A Review of Touring Theatre and Dance in Scotland: Strand 1: Data Analysis of Creative Scotland Funded Touring 2012 – 2016 Contents
Introduction 4
Key Findings 6
Section one: Creative Scotland’s support for touring theatre and dance companies through project funding Profile of Touring Productions 9 1.1 Overview 9 1.2 Genre of work 9 1.3 Production size and scale 10 1.4 Audience focus 11 1.5 Number of companies 12 1.6 Location of company 12
Funding 14 2.1 Total funding by year 14 2.2 Amount requested and amount awarded 14 2.3 Amount awarded and total estimated project costs at application stage 15 2.4 Actual project costs 16 2.5 Funding by art form 17 2.6 Analysis of unsuccessful touring applications 2013-17 18
Profile of Tours 20 3.1 Length of tour 20 3.2 Number of shows 20 3.3 One night stands / Performances per venue 22 3.4 Number of venues 23 3.5 Scale of venues 23 3.6 Most popular venues 25 3.7 Geographic location of venues by local authority 26 3.8 Map of toured venues 28 3.9 Calendar of tours – by month 29 3.10 Calendar of tours – by days of the week 29
Section two: Touring activity of Regularly Funded Organisations 2015/16 30
4.1 Background 30 4.2 RFOs which have toured work 30 4.3 Venue profile of RFO touring – Scottish venues only 30 4.4 Geographic profile 31 4.5 Attendance data for RFO touring 32 4.6 Calendar of tours 33 4.7 Note on the Edinburgh Festival Effect 34 Section three: Map of all touring in Scotland supported by Creative Scotland in 2015/16 35
5.1 Introduction 35 5.2 Number of venues and performances supported in 2015/16 (Scotland only) 35 5.3 Venue profile 36 5.4 Number of performances per venue 37 5.5 Geographic profile 37 5.6 Calendar of tours 40
Methodological Note 41
Appendices Appendix 1: 43 Appendix 2: 46 Appendix 3: 47 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 04 Introduction
Background
Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here.
A core ambition of Creative Scotland is that everyone can access and enjoy artistic and creative experiences. This is reflected in the key priority ‘to strengthen presentation, touring and distribution of work, including through digital platforms and encouraging collaboration.’
Creative Scotland funds touring theatre and dance through both Open Project Funding and Regularly Funded Organisations (RFOs) supporting both producers (theatre and dance companies) and promoters such as venues and touring networks.
The Arts Strategy 2016-17 identified that ‘Touring, exhibition and other means of distributing and sharing work is a concern for organisations as highlighted in the Sector Reviews. This is especially true for the performing arts (theatre, dance and music) where a growth in audiences remains a priority. This is key for increasing opportunities for access and delivering greater financial contribution to the viability of venues and producing companies. While working digitally can complement this, the live experience is still fundamental for many.’
The project
Creative Scotland attends the Scottish Touring Forum which is facilitated by the Federation of Scottish Theatre (FST). This network has voiced a number of concerns around the health of theatre and dance touring in Scotland of which perceived diminishing financial resources for both promoters and producers is paramount.
Discussions through the forum identified a need to better understand how the sector operates, how it has changed in recent years and gain a better understanding of the impact of Creative Scotland’s funding in this area.
While this report focuses on touring within Scotland, there is a broader context within which Scottish artists and productions also tour to international markets and networks, and a further commercial touring circuit which is not covered here.
Through in-depth consultation with a sub group of the Federation of Scottish Theatre’s Touring Forum, Creative Scotland identified research questions which were developed into a research approach with four strands of enquiry (detailed below). A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 05
Strand Research Methodology Quantitative analysis of the data currently held by Creative 1. What does the touring Scotland and partner agencies. Carried out by Creative environment look like? Scotland’s Knowledge and Research Team. Online questionnaire of venues and producers using FST 2. What are the fees / funding database. Carried out by Creative Scotland’s Knowledge arrangements? and Research Team. 3. Do promoters and producers Qualitative data analysis through managed focus groups think touring in Scotland is and one to one interviews with key people. Conducted by successful? Lisa Baxter
4. How does touring in Scotland Desk research and feedback from focus groups. now compare with other models? Conducted by Claire Dow
Quantitative work (Strands 1 and 2) was carried out by Creative Scotland’s Knowledge and Research Team. Qualitative Research and a Literature and Practice Review (Strands 3 and 4) were carried out by external researchers, Lisa Baxter and Claire Dow respectively, who together pulled all the findings of the Review into this Final Report.
There are five reports in the review which can be accessed on theCreative Scotland website:
Final Report: A Review of Touring Theatre and Dance in Scotland Strand 1 Data Analysis of Creative Scotland Funded Touring 2012 – 2016 Strand 2 Industry Survey of Producers and Promoters Strand 3 Qualitative Research into Touring Theatre and Dance in Scotland Strand 4 Literature and Practice Review
Background to Strand 1 Creative Scotland supports touring of theatre and dance through a number of different sources: • Funding of touring companies on a project by project basis. Delivered through the Open Fund since mid 2014/15 and previously through dedicated funds of Touring Festivals and Arts Programming (TF&AP) and the Quality Production (QP) funds and through targeted funds. • Regular Funding of arts organisations which tour theatre and dance. • Creative Scotland also supports venues and promoters through both Regular and Open funding. This ‘indirect’ funding is not included in the data analysis for this report. This report presents an analysis of the available data on touring theatre and dance touring supported by Creative Scotland. The report is divided into three sections: Section one is an analysis of Creative Scotland’s funding for touring theatre and dance companies through project funding. It provides for the first time detailed analysis of venues, tour dates, and type of production. The data has been collated through a manual identification of relevant grants awarded and then analysis of both application and end of project monitoring forms for each applicant and in some cases filling data gaps with online research of tour histories. Section two provides an analysis of the data provided by Regularly Funded Organisations through their returns to the Annual Statistical Survey. Finally, section three presents an analysis of data for productions funded through both the Open Project Fund and the Regular Funding route to gain an understanding of the full reach of the touring supported by Creative Scotland. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 06
This project has been managed by Maggie Page, Research Officer, Creative Scotland and data collation has been carried out by Natalia Janossy also of Creative Scotland. Lorna Duguid and other members of the Theatre and Dance team at Creative Scotland have input their expertise toward identifying relevant grants and advising on data criteria.
Key Findings:
Overview – key themes • Across all three sections there is a clear seasonality in the touring circuit with peaks in spring and autumn. • The geographic spread across local authorities is uneven with the main cities of Edinburgh and Glasgow along with Highland receiving the most toured work. The suburban central belt areas are some of the least well served. • There is a high number of one night stands – where productions are only performing once at a venue. This is around 70 – 80% across the years and providers.
