Venue Manager Meeting Agenda Tuesday 23 February 2021, 10:30 - 12:30

Attending: Fringe Venue Managers: Julian Caddy - CEO Philip Gandey – Gandey Productions /Lady Sarah Perryman - Head of Operations & Boys of Bangkok Development Ross Drury – Living Record Festival Amy Greenwood - Venues and Companies JD Henshaw – Sweet Venues Manager Sarah Johnson – Sweet Venues Rosie Blackwell-Sutton - Marketing Adrian Bristow – Brighton Manager Alex Petty – Laughing Horse Amy MacGregor - Office & HR Manager Charles Pamment - SpaceUK Josh Jones – Marketing Coordinator Ross Ericson and Michelle Yim - Rotunda Cameron Brown - Participant Services Will Mytum - BOAT Coordinator Paul Musselwaite - Komedia Peter Massera – Gandey Productions /Lady Boys of Bangkok Board Roger Kay – Rialto Theatre Jamie Arnell - Chair of the Board Nicky Haydn – Otherplace Productions Jenni Lewin-Turner - Board Member Emma Willcocks - Grace Eyre/ Purple Playhouse Tom Arr-Jones – Otherplace Productions

1. CRF contingency planning - who is this ‘make or break’ for? BF plans either way. Nicky Haydn: Not sure. Adrian Bristow: Not sure. Roger Kay: Didn’t get the funding, has heard back – heard yesterday via email to let you know there was correspondence on the account. Philip Gandey: Ineligible because received over max in 1st round.

