000 dollars per year is allocated for that purpose. Besides the mandatory Occupational Health and Safety training, there is only one training course that Doug insists every manager complete: “Managing in a Union Workplace.” The Human Resources department has offered additional courses such as change management and finance but, according to the Director of Human Resources, “they have not consistently been offered to Head and Supervisor positions.” Career development has not traditionally been linked to performance reviews, although Doug works with under performers to develop a plan for improving weaknesses. Employees have been encouraged to take courses. “I discuss career planning with them and ask what we, as an organization, can do to help them achieve their goals,” says Doug. He admits, “Very few staff members participate in management development. They tend to be more interested in skills development like auto cad upgrading and sound and lighting boards.” Doug plans to include more focused career planning in performance reviews, as well as more interpersonal skills development. “I would like to change the culture of the organization around this, and I realize it needs to be done slowly and correctly. If I do not do this right I will get resistance.” He continues, “I want the managers to help define the required competencies. I would like to build on the achievements and successes of the members of the department. It would probably be a five year plan, similar to Kotter’s change management plan.” He feels performance reviews and career development need to be linked to strategic departmental initiatives. “I think we should start by doing a 360 degree assessment, and also a SWOT analysis. I also think it is important for the managers to participate and give their input, because I believe that their buy in is important for success.” Doug adds, “Then evaluation is required to make sure the plan is working and that adjustments are made to what is not working.” At the Stratford Festival, the practice had been to appoint the most highly skilled artisan working in a particular area to the relevant vacated supervisory position. “Although the person has great technical skills,” says Shelley, Director of Human Resources, “they do not necessarily have any management attributes and that is why we need supervisory training.” According to Shelley, from an HR perspective, “The training program must incorporate skills such as effective project management and ‘soft skills’ such as people management that includes team building, discipline and motivating employees, conflict management, decision making and coaching/mentoring skills.” Since some of the managers and supervisors in the production department are members of various unions, when certain management positions are vacated, the union supplies a list of candidates based on seniority, from which Doug chooses to fill the position. Unionized positions include stage hands, wardrobe running, wigs, scenic art, and production stage managers. All other managers and supervisors are not part of the union. Thus, when a training program is developed, it will be imperative that union relationships, guidelines, and constraints be taken into consideration.
APPRENTICESHIP PROGRAM
Under the direction of Doug, the Festival developed an apprenticeship program for stage management and production assistants that have become an integral part of the Production Department. Following receipt of partial funding from the Ministry of Training, Colleges and Universities, formal apprenticeships were developed for the positions of technical director, cutter, tailor, bijoux/decorating, props, scenic art, millinery, boots and shoes, and wigs and makeup. The curriculum includes two 20 week sessions, with a similar structure for all apprenticeships. The curriculum is divided into units that begin 54 International Journal of Case Method Research & Application (2010) XXII, 1 with Health and Safety training. Portfolios containing detailed steps, notes, and photos are built and maintained throughout the year. The teaching units each have learning objectives, and apprentices are evaluated by their supervisor as each skill is achieved. The Human Resources department contributes $86,500 dollars towards the apprenticeship program (which includes members of the production department only), while the production department itself contributes $175,000 dollars. After completion of an apprenticeship, each journeyman is required to gain further experience at other theatres. However, they often return to continue their careers at Stratford Festival.
THE MANAGEMENT AND LEADERSHIP DEVELOPMENT ISSUE
There was a time, according to Doug, in which filling any position in the production department was a simple and easy process. He entered the theatre industry during a period of growth and remembers that, “Although the wages were low, you took what you could because you loved the job and you often had two jobs. The culture goes way back – you worked for small wages and long hours to get the job done.” Despite these low wages, a passion for theatre work lured many to job opportunities across the country. According to Doug, “Artisans have become less nomadic than they used to be. Even though actors still are, artisans are not.” Over time, the pool of qualified applicants has diminished partially in response to an expansion of the performing arts industry. Interest has shifted towards film and television with less people interested in more traditional theatre. Doug feels ‘globalization’ has also had a negative impact on Canada’s supply of qualified theatre workers. Theatres opening up in countries such as Thailand and Belgium, and shows such as Cirque du Soleil in Las Vegas, prefer skilled theatre workers from Canada because of our industry's well developed work ethic. This expansion has resulted in the provision of new experiences to the theatre workforce. As Doug points out, “People who want to travel abroad have more opportunities to do so.” It is becoming obvious that retaining and training internal talent for managerial positions is critical for the future of the production department. As Doug was preparing his departmental strategic plan he knew that two of his managers Head of Props and Wigs and Makeup Manager would be retiring on or before 2010. Further investigation revealed that there was no one on staff qualified to step in and take the place of these managers. Colleges offer theatre production courses from which students graduate prepared for entry level technical positions. University theatre arts students develop competencies related to writing and analyzing scripts, and, therefore, tend to become critics, writers, and teachers. Although the Festival’s apprenticeship program provides additional training in specialized areas within theatre production, a gap still remains as there are no programs existing to train industry specific managers. “It is hard to get managers and supervisors,” says Doug. Many of his staff have strong technical expertise but are missing leadership skills such as decision making under ambiguous circumstances, motivating staff, inter and intrapersonal skills, effective communication, and conflict management. In fact, not only prospective managers but existing ones would benefit from further development of their leadership and management potential. The skills primarily related to dealing with people and effective relationships are deficient. Doug feels these competencies require some theoretical knowledge as well as practical experience. “I need to assess people in the department now, target those who have leadership potential, and bring them up to speed to fit into vacated positions. The question is: 'How we do this?
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EXHIBIT 1
CANADIAN PROFESSIONAL THEATRE INFORMATION 2006
Province City Name Yr Capacity Repertoire Budget Founded $(M)
BC Vancouver Playhouse 1963 668 Canadian, 5 Theatre contemporary Company AB & Edmonton Citadel Theatre 1965 Five Canadian, classical, 9 Territories Theatres contemporary 686/685/24 0/ 200/180 Calgary Theatre Calgary 785 Canadian, classical, 5.5 international
SK & MB Winnipeg Manitoba Theatre 1958 Two Canadian, classical, 8.6 theatres contemporary 785/274 Ontario Drayton Drayton 1991 Six Canadian, 5 Entertainment locations contemporary/new
London The Grand 1973 Two Alternative, 4 Theatre theatres Canadian, 839/150 Contemporary, international, music Niagara on the Shaw Festival 1962 Two Bernard Shaw 23 Lake theatres (1856 1950) and 869/328 international
Stratford Stratford Festival 1953 Four Canadian, classical, 52 theatres contemporary, 1832/1089 international, 487/256 musical
Toronto Canadian Stage 876/243/16 Canadian, 12 Company 7 contemporary, international
Toronto Soulpepper 1998 Classical, 6 Theatre international Company
Maritimes Halifax Neptune Theatre 1963 479/180 Alternative, 4.7 &NL NS Foundation Canadian, classical, contemporary, international, musical
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EXHIBIT 2
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EXHIBIT 3