Section One: Project funding 2012 - 2016
Profile • A total of 136 awards were made through Creative Scotland project funding to tour theatre or dance productions between 2012/13 and 2015/16. This included performances at 1,282 venues. Theatre productions accounted for 75% of all grants and 82% of all venue performances. • New work accounts for the vast majority of activity supported through project funding, comprising 75% of theatre productions and 94% of dance productions. • Productions aimed at adult audiences accounted for nearly 70% of theatre productions and 82% of dance productions. • Creative Scotland supported a total of 103 companies to tour work in Scotland from 2012- 2016. 22 organisations were funded more than once to tour work over the four year period. • Producing companies are mainly based in the main cities. 60% of the grants were awarded to organisations based in Edinburgh (29%) or Glasgow (31%).
Funding • Creative Scotland awarded a total of 136 grants for touring work through project funding from 2012/13 to 2015/16 totalling over £5.9 million. 34 (25%) were dance productions and 102 (75%) were theatre productions. • The number and value awarded increased from 2012/13 to 2013/14 and has remained largely stable since then. In 2015/16 (the first full year of the Open Project Fund) a total of 38 awards were made totalling £1.73 million. • While the number of successful awards has varied the average grant size has remained relatively consistent at around £44,000 over the period. However, there is a high dispersal of award size ranging from £94,149 to only £1,500. Only seven awards received more than £70,000. • 74% received at least 90% of the amount requested. In total 94% received at least 70% of the funds they requested. There is no clear pattern over time of amount awarded reducing compared to the amount requested. • There is very little variance between the projected cost and the actual costs reported in the end of project monitoring forms. • Dance consistently received higher average funding than theatre each year. Dance productions also had higher average projected costs at application stage. However, the number of dance productions is smaller and therefore trends are less conclusive. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 07
• While average funding for dance has risen over the period, average award size for theatre has remained at the same level, despite projected costs increasing. • Success rates ranged from 34% to 54% over the period. The success rate for 2015/16, the first full year of open project funding, was 49%. This is higher than the OPF average success rate of around 30%.
Reach • Only 25% of tours take place within a 16–25 day window with many tours spread out over longer periods of time. • The average number of performances per production was 17.8. Shows for families and young people had a higher number of performances per production and theatre had a higher number of performances per production than dance. • The average number of performances per production has declined for theatre over time from 25.2 in 2012 to 13.8 in 2015/16. There is a less consistent picture for dance. • Productions toured to a total of 422 unique venues over the four year period, averaging 159 unique venues per year. • 76% of runs at venues were ‘one night stands’ (performing only once per venue) This increases to 80% when looking only at shows with a focus on adult audiences. Only 6% of all venue runs had four or more performances of the same production. • Productions were performed in all of Scotland’s 32 local authorities. The most common local authority areas were Edinburgh, Glasgow and Highland, collectively accounting for 29% of all venues, 30% of all productions and 43% of all performances. • Creative Scotland Funded productions toured to a total of 420 unique venues. 41% of which were micro scale (less than 100 seats). However, larger venues take a lot more shows with mid and large scale venues hosting 50% of all productions. • There is a clear seasonal pattern to the touring circuit with peaks of activity in autumn and spring. This is consistent across all four years. 41% of tours also started in their venues on a Friday or Saturday night.
Section Two: Touring by Regularly Funded Organisations (RFOs)
Profile • 33 organisations in receipt of Regular Funding toured theatre or dance work in Scotland during 2015/16, 22 were theatre companies, nine were dance and two were physical theatre. Collectively they toured to a total of 525 venues delivering a total of 1,752 individual performances. • 75% of all venues toured to by RFOs were in Scotland. 25% were in the rest of the UK or international.
Reach • The 33 RFOs toured productions to 394 venues in Scotland. • 231 unique venues were visited of which 176 only received one production. • The average number of performances per venue was 2.7 across all venues. • RFOs toured to 28 of Scotland’s 32 Local Authorities (the exceptions are Midlothian, Shetland, Western Isles and West Dunbartonshire). The most common local authority areas were Edinburgh, Glasgow and Highland which collectively account for 57% of performances and 44% of venue visits. • Average attendance at venue visits was 228, however this is still very positively skewed from the median average of 73 due to the wide variance across venues (this is with one outlier removed from the sample). A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 08
• The tour calendar for RFOs reveals spikes in activity in spring and autumn, and also that Friday and Saturday are the most common start days for runs at venues. • The Festival Fringe has a high impact on venue and geographic data, skewing the number of performances in August and in Edinburgh.
Section Three: Overview of all touring in Scotland supported by Creative Scotland in 2015/16
• 67 organisations were supported to tour theatre and dance work across Scotland in 2015/16. This includes 33 RFOs and 34 organisations supported through Open Project funding. Comprising of 18 dance companies, 47 theatre companies and two physical theatre companies. • Creative Scotland supported 67 theatre and dance companies to tour productions to 705 venues staging 1,481 performances. Open Fund projects account for 44% of all supported touring activity (by number of venues toured to) with the remaining 56% of activity delivered by RFOs. • Overall, across both Open Project and RFO, 70% of runs at venues involved only one performance. A further 16% presented two performances and only 14% presented three or more performances. RFOs were more likely to do more performances per venue – this is, in part, explained by a higher number of long-run productions at Edinburgh Fringe venues. • Touring productions toured to a total of 332 unique venues in 2015. RFOs reached 231 and Open Project funded productions reached 306 suggesting that they have a broader reach. A total of 688 venue visits were made by productions presenting a total of 1,465 performances. • 10 venues hosted 10 or more productions. 240 venues only hosted one Creative Scotland funded production in 2015/16. • Creative Scotland funded performances were supported to tour to 31 of Scotland’s 32 local authorities during 2015/16. • Highland venues hosted the highest number of productions, followed by Edinburgh and Glasgow, then Argyll and Bute and Dumfries and Galloway. Four areas had only one production tour to a venue in their area during 2015/16 and a further four had only two. • The calendar of tours shows a peak of activity in spring and autumn; this is in line with analysis of previous years. • Saturday was most common day for performances with 28% of all runs in venues starting then. Collectively, the weekend nights of Friday and Saturday accounted for 46% of all start days of performances.
A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 09 Profile of Touring Productions
1.1 Overview A total of 136 awards were made through Creative Scotland project funding to tour theatre or dance productions between 2012/13 and 2015/16. This included performances at 1,282 venues. Theatre productions accounted for 75% of all grants and 82% of all venue performances.
Table 1.1: Awards and venue visits by project funded touring productions
Dance Theatre Total Number of awards 34 102 136 Number of venues* 237 1045 1282
*this is the total of the count of venues toured to by each production and not the total number of unique venues, it therefore includes double counting.
Table 1.2: Awards and venue visits by project funded touring productions, by financial year
Dance Theatre Total Row Labels Awards Venues Awards Venues Awards Venues 2012/13 6 54 21 218 27 272 2013/14 10 56 29 337 39 393 2014/15 8 64 24 247 32 311 2015/16 10 63 28 243 38 306 Grand Total 34 237 102 1045 136 1282
1.2 Genre of work New work accounts for the vast majority of work supported to tour in Scotland, accounting for 75% of theatre productions and 94% of dance productions.