2. Feedback on Brighton Fringe 5 year plan. The 5 year plan can be viewed here. Jamie Arnell: A lot of this is quite obvious – some things being a bit more revolutionary that you’d think. The two main ones are – the Fringe is very deliberately putting itself second in all of the considerations, rather than trying to drive ticket sales through our own box office. On the marketing side will be looking for more targeting of audiences. What’s vital if this strategy is to work is to get as much data from you so we can see what umbrella marketing is doing to audience numbers. We need ticket information - more info, better decision making Julian Caddy: Virtuous circle aim is bums on seats across the board – everything we do goes towards driving that objective. Leads towards audience numbers. It’s not the objective to be as big as . Adrian Bristow: The whole approach is like the ABCD plan – which I’m not a fan of. I’m hugely disappointed. Some new people have come into this process and talked amongst themselves and decided. JA: This is for BF as a company and not for everyone else. We need the exchange of data and feedback on whether this is inconsistent with what you’re trying to achieve yourself. Are these metrics accurate for measuring what we should be doing ourselves? AB: The fact remains I don’t see how you ‘you’ holistically can have come up with the strategy without understanding the eco-system. Disappearing venues, outdoor spaces. How could you do this without consultation? JA: The idea of this meeting is to get your thoughts. We couldn’t do a full survey of the eco-system. This is about what we can do as Brighton fringe. If we put artistic diversity at the core of the strategy – would you have said the core was wrong? We’re saying we think the most important thing at the moment ‘bums on seats’ AB: Not sure that’s the general feeling JA: And that’s what we’re looking at, and what the core question is. If we were looking at artistic content over ticket sales we’d be looking at awards/bursaries over marketing. Not what we’re proposing, as we don’t have that luxury right now. Those are the sorts of trade-offs we’re seeking to explore. AB: You’ve said quite rightly you can’t, but you could have put some venue managers into a zoom meeting to knock some ideas around. JA: We aren’t trying to define your strategy, only ours AB: Far too much on growth. It’s not what we need in my opinion and colleagues spoken to. We desperately need to improve quality of the experience. Support venues, support artists and audience. Growth is something we focus on after. JC: Improving the quality of the experience is in there. JA: What people need from us if people are in serious financial risk, and nothing stops us revisiting this in the future. AB: But we’re not going to be here! JA: The only way we can help you be here (apart from lobbying – which we do) is by trying to bring your revenue however it comes to you – by your own box office or ours. I don’t know what the right balance is but we do sort of have to choose what we focus on now and I’m hearing that that’s not the right focus. AB: That’s my opinion – I think we understand each other. JA: If others feel the same we can revisit AB: my average sales are 60%, if they were 90% perhaps I’d want to grow. The massive problems for me and the Fringe is there’s no demographic out there, there’s too much going on. What we need is to hunker down and improve the experience, start bringing more audience holistically into the fold, because we’re delivering a better product at a better time JC: That’s part of the plan. We need to develop that audience base. We want to bring more people in from for example, and other places further afield and across the south coast. People who wouldn’t have heard Brighton fringe was on and of course core audiences too. Just look at how events who’ve been successful at bringing audiences in from further afield have done. Say, Philip Gandey, to try and increase our reach in a similar way. This is the beginning of a conversation not the end of it. JA: If there are things you think are missing or you don’t agree with please let us know. We have more events as part of driving the circle which goes against what you’re saying, Adrian. The view we’ve taken is there’s a critical mass that if you create a bigger souk, everyone in the souk does better. Getting a critical mass whereby you’re tapping into more audience because there’s more on offer. It’s very challengeable. Feel free to take shots at the bits around the wheel. AB: How do we do that? The fact that we have a forum of several respected creative practitioners and we’re not able to have an active debate suggest it isn’t the best forum, so ‘we’ need to find better ways of consulting with the stakeholders. JA: Best way is through the board observer – for everyone else listening, if you do have thoughts then we would really welcome them. If you don’t feel comfortable sharing here please contact us. AB: Who do we email? JA: Julian. If we see particular themes arising we can address them. Similarly with the venue observer. If we have a subset meeting people might feel excluded. AB: If I’ve been asking the board for something for 8-10 weeks without response, who do I go to then? JA: Hopefully that won’t happen. We on the board have a responsibility to you and the Fringe. The board observer will be there, in part, to hold us to account if we’re not doing something you think we should be doing. The board is there to make a decision and by definition not everyone will be happy with decisions made. The butt stops with the board. JC: This is an open discussion for everyone who wants to continue it. Please do email me with any feedback and we can take this further. JA: We want to avoid the pitfalls that come with pursuing audience growth. What the fringe does need is a clarity of purpose. A bad outcome would be to write a really long wish list and not to choose where to prioritise and to focus. The organisation is small and has limited resources and can only pull so many levers at once. It’s about pulling the key levers as the Fringe (individuals may pull other levers). I don’t think wise to incorporate every inconsistent view and manage an organisation to all of those, it’s an impossible task. We’ve made a guess as to what’s going to be most important going forwards. We can change that but we have to choose otherwise we won’t be able to hit any objectives JD Henshaw: I raised issues when we first saw the circle a couple of meetings ago, I completely agree we need to grow our audiences, 60% means plenty of room to grow. I am cautious of event number growth when we don’t have audience to sustain it. The fixation on commercial growth in that way, when we’re an artistic endeavour, we need to find a better balance. Right now it’s about audience growth. Brighton Fringe is in the top 5 in the world regarding number of events, its idea is having more events to create more of something else. Development of audiences feels like the priority. JA: The thing I’m asking myself is; in order to improve an audience relationship, you’d need a certain amount of turnover in the offer: new events and venues. And, within that there needs to be a vibrancy in the offering in terms of things coming and going. Balance between finding fresh content and operators and moving sales for existing venues. How do we strike a balance? JD: There’s an organic nature to that balance. We have venue ops that come and go and some of us are part of the furniture. There are still new operators, succeeded or failed, the thing that’s going to sustain them and attract new ones is that they can see that the audience is there and the experience is strong. The economic growth of events comes from the fact that is’ not just an attractive offering, it’s a sustainable one. We need an amount of shows we can all look after, whoever ‘we’ are. JA: In our KPIs, one of them is ‘increase content available’ - suggesting we are working to encourage new events/venues. But should we be taking that out? Is it not a part of our role? JD: I’m not entirely convinced the growth of events is a part of that circle. Growth should happen in an organic way. Asking for more and more things to come in when we haven’t gotten ourselves to a point where all sustainable and positive feels damaging and dangerous. Speaking as someone from Edinburgh, there are diminishing degrees of positivity in reaction to ‘the more you have the more it creates’. JC: My philosophy for the time here has been about driving as many audiences as possible, and improving the quality; Introducing bursaries, awards for quality work to come to BF to encourage improve audiences. It’s not been to develop and bring in big new venues. Audience % has grown more than our event number. I don’t think we should change that. It sits within the wheel because it will happen organically. Us as a central organisation, promoting the events that are available in a more effective way should help everybody, it shouldn’t be something that’s controversial to be suggesting. Pro-actively marketing to our common audiences to be more aware. Funnelling people who are maybe not aware to be aware, then buy ticket, buy more tickets, become friend, spread the world. It’s that process we want to engender. We want to spread audiences more widely; more specifically, not having more events for the sake of having more events. It needs to be sustainable growth and that should be in there if it’s not already JD: Yes – sounds better, I want more venues, There’s always going to be gaps. I want to know when a venue comes in they feel supportive and the performers are supported and talk about having an amazing time at Fringe. AB: Yes, agree JA: Two things it sounds like needs to happen: down rating of the role of the Fringe to encourage new product/new venues. New venues need to be more measured in allowing and nurturing but not going out to actively shake the tree. There’s already a lot of offer and until the % capacity filing (sales) is better we’d be at a risk of creating an unsustainable set of economics. The other area for debate: you would like to see the satisfaction indicator really at the top of the page. And the ticket indicator below that. For me that feels very difficult being from business background where we would put top line first. If that’s how you feel we can balance that and re-prioritise. Banking on a happy bunch of participants and venues will lead to a happier top line. We can recognise and re-prioritise. JC: Absolutely, we’ve been coming at the wheel from different angles; it’s simply for us to find common ground about what the most important thing is. If venue/participants find themselves losing money they won’t come back which is how bums-on-seats became the main driver. JA: We thought audience satisfaction was most important but what we’re hearing is participants and venues satisfaction is more important. AB: It’s quality of experience for everyone involved. JD: They’re intrinsic to each other JA: We put it on the circle so you could pick it up at any point, but with the audience in the middle. We could move away from that, should Participant and venues be in the middle? As a support organisation maybe that’s the case. We could push to be a support role more than marketing if you think that’s the right emphasis for us.