Table 1.3: Genre of touring productions
a) Theatre
Classic Contemporary New Work Grand Total % New Work Repertoire Repertoire 2012/13 2 4 15 21 71% 2013/14 2 4 23 29 79% 2014/15 4 4 16 24 67% 2015/16 3 2 23 28 82% All Years 11 14 77 102 75% A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 10
b) Dance
Row Labels Classic Repertoire New Work Grand Total % New Work 2012/13 6 6 100% 2013/14 1 9 10 90% 2014/15 8 8 100% 2015/16 1 9 10 90% All Years 2 32 34 94%
1.3 Production size and scale Applicants are not requested to specifically state the scale of their work at application stage and this information has been added by specialist art form officers based on their knowledge of the productions. It should be noted that scale is a subjective concept and judgements have been made based on a number of factors including size of cast, the scale of set, choreography and dramaturgy.
The data shows that 7% of productions were large scale, 48% were mid-scale and 42% small scale. Dance had a larger proportion of shows which were large or mid-scale but low number of productions is relatively low there may also me some subjective variation over what is considered small or mid-scale between artforms.
Table 1.4: Production size and scale (n=125)
Dance Theatre Total Grand Total Performances Large 4 6 10 7% 185 Medium 17 48 65 48% 926 Small 13 45 58 42% 1138 Unknown 3 3 2% Total 34 102 136 100% 2249
Fig 1.1: Scale of show – Creative Scotland project funded productions, 2012 -2016
Large Medium Small
Theatre
Dance
0 20 40 60 80 100 120
Variation over time The table below shows the variation over time of size of production. It shows a gradual increase in medium scale productions from 2012 – 15. However, 2015/16 saw a return to more small scale productions. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 11
Fig 1.2: Scale of show – Creative Scotland project funded productions, by year 2012 -2016
Large Medium Small 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 2012/13 2013/14 2014/15 2015/16
Table 1.5: Scale of show – Creative Scotland Project funded productions, by year 2012 -2016
2012/13 2013/14 2014/15 2015/16 Grand Total Large 1 4 3 2 10 Medium 11 17 19 18 65 Small 15 18 9 16 58 Unknown 1 2 3 Total 27 39 32 38 136
1.4 Audience focus Productions aimed at adult audiences accounted for nearly 70% of theatre productions and 82% of dance productions. Productions aimed at families and young people tended to have more performances in their tour schedules meaning that productions for adults accounted for a smaller share of all performances. For example, adult shows for theatre accounted for 69% of all productions but only 60% of performances. For dance 82% of productions were for adult audiences but made up only 77% of performances.
Table 1.6: Audience focus – Creative Scotland project funded productions, by year 2012 -2016
a) Theatre
Young Productions Row Labels Adult Family Grand Total audience Adult % 2012/13 15 4 2 21 71% 2013/14 20 7 2 29 69% 2014/15 15 6 3 24 63% 2015/16 20 6 2 28 71% Grand Total 70 23 9 102 69% A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 12
b) Dance
Family / Young Grand Productions Row Labels Adult Family Adult audience Total Adult % 2012/13 5 1 6 83% 2013/14 8 2 10 80% 2014/15 7 1 8 88% 2015/16 8 2 10 80% Grand Total 28 4 1 1 34 82%
1.5 Number of companies Creative Scotland supported a total of 103 companies to tour work in Scotland from 2012–2016. Twenty-two organisations were funded more than once. This includes 13 organisations which were funded twice, seven which were funded three times and two which were funded four times. It should be noted that these figures relate to funding for touring work only and many companies may have also received support for development of their work which is not represented here. In addition, some companies have moved to or from Regular Funding in 2014/15 and others may have changed company name but retained the same creative team.
Table 1.7: Companies which have been supported three or more times with Creative Scotland funding to tour work
Number of times Company name Artform supported 2012 - 2016 Company of Wolves Theatre 4 Firebrand Theatre Company Theatre 4 Barrowland Ballet Dance 3 Dogstar Theatre Company Limited Theatre 3 Dudendance Theatre Dance 3 Errol White Company Theatre 3 Right Lines Production Theatre 3 Smallpetitklein Dance Company Dance 3 Wee Stories Theatre for Children Dance 3
1.6 Location of companies Funded producing companies were based in 19 of Scotland’s local authorities (plus some from outside Scotland).
60% of the grants were awarded to organisations based in Edinburgh (29%) or Glasgow (31%). This is broadly similar for both dance (62% of awards) and theatre (59% of awards). A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 13
Table 1.8: Geographic location of producing theatre and dance companies with tours funded by Creative Scotland 2012–2016
Row Labels Dance Theatre Grand Total % Aberdeenshire 3 3 2% Angus 2 2 1% Argyll and Bute 1 1 1% City of Edinburgh 9 30 39 29% Dumfries and 1 1 1% Galloway Dundee City 4 4 3% East Lothian 1 2 3 2% East Renfrewshire 1 1 1% Fife 2 2 1% Glasgow City 12 30 42 31% Highland 5 5 4% Midlothian 1 1 1% Moray 1 4 5 4% Na h-Eileanan Siar 1 1 1% Outside Scotland 5 11 16 12% Renfrewshire 1 1 1% Scottish Borders 1 1 1% South Ayrshire 2 2 1% South Lanarkshire 1 1 1% Stirling 4 4 3% Unknown 1 1 1% Grand Total 34 102 136 100%
A full list of the companies funded through Open and Project fund by local authority is detailed in Appendix 1. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 14 Funding
2.1 Total funding by year Creative Scotland awarded a total of 136 grants adding up to over £5.9 million for touring through project funding between 2012/13 and 2015/16. While the number of successful awards has varied over time, average size of award has remained relatively constant at around £44,000. However, there is considerable variance in the range of awards – ranging from £94,149 to only £1,500 over the period. The median level across all years was £44,290, but the standard deviation shows that there is a high dispersal – as shown in the chart below. Only seven awards received more than £70,000.
Table 2.1: Funding for touring productions through project by year, 2012 -2016
Number of Total Average Maximum Minimum Row Labels StdDev awards awarded (Mean) award Award 2012/13 27 1,097,208 40,637 70,000 16,972 15,181.53 2013/14 39 1,739,660 44,607 76,996 15,000 17,149.85 2014/15 32 1,403,192 43,850 75,000 4,238 21,220.46 2015/16 38 1,732,630 45,596 94,149 1,500 26,546.37 Grand Total 136 5,972,690 43,917 94,149 1,500 20,659.3
Fig 2.1: Distribution of awards by size of award (n=136)
16 14 12 10 8 6 4
Number of Awards 2 0 £1 - 5k £1 £6-10k £11-15k £21-25k £16-20k £71 - 75k £31 - 35k £51 - 55k £81 - 85k £61 - 65k £61 £91 - 95k £91 £41 - 45k £41 £76 - 80k £76 £26 - 30k £26 £66 - 70k £56 - 60k £46 - 50k £46 £36 - 40k £86 - 90k Size of Award
2.2 Amount requested and amount awarded
Of the 133 grants where data is available funding ranges from 44% to 100% of the amount requested:
• 79 (59%) received 100% of what they requested. • 98 (74%) received at least 90% of the amount requested. • 26 (20%) received between 71% and 89% of the amount requested. • 9 (7%) received less than 70% of their requested amount.
On average 93% of the amount requested was awarded. There is no consistent time series pattern for amount awarded versus amount requested. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 15
Table 2.2: Amount requested and amount awarded, Creative Scotland Project funded productions, 2012 -2016
Average % Count Amount requested Amount awarded awarded 2012/13 27 £1,147,738 £1,097,208 96% 2013/14 39 £1,836,292 £1,739,660 95% 2014/15 32 £1,566,080 £1,403,192 90% 2015/16 38 £1,845,091 £1,732,630 94% Grand Total 136 £6,395,201 £5,972,690 93%
2.3 Amount awarded and total estimated project costs at application stage
Applicants are asked to submit an estimated project cost at the time of application. On average, applicants requested funding from Creative Scotland to cover 72% of the total project cost. There is a strong linear relationship between project cost and amount awarded with a couple of outliers.
While average awards have remained largely similar throughout the period at around £44,000, there was a steady increase in the projected total project costs from 2012/13 to 2014/15. However, in 2015/16 there was a marked decrease in average projected costs and awards accounted for a greater share of the costs. Given there has been no reduction in inflationary pressures, this decrease in projected costs suggests a scaling back of ambition for tours in 2015/16. This is more pronounced for theatre than for dance as detailed overleaf.
Fig 2.2: Average projected costs and average amount awarded 2012 – 2016 (n=135)
Average of amount awarded Average of projected project cost 90,000 80,000 70,000 60,000 50,000 40,000 30,000 20,000 10,000 0 2012/13 2013/14 2014/15 2015/16 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 16
Table 2.3: Total costs and amount awarded (n=135)
Average of Average of Awards as % of Count projected project Amount awarded costs Cost 2012/13 27 40,637 60,728 67% 2013/14 39 44,607 74,611 60% 2014/15 32 43,850 81,406 54% 2015/16 37 45,596 76,070 60% Grand Total 135 43,917 73,845 59%
Fig 2.3: Scatter plot of amount awarded and total project costs
£140,000.00 £120,000.00 Total project cost £100,000.00 Linear (Total project cost) £80,000.00 £60,000.00 £40,000.00
Total Project costs Project Total £20,000.00 £0.00 £0.00 £50,000.00 £100,000.00 Amount Awarded
2.4 Actual project costs
Data is available for 117 grants on actual project costs (submitted through end of project monitoring forms). This data suggests that there is little variance between the projected and the reported costs of production. Only 32 projects came in over the projected costs and no project was more than 20% over the projected budget at application.
Only four projects came in significantly under projected budget at application stage.
Table 2.4: Comparison of projected costs and end of project reported costs. ( n=117)
Average projected Average of End of Variance actual / Row Labels Count cost project cost projected
2012/13 22 £60,684 £57,832 95% 2013/14 37 £76,064 £71,267 94% 2014/15 31 £78,011 £73,191 94% 2015/16 27 £72,985 £72,833 100% Grand Total 117 £72,977 £69,612 95% A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 17
2.5 Funding by art form
Dance consistently received higher funding than theatre across the years. While funding for dance has risen on average over the period, funding for theatre has remained at the same level.
Fig 2.4: Average amount awarded through Creative Scotland project funds 2012/13 – 2014/15 and all years Dance Average of amount awarded Theatre £60,000.00
£50,000.00
£40,000.00
£30,000.00
£20,000.00
£10,000.00
£0.00 2012/13 2013/14 2014/15 2015/16 All Years The chart below shows the average award compared to the average projected project costs for both Theatre and Dance. Dance has higher project costs but also requests a higher proportion of project costs.
The chart also shows the increase in projected costs over time from 2012–2014. While funding for dance has kept pace with this increase, funding for theatre has not. However, in 2015/16 there was a significant reduction in average projected costs for theatre.
Although the data presents a marked variance between theatre and dance it is important to note that given there are only 34 dance productions supported across the period, the identification of trends is less conclusive.
Fig 2.4: Average amount awarded through Creative Scotland project funds 2012/13 – 2014/15 and all years by theatre and dance 2012/13 2013/14 2014/15 2015/16 100,000 90,000 80,000 70,000 60,000 50,000 40,000 30,000 20,000 10,000 0 DANCE DANCE THEATRE THEATRE Average of Average of total Average of Average of total Amount awarded project cost Amount awarded project cost A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 18
Table 2.5: Average amount awarded through Creative Scotland project funds 2012/13 – 2014/15 and all years by theatre and dance
Dance Theatre Total Average Average Average Average Average Average Awards of Awards projected award as of of Total of Amount as % of projected as % of project % of cost Amount project Amount awarded Cost project costs cost awarded cost awarded Cost 2012/13 43,312 57,773 75% 39,873 61,573 65% 40,637 60,728 67% 2013/14 45,318 74,157 61% 44,361 74,767 59% 44,607 74,611 60% 2014/15 54,034 75,649 71% 40,455 83,325 49% 43,850 81,406 54% 2015/16 55,590 91,618 61% 42,026 70,312 60% 45,596 76,070 60% Grand 50,036 76,752 65% 41,877 72,866 57% 43,917 73,845 59% Total
2.6 Analysis of unsuccessful touring applications 2013 - 17
In order to better understand the funding environment for touring Creative Scotland undertook an analysis of the unsuccessful applications for touring. This involved identifying the applications through a process of automated word search for ‘tour’ or ‘touring’ followed by manual screening to remove projects which involved international touring or were only for development work with a view to tour in the future.
Due to changes in the way data is stored within Creative Scotland this process only includes analysis of applications from 2013/14 to present, 2016/17 data does not represent a full year.
2.6.1 Overview
A total of 161 applications were unsuccessful in the period 2013/14 – 2016/17. The average sum requested in unsuccessful applications was £38,126, slightly lower than the average amount requested for successful applications which was £69,082.
Table 2.6: Unsuccessful applications 2013/14 – 2016/17
Year Count Total Requested Average request
2013/14 33 £1,412,107 £42,791 2014/15 61 £2,456,834 £40,276 2015/16 39 £1,398,691 £35,864 2016/17* 28 £870,648 £31,095 Total 161 £6,138,280 £38,126
*This data does not represent a complete year. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 19
2.6.2 Success rates
Success rates for touring for the years 2013/14 to 2015/16 are below. These range from 34% to 54% over the period. The success rate for 2015/16, the first full year of open project funding, was 49%. This is considerably higher than the OPF average success rate of around 30%.