3. You can see new board bios here.

4. Updates in response to Govt. announcement from 22 Feb. BF will be re-sending audience survey this week. JC: Govt. announcement yesterday for reopening of economy. We are going to be putting out an audience survey to find out how audiences are feeling. We wanted to hear back from anyone in this group about their thoughts about the announcement. As far we’re concerned: BF dates remain as planned and the plan allows us to continue as we’d intended/expected (with social distancing in place). This date in June for full re-opening of society seems to be a carrot dangling in front of us, but there’s no firm confirmation that will happen, it’s subject to so many things. We’ve already changed the dates once, I don’t feel we should be changing again. Philip Gandy: From our side (lady boys) Brighton would be potentially the first stop on the national tour – vitally important we get clarification those dates are not going to change because our commitment to bring the show is huge. If it’s changed in two weeks it’ll throw a huge spanner in the works and for the whole tour. JC: As I said, we have no intention of changing the dates. Tom Arr-Jones: Given there’s no confidence in the 21 June date, what level of confidence is there in the 17 May date? JC: Very good question. Having moved the dates to 28 May-27 June, it was to give us those extra few weeks. At this stage it’s all a moving target as we know. Our plans have to start at some point. It’s all based on if case numbers seem to be consistently going down and if that keeps going. Are you suggesting delay or was it just a question?