Table 2.7: Success rate of applications
Success rate Year Successful Unsuccessful Total (applications)
2013/14 39 33 72 54% 2014/15 32 61 93 34% 2015/16 38 39 77 49% 2016/17* 28 £870,648 £31,095 60%
Table 2.8: Success rate of amount requested
Success rates Year Successful Unsuccessful Total requested (amount awarded)
2013/14 £1,836,292 £1,412,107 £3,248,399 57% 2014/15 £1,566,080 £2,456,834 £4,022,914 39% 2015/16 £1,845,091 £1,398,691 £3,243,782 57%
2.6.3 Number of companies applying There was a total of 161 unsuccessful awards over the period. This included applications from 131 unique companies. 26 companies were unsuccessful more than once, of which 24 were unsuccessful twice, one three times and one five times. Some of these companies went on to success in further applications.
A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 20 Profile of Tours 3.1 Length of tour
As an indicator of how spread out a tour is, the length of tour has been measured by the number of days between the first performance and the last.
The chart below shows that there was significant variance of tour lengths, while 25% of all tours fell within the 16–25 day window. There was a considerable number which were spread out over a far wider time frame. 27% of tours were 20 days or less and 18% spread out over 100 days. In some cases this may have been because of one additional date later on in the year (for example a festival or showcase performance).
Fig 3.1: Length of tour – Start to finish
20 18 16 14 12 10 8 6
Number of Tours 4 2 0 1-5 11-15 71-75 31-35 21-25 51-55 81-85 61-65 91-95 41-45 151-155 141-145 106-110 126-130 176-180 166-170 261-265 336-340 236-240 426-430
Number of Days
3.2 Number of shows
The average number of shows per tour was 17.8 however there were significantly more performances of family shows than shows for an adult audience (in part because of school tours). Theatre had a higher average number of performances than dance. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 21
Table 3.1: Number of performances and average number of productions by genre
Average of number of Number of productions performances Dance 34 11.9 Adult 28 11.5 Family 4 13.0 Family / Adult 1 21.0 Young audience 1 9.0 Theatre 102 19.6 Adult 70 17.3 Family 23 27.0 Young audience 9 17.8 Grand Total 136 17.8
The data indicates that the average number of performances has declined over the last four years for all productions and theatre, from 25.2 in 2012/13 to 13.8 in 2015/16. However, the picture is less consistent for dance.
Fig 3.2: Average number of performances per production by year 2012/13 2013/14 2014/15 2015/16 30.0
25.0
20.0
15.0
10.0
5.0
0.0 Dance Theatre All productions
Table 3.2: Average number of performances per production by year
Year Dance Theatre All productions 2012/13 10.8 25.2 22.3 2013/14 7.7 22.4 18.7 2014/15 11.4 17.5 16.0 2015/16 19.3 13.8 15.0 Total 11.9 19.6 17.8 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 22
3.3 One night stands / Performances per venue
76% of runs at venues were ‘one night stands’ (performing only once per venue). This increases to 80% when looking only at shows with a focus on adult audiences. Only 6% of all venue runs had four or more performances of the same production.
Table 3.3 (a): Number of performances per venue – all performances by dance and theatre
Number of Dance Theatre Total performances per % % % Count Count Count venue
1 155 76% 653 76% 808 76% 2 40 20% 111 13% 151 14% 3 1 0% 40 5% 41 4% 4 2 1% 16 2% 18 2% 5 0% 18 2% 18 2% 6 - 10 performances 2 1% 15 2% 17 2% 11 - 20 performances 3 1% 6 1% 9 0% 20 - 26 performances 0 0% 2 0% 2 0% Grand Total 203 100% 861 100% 1064 100%
Table 3.3 (b): Performances per venue - adult shows only
Number of Dance Theatre Total performances per % % % Count Count Count venue
1 133 82% 490 79% 623 80% 2 23 14% 63 10% 86 11% 3 1 1% 28 5% 29 4% 4 1 1% 11 2% 12 2% 5 0% 13 2% 13 2% 6 - 10 performances 2 1% 8 1% 10 1% 11 - 20 performances 3 2% 5 1% 8 1% 22 0% 1 0% 1 0% Grand Total 163 100% 619 100% 782 100% A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 23
Fig 3.3: Number of performances of each production per venue
One
Two
Three
Four
Five
Six >
3.4 Number of venues
Productions toured to a total of 420 unique venues from 2012–2016, 288 (68%) venues only received one production. An average of 159 unique venues hosted productions each year.
250
195 200 160 151 150 131
100
50
0 2012/13 2013/14 2014/15 2015/16
Fig 3.4: Number of unique venues which hosted productions each year
3.5 Scale of Venues
Venues have been classified as large (500+ seats), mid-scale (200 – 500 seats), small (100 – 200 seats) and micro (less than 100 seats). This classification was carried out in house by Creative Scotland.
7% of the venues were large, 16% were medium, 15% were small and 43% were micro. A further 24% were either not applicable (eg outdoor or site specific performances) or unknown.
When comparing venues with the number of productions per venue type it is clear that large and medium sized venues take a lot more shows accounting for 50% of all productions (averaging nearly seven compared to micro venues which took an average of 1.8 shows). A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 24
Fig 3.5: a) Size of venue, b) Productions per venue by size Size of venues Productions per venue by venue size
large 7% not applicable / unknown large not applicable 23% 15% / unknown medium 23% 15%
micro 25% small 14% medium 35% micro small 41% 16%
Table 3.4: Productions per venue by size
Not Grand Row Labels Large Medium Small Micro applicable / Total unknown Count / % Number of Venues 28 / 7% 67 / 16% 62 / 15% 180 / 43% 102 / 24% 420 Number of 194 / 15% 452 / 35% 204 / 16% 322 / 25% 110 / 9% 1282 productions Shows per venue 6.9 6.7 3.3 1.8 1.1 3.1
Fig 3.6: Productions per venue by size Breakdown of venues by size
Number of productions
Number of venues
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
large medium small micro not applicable / unknown
Notes: A number of venues hold more than one performance space with varying sizes. Where this was stated the venue has been assigned to the appropriate size classification. Where it was not stated it has been assumed that the production took place in the main / largest performance space. This means that there is likely to be a slight positive skew to the larger venues.
It should also be noted that many venues are able to change capacity by altering seating configurations. it has been assumed that venues were using their main / largest configuration when classifying venue size. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 25
It was not possible to gather accurate venue size data for all venues and some assumptions have been made, for example all village halls have been classified as micro venues.
3.6 Most popular venues
Below is a list of the most common venues toured to. 28% of all productions toured to the Traverse in Edinburgh and 18% performed at the Tron in Glasgow. City-based venues had a greater number of performances per production; particularly Edinburgh based venues, in part explained by long runs at the Edinburgh Festival Fringe.
Table 3.5: Most commonly toured to venues in Scotland 2012/16 – 2015/16
Average number Number of Total number of of performances productions performances per production Eden Court, Inverness 44 49 1.11 Beacon Arts Centre, Greenock 43 44 1.02 Lemon Tree, Aberdeen 42 54 1.29 Traverse Theatre, Edinburgh 37 116 3.14 Platform, Glasgow 36 43 1.19 Macrobert Arts Centre, Stirling 36 42 1.17 Brunton Theatre, Musselburgh 36 34 0.94 Cumbernauld Theatre, 30 32 1.07 Paisley Arts Centre 26 27 1.04 Woodend Barn 25 23 0.92 Tron Theatre 24 72 3.00 Adam Smith Theatre 21 22 1.05 Eastwood Park Theatre 20 24 1.20 Eastgate Theatre, Peebles 19 14 0.74 Dundee Rep 18 34 1.89 Birnam Arts Centre 17 15 0.88 Carnegie Hall, Dunfermline 16 21 1.31 Comar, Mull 14 12 0.86 Scottish Storytelling Centre 13 33 2.54 Tramway, Glasgow 13 20 1.54 An Lanntair, Stornoway 13 14 1.08 Universal Hall, Findhorn 13 10 0.77 Macphail Centre, Ullapool 12 9 0.75 CatStrand, Dumfries 12 8 0.67 Summerhall, Edinburgh 11 58 5.27 Byre Theatre, St Andrews 11 14 1.27 Sabhal Mòr Ostaig, Skye 11 9 0.82
Note: Data for number of performances is not available for all tours, and so the above is indicative only. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 26
3.7 Geographic location of venues by local authority
While this report looks specifically at touring in Scotland, a number of productions included venues outwith Scotland in their tour schedules. 88% of all venues were in Scotland with 9% in the rest of the UK. 1% were international (awards for tours which were exclusively international or rest of UK are not included in this report).
Productions were performed in all of Scotland’s 32 Local Authorities. The most common local authority areas were Edinburgh, Glasgow and Highland, collectively accounting for 29% of all venues, 30% of all productions and 43% of all performances.
Table 3.6: Local authority breakdown of venue visits, productions and performances
Venues Productions Performances Local authority (Scotland) % % % number number number Aberdeen City 15 4% 60 5% 72 4% Aberdeenshire 27 6% 64 5% 58 3% Angus 3 1% 4 0% 3 0% Argyll & Bute 32 8% 71 6% 68 4% City of Edinburgh 28 7% 108 8% 380 22% Clackmannanshire 1 0% 1 0% 0% Dumfries and Galloway 27 6% 57 4% 52 3% Dundee City 6 1% 30 2% 49 3% East Ayrshire 1 0% 6 0% 4 0% East Dunbartonshire 2 0% 2 0% 1 0% East Lothian 2 0% 36 3% 35 2% East Renfrewshire 2 0% 20 2% 24 1% Falkirk 5 1% 13 1% 11 1% Fife 13 3% 74 6% 91 5% Glasgow City 38 9% 118 9% 219 13% Highland 56 13% 163 13% 165 10% Inverclyde 1 0% 43 3% 44 3% Midlothian 2 0% 6 0% 6 0% Moray 17 4% 31 2% 25 1% Na h-Eileanan Siar 17 4% 40 3% 29 2% North Ayrshire 3 1% 7 1% 10 1% North Lanarkshire 4 1% 5 0% 4 0% Orkney Islands 2 0% 2 0% 1 0% Perth and Kinross 15 4% 42 3% 37 2% Renfrewshire 5 1% 32 2% 34 2% Scottish Borders 26 6% 71 6% 81 5% Shetland Islands 2 0% 2 0% 2 0% South Ayrshire 1 0% 9 1% 11 1% South Lanarkshire 9 2% 49 4% 51 3% Stirling 4 1% 40 3% 45 3% West Dumbarton 1 0% 1 0% 0% West Lothian 4 1% 12 1% 16 1% Total Scotland 371 88% 1219 95% 1628 95% A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 27
Rest of UK 40 9% 50 4% 76 4% International 5 1% 5 0% 1 0% Blank/ unknown 8 2% 8 1% 3 0% Grand Total 422 100% 1282 100% 1708 100%
Interactive maps of toured activity
A number of interactive maps have been created using google mapping software. These maps are linked below.
Fig 3.7: Geographic spread of touring, venue visits for theatre and dance
Theatre 2015/16 Dance
Theatre Dance 2012/13: 2012/13: www.mapcustomizer.com/map/Theatre%20 www.mapcustomizer.com/map/Dance%20 touring%202012 touring%202012
2013/14: 2013/14: www.mapcustomizer.com/map/Theatre%20 www.mapcustomizer.com/map/Dance%20 touring%202013 touring%202013
2014/15: 2014/15: https://www.mapcustomizer.com/map/ www.mapcustomizer.com/map/ Theatre%20touring%202014 dancetouring2014
2015/16: 2015/16: www.mapcustomizer.com/map/Theatre%20 www.mapcustomizer.com/map/ touring%202015 dancetouring2015 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 28
Notes: Postcode data is not available for all production companies therefore the maps are indicative of geographic spread rather than complete.
The maps present data for work funded in each financial year. In some cases tours crossed over two financial years but have been recorded against the year of award.
3.8 Calendar of tours – by month
There is a clear seasonal pattern to the touring circuit with peaks of activity in autumn and spring. This is consistent across all four years. This analysis has been done by mapping the start date of each tour in each venue.
Fig 3.8: Seasonal dispersal of tours 2012/13 – 2015/16 2012/13 2013/14 2014/15 2015/16 120
100
80
60
40
20
0 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Table 3.7: Seasonal dispersal of tours 2012/13 – 2015/16
2012/13 2013/14 2014/15 2015/16 52 12 24 4 Jan 4 6 2 5 Feb 9 22 37 25 Mar 17 29 56 41 Apr 35 60 41 22 May 38 48 64 58 Jun 14 31 11 17 Jul 5 11 2 13 Aug 11 10 17 14 Sep 58 65 31 57 Oct 49 98 38 72 Nov 4 30 17 13 Dec 3 10 3 3 Total 299 432 343 344 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 29
Fig 3.9: Seasonal dispersal of tours 2012/13 – 2015/16 combined (n=1358) 300
250
200
100
50
0 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
3.9 Calendar of tours – weekdays
41% of the tours started in their venue on a Friday or Saturday night.
Fig 3.10: Day of the week by first night at venue (n=1326) 300
250
200
150
100
50
0 Sun Mon Tue Wed Thu Fri Sat
Table 3.8: Day of the week by first night at venue
First day at venue Count %
Sun 86 6% Mon 94 7% Tue 189 14% Wed 204 15% Thu 219 17% Fri 260 20% Sat 274 21% No information provided 92 - Total 1418 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 30
Section two: Touring activity of Regularly Funded Organisations 2015/16
4.1. Background
Section one concentrated on touring work supported through Creative Scotland’s project funds. This section provides a summary of the touring work reported by Regularly Funded Organisations (RFOs). Thirty-three organisations in receipt of Regular Funding toured theatre or dance work in Scotland during 2015/16.