Sarah Perryman: There’s quite a thin margin: 11 days between restrictions lifting (17 May) and 28 May start date. The problem is if we have to wait for each one as it comes we’ll be in the same position of not having enough time to plan. There aren’t any answers. Ross Ericson: We at the Rotunda are becoming massively risk averse at the moment. Wells Theatre Festival can’t get any confirmation from the council, Buxton seemingly quite happy but High peeks cautious. We’ve had phone call from Brighton Council events dept. because we go through them for our pitch at Regency Square. Everybody seems very unsure. AB: What are Brighton events dept. saying? RE: No decisions have been made but they’re taking bookings, but they’re can’t be sure what’s going to be happening. AB: Can I chip in - I’m talking to them at least twice a week – if you ever want any communication please do get in touch. RE: The situation we’re finding ourselves in is we’re getting no support from Arts Council, we don’t qualify for CRF, we’re losing acts, some enquiries have turned around and said they’re rather wait. We’re down on booking numbers, it’s very risky, as you said 17 May is very close and just takes a new strain and lockdown eats into June dates. We already had a bookings in June where they’re paying us so their risk, want to avoid half term, so can’t do the full Fringe anyway. I think at the moment we need to talk to the artists we have but 90% sure we’ll be pulling out of 2021 and waiting for 2022. PG: I’m not Brighton-based, for those who are - what is the collective will of the City towards the fringe taking place? JC: The will is that events take place but they’re beholden to the restrictions and to the rules. They don’t want people piling into the city if it will cause an increase in cases here. It’s a case of everything happening if it’s safe to do so. They’re still taking bookings, we’ve put in dates with the council with the view to taking the view closer to the time, but these are unpredictable times. We have to plan for something as we did in autumn and as the Warren did their summer reason, with quick turnaround on the beach. I’m trying for us to have a longer lead in with some confidence that we will continue with intended dates. With tickets going on sale it’ll give us enough time to market, and to do what we need to do to make June as successful as we can. PG: We have some local authorities actively discouraging events. Are Brighton sitting on the fence? AB: No, they’re being very positive. Covid has made people in local authority more aware of how important events culture is to the city. The public are desperate to get out and party. The Local authority are right behind that. Roger Kay: I think the overwhelming response from the audience survey was that people were v keen. Sarah Johnson: Anecdata from autumn: the people who came out really wanted to come out and were committed to coming out and supporting venues/artists. RK: To respond to Julian’s earlier question; we expected there to be a reduced audience in June and are supportive of that happening. We will make the best of it as I’m sure most people will. JD: we are fully committed to those dates (June) – 21 June sounds dubious anyway. Absolutely accepting that something might shift but we can commiserate together then. The pacing of it looks confident to get back to at least October. Nicky Haydn: We haven’t fully digested it and unpicked it yet – we can’t simply decide because of the main investment. Quite complicated and we don’t know currently. JC: Let’s keep the discussion lines open. This is a new piece of information. We are committed to BF with current dates.

5. ABCD plan and update JC: We have had some discussion with the management team of the ABCD Plan over the past few months and been consulting with venues about response to the plan, with ambition that we Do more now for now. We put to the management a suggestions to create a new strand. Called Project Restart that we could do immediately in terms of collaborations between key orgs (AOH, Visit Brighton, Brighton fest) so that we are not duplicating our messaging and also so that we’re able to contact and reach each other’s audiences. So we’re not silo-ing ourselves into our organisational networks. In discussion with AOH and Brighton Festival and Visit Brighton another Friday. Rosie is meeting with the marketing director and festival director of AOH to sees some more tangible things to work effectively together. As I talked about us having a longer lead time we also need as much help as we can with reaching each other’s databases and tapping into audiences. Not about flooding money in but saving money we have. When we have feedback from those meetings we’ll feedback to venues. AB: Was there reaction to project restart? JC: They said no but we have pressed on with activity anyway. It’s us getting our heads together and making things happen. In terms of participation in ABCD there will be continued conversation. I urge as many of us as possible to be involved, and have voices heard, not just noisier ones among us.