This section of the report will provide an overview of the touring undertaken by RFOs during 2015/16, the most recent year for which data is available. The data is drawn from their returns to an annual statistical survey which all RFOs are obliged to complete for Creative Scotland as a condition of funding.
4.2. RFOs which have toured work
Thirty-three organisations in receipt of Regular Funding toured theatre or dance work in Scotland during 2015/16, 22 were theatre companies, nine were dance and two were physical theatre. Collectively they toured to 525 venues, delivering a total of 1,752 individual performances.
Around 75% of all venues toured to were in Scotland with the additional 25% in the rest of the UK or international.
This report will concentrate on the performances which took place in Scottish Venues – 394 venue runs and a total of 1025 Performances.
Table 4.1: RFO toured productions by venue visit and performance
Dance Physical Theatre Theatre Combined total
Row Labels Venues Performances Venues Performances Venues Performances Venues Performances International 31 94 32 32 14 366 77 492 rUK 35 42 7 103 12 90 54 235 Scotland 85 141 43 84 266 800 394 1025 Grand Total 151 277 82 219 292 1256 525 1752
A list of the RFOs by art form is detailed in Appendix Two.
4.3. Venue profile of RFO Touring – Scottish venues only
Venue profile
RFOs performed at a total of 231 unique venues across Scotland . The most toured to are the Traverse (Edinburgh), Lemon Tree (Aberdeen) and Eden Court (Inverness). The high number of performances in Edinburgh-based venues is in part due to multiple performances during the Festival Fringe. Venues with four or more productions are listed below. 176 (76%) of venues hosted only one production from an RFO.
The average number of performances per venue was 2.7 across all venues. This is increased by a number of long-run shows in the festival fringe.
1In some cases school tours were entered as one venue therefore the true number is likely to be higher. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 31
Table 4.2: Venues which hosted four or more RFO productions in 2015/16
Productions Performances
Traverse Theatre, Edinburgh 14 74 Lemon Tree, Aberdeen 13 59 Eden Court, Inverness 13 20 Dundee Rep Theatre, Dundee 9 29 Beacon Arts Centre, Greenock 9 13 Paisley Arts Centre, Paisley 7 14 Brunton Theatre, Musselburgh 7 8 Zoo Southside, Edinburgh 7 7 Tramway, Glasgow 6 30 MacRobert, Stirling 6 12 Sabhal Mor Ostaig, Skye 6 9 Platform, Glasgow 6 7 Eastgate Arts, Peebles 6 6 Tron Theatre, Glasgow 5 18 Summerhall, Edinburgh 4 51 Woodend Barn, Aberdeenshire 4 10 Comar, Mull 4 5 Macphail Centre, Ullapool 4 4 Melvich Village Hall, Melvich, Thurso 4 4
4.4 Geographic profile
Breakdown by Local Authority
RFOs toured to 28 of Scotland’s 32 Local Authorities (the exceptions are Midlothian, Shetland, Western Isles and West Dunbartonshire). The most common local authority areas were Edinburgh, Glasgow and Highland, which collectively account for 57% of performances and 44% of venue visits.
The high number of performances in Edinburgh is, in part, due to the Festival and Fringe. 142 of the 283 performances (50%) which took place in Edinburgh took place during August. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 32
Table 4.3: RFO productions in 2015/16. Venue visits and performances by local authority
Number of Number of venues toured to % venues toured to % Count Count Aberdeen City 13 3% 59 6% Aberdeenshire 22 6% 23 3% Angus 4 1% 6 1% Argyll and Bute 29 7% 45 5% Clackmannanshire 1 0% 2 0% Dumfries & Galloway 10 3% 14 2% Dundee City 22 6% 42 5% East Ayrshire 1 0% 1 0% East Dunbartonshire 2 1% 7 1% East Lothian 10 3% 12 1% East Renfrewshire 1 0% 1 0% Edinburgh City 55 14% 283 31% Falkirk 7 2% 9 1% Fife 14 4% 48 5% Glasgow City 38 10% 126 14% Highland 78 20% 109 12% Inverclyde 8 2% 12 1% Moray 7 2% 9 1% North Ayrshire 4 1% 4 0% North Lanarkshire 1 0% 4 0% Orkney 1 0% 1 0% Perth & Kinross 9 2% 15 2% Renfrewshire 11 3% 18 2% Scottish Borders 19 5% 25 3% South Ayrshire 3 1% 4 0% South Lanarkshire 10 3% 14 2% Stirling 7 2% 13 1% West Lothian 7 2% 9 1% Total 394 100% 915 100%
4.5 Attendance data for RFO touring
The Annual Statistical Survey requires RFOs to provide details on audience and participant numbers. This data is not available for all productions. There is data for 200 of the 525 venues toured to (38%).
The average (mean) attendance was 708, however this is strongly positively skewed by one open air physical theatre production which reported an audience of 150,000. This outlier has been removed from table (b) below to reveal average attendance of 228, however this is still very positively skewed from the median average of 73 due to the wide variance across venues. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 33
Table 4.4 (a): Average attendance – all Table 4.4 (b): Average audience data with available productions open air production outlier removed Total venues 200 Total venues 199 Number of Performances 321 Number of Performances 320 Total Audience 77,433 Total Audience 227,433 Average (mean) 708 Average (mean) 228 Maximum 150,000 Maximum 6832 Minimum 0 Minimum 0 Median 74 Median 73
Note: all Scottish performances reported in RFO ASS with blanks removed.
4.5.2 Average attendances across art form
Theatre attracted marginally higher average audiences than dance with an average of 292 compared to 240. However the range for both categories is very wide and theatre has a lower median average of 117 than dance with 151.
Table 4.5: RFO productions in 2015/16, attendance by artform
Total Average Row Labels Performances Max Min Median attendance (mean) Dance 66 15,833 240 1804 18 151 Physical Theatre 43 159,465 3708 150000 10 - Theatre 213 62,096 292 9961 0 117 Grand Total 322 237,394 737 150,000 0
Note: All Scottish performances reported in RFO ASS with blanks removed.
4.6 Calendar of tours
Monthly breakdown
The monthly breakdown shows a pattern of touring activity peaking in spring and autumn. It should be noted that 92% of the 154 performances recorded in August took place in Edinburgh as part of the Edinburgh Festival. December also has a high volume of performances compared to individual venues toured to because of longer run Christmas shows. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 34
Fig 4.1: Month of tour by number of venues and number of performances Venues Performances 180 160 140 120 100 80 60 40 20 0 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Calendar of performance: Day of the week
Saturday is the most common day for performances to take place. This is even more pronounced when looking at cases where there was only one performance per venue when 50% of performances were either on a Friday or Saturday night.