6. Venue Manager Observer update - voting now closed. JC: We’ve had an election. Thanks to all who voted. Before I say who, I want to say why; what makes Brighton Fringe the festival that is it? Vital that we know we all depend on each other inherently for our own success, in the same way as talking about collaboration, it’s important we’re all switched on and understanding, listening and taking action as a result of the need of stakeholders. From feedback and experience, it has, at times been ‘them and us’, the venue manager observer at the board will be the mouthpiece and the opportunity for the venues to have an understanding about the board conversations. With that in mind we put it out to you all to yourselves forward and Roger from Rialto and JD from sweet put themselves forward. Delighted to say JD has been elected. 2 very strong candidates, nevertheless think JD will be excellent observer of BF board. To make sure the board is acting in the interest of the community they serve. JD: Thanks. Thanks for opportunity. I’m going to be here to work for all of you. If there’s stuff you think isn’t able to be address in these forums, or can’t talk to BF team about, drop me an email or talk on the phone, I will make myself available. JD email address: [email protected] Happy to be contacted.

7. Looking Forward to Brighton Fringe: Your Questions Answered event is tomorrow (Wednesday 24 February, 18:00-19:30). Please share with your networks and let us know if you plan on attending. Holding event tomorrow evening to reassure participants and help them feel like it’s safe to take part. Julian to intro, PS team to chat about registration, then it would be great to have some venues/participant from autumn talk about their experiences. Would be great if you could all share with your networks.

8. ‘Digital Venue’ set up for 2021 Charles Pamment (SpaceUK): When there wasn’t a Fringe we created a digital version, 30,000 views, didn’t charge any money. After that success we did another one in January, equally as successful in uptake (about 50 companies). Considering we weren’t attaching to a festival its very good. As we’ve done these things we’ve noticed how the digital platforms can be involved. People exhausted with pre-record but what we’re picking up is passion to make things work with participants wanting something; if not money than reviews. And we were getting so many more reviews and that’s something that we were really benefitting from. We’ve decided the way to keep momentum is to attach to Brighton Fringe but with the twist that we want to do everything live. Live shows Thursday to Saturday during Fringe and we’ll see how we go! Ticket fee will go back to the company, tickets at £4/5. Really only for this year because of where we are, see how it develops. Having listened to this meeting we hope that we’re not treading on toes. Always been a bit worried but can see the passion in this Zoom call that suggests otherwise. AB: Are you offering a production package? CP: We won’t film it for them, they need to be doing it live. That’s their cost. We create the platform and do the backend, ads, technical and facilitate. If all of a sudden the Fringe had issues and anything that was live was put on the back foot we could inherit those shows. Working alongside BF. AB: Strikes me the missing link is the filming bit. CP: I’m happy to put you in touch with our tech team. We’re not supplying people with cameras and kits. It also may not be exclusively live.

Ross Drury (Living Record): Living Record finished yesterday. We are exclusively pre-recorded, we are providing basic equipment. Our idea is to move our programme over to Brighton and welcome new participants as well. We’re not live and looking for companies to create content purely for a digital platform.

JD: We’ve got Sweetstream that launched in October. Year-round online venue, typically pre-recorded, not looking to support live-streams right now. We film shows live on-site as well. Very good for the hybrid model. We’ll do the filming for those shows. Been going well, charging tickets, making artists money, having done a full festival block. A light touch in October. Some really good work coming up. It’s another room that just happens to be in everyone else’s room.

9. Advertising Options - Lamppost Banners now available Rosie Blackwell-Sutton: Lamppost banners available to book. Josh Jones, our new Marketing Coordinator can talk with you about lampposts, posters, or any other additional advertising you want to do with us ([email protected]). He should have been in touch with a few of you already.

AOB