Start day at venue (N=341) 30% 26% 25%
20% 17% 17% 16% 15% 11% 10% 7% 6% 5%
0% Sun Mon Tue Wed Thu Fri Sat
Table 4.2: RFO productions in 2015/16. First day at each venue
4.7 Note on the Edinburgh Festival Effect
The touring circuit in Scotland is, not surprisingly, influenced by the impact of the Edinburgh Festivals. This is referred to throughout the report. Below are a few key findings on the impact of the Edinburgh Festivals on the RFO data.
• 50% of all performances in Edinburgh took place during August. • 92% of all RFO performances during August took place in Edinburgh. • The long run of Fringe productions has provided a positive skew to number of performances per show and per venue. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 35
Section 3 – Overview of all touring in Scotland supported by Creative Scotland in 2015/16
5.1 Introduction
In order to get a clear impression of the provision of touring in a year this section presents a picture of all the touring activity which Creative Scotland supported through both Regular Funding and Open Project funding in 2015/16 by drawing together both sets of data. While this is clearly not a picture of all touring activity which takes place as it does not include the commercial non- subsidised sector, it gives an impression of what subsidised provision is supporting.
Because touring is in some cases just a small element of an RFO’s work it is not possible to provide an overall financial analysis. However this section provides details on number of tours, venues toured to, geography and calendar of tours for 2015/16.
It should be noted that as many tours overlap financial years the data presented here includes work that was funded through the Open Project Fund during 2015/16. Some performances may have taken place in 2016/17.
5.2 Number of venues and performances supported in 2015/16 (Scotland only)
67 Organisations were supported to tour theatre and dance work across Scotland in 2015/16. This includes 34 RFOs and 33 organisations supported through Open Project funding.
Table 5.1: RFO and OPF funded productions 2015/16. Number of productions
Dance Theatre Physical Theatre RFO 9 22 2 Open 9 25 - Total 18 47 2
Creative Scotland supported theatre and dance productions to tour to 705 venues in Scotland staging 1,481 performances. Open Project Fund work accounts for 44% of all supported touring activity (by number of venues toured to) compared with 56% of activity being delivered by RFOs.
RFOs were more likely to do more performances per venue – this is in part explained by a greater number of long-run productions at Edinburgh Fringe venues.
Table 5.2: RFO and OPF funded productions 2015/16, venues and performances
a) Number of venues
RFO Open Both Theatre 267 243 514 Dance 85 63 148 Physical Theatre 43 - 43 Total 395 306 705 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 36
b) Number of performances
RFO Open Both Theatre 800 331 1131 Dance 141 125 266 Physical Theatre 84 - 84 Total 1025 456 1481
5.2 Venue profile
Touring productions toured to a total of 332 unique venues in 2015. RFOs reached 231 while Open Project Fund productions reached 306 suggesting that they have a broader reach. A total of 688 venue visits were made by productions performing a total of 1,465 performances.
The most popular venues, those which hosted six or more productions, are listed below. Edinburgh-based venues had a large number of performances due to long run shows at the Edinburgh festival fringe.
240 Venues only hosted a single Creative Scotland funded production in 2015/16.
Table 5.3: RFO and OPF funded productions 2015/16, most visited venues
Number of productions Total number of hosted performances Eden Court, Inverness 24 35 Lemon Tree, Aberdeen 22 71 Beacon Arts Centre, Greenock 21 26 Traverse Theatre, Edinburgh 20 103 Macrobert Arts Centre, Stirling 17 27 Brunton Theatre, Musselburgh 15 16 Platform, Glasgow 15 17 Woodend Barn, Aberdeenshire 12 18 Tron Theatre, Glasgow 11 32 Paisley Arts Centre, Paisley 10 17 Dundee Rep Theatre, Dundee 9 29 Eastgate Arts, Peebles 9 9 Sabhal Mòr Ostaig, Skye 9 12 Tramway, Glasgow 9 35 Cumbernauld Theatre, Cumbernauld 8 11 Macphail Centre, Ullapool, 8 8 Scottish Storytelling Centre, Edinburgh 8 18 Birnam Arts, Dunkeld 7 7 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 37
Byre Theatre, St Andrews 7 8 Gaiety Theatre, Ayr 7 7 Zoo Southside, Edinburgh 7 7 Adam Smith Theatre, Kirkcaldy 6 12
A full list of all venues toured to in 2015/16 by local authority can be found in Appendix 3.
5.4 Number of performances per venue
70% of productions across both Open Project funded and RFO productions performed only once per venue (one night stands). A further 16% performed twice with only 14% performing three or more.
Fig 5.1: RFO and OPF funded productions 2015/16, performances per venue (n=647)
Three or more 14%
Two 16%
One 70%
5.5 Geographic profile
Creative Scotland funded performances were supported to tour to 31 of Scotland’s 32 local authorities during 2015/16.
The data shows that Highland venues hosted the highest number of productions, followed by Edinburgh and Glasgow, then Argyll and Bute and Dumfries and Galloway.
One area – West Dunbartonshire – received no productions. Three areas – Shetland, Clackmannanshire and East Ayrshire only had one production tour to a venue in their area. A further four local authority areas only had two productions visit.
Edinburgh has a far higher average number of performances per venue at 5.07 compared with the nationwide average of 2.13, due in part to long runs at the Edinburgh festivals. 18 local authority areas had averages 1.5 or less suggesting a high prevalence of ‘one night stands’. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 38
Table 5.4: Venues toured to by Local authority – sorted highest to lowest
Average Row Labels Number of venues Number of performances per toured to performances venue Highland 105 141 1.34 City of Edinburgh 84 426 5.07 Glasgow City 67 171 2.55 Argyll and Bute 41 56 1.37 Dumfries and Galloway 40 39 0.98 Aberdeenshire 38 39 1.03 Scottish Borders 36 45 1.25 Fife 30 65 2.17 Aberdeen City 28 78 2.79 Dundee City 28 50 1.79 Inverclyde 20 25 1.25 South Lanarkshire 20 24 1.20 Stirling 20 30 1.50 East Lothian 19 21 1.11 Perth & Kinross 18 25 1.39 Moray 15 18 1.20 Renfrewshire 15 22 1.47 Falkirk 11 13 1.18 Na h-Eileanan Siar 9 10 1.11 West Lothian 9 10 1.11 South Ayrshire 8 9 1.13 North Ayrshire 7 7 1.00 Angus 4 6 1.50 East Renfrewshire 4 4 1.00 East Dunbartonshire 2 7 3.50 Midlothian 2 3 1.50 North Lanarkshire 2 5 2.50 Orkney Islands 2 2 1.00 Clackmannanshire 1 2 2.00 East Ayrshire 1 1 1.00 Shetland Islands 1 1 1.00 Unspecified / Scotland wide 1 110 n/a Grand Total 688 1465 2.13
An interactive map detailing all the recorded venues toured can be explored online at: https://www.mapcustomizer.com/map/CS%20funded%20touring%202015%2F16 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 39
Fig 5.2: RFO and OPF funded productions 2015/16, map of venues toured to
https://www.mapcustomizer.com/map/CS%20funded%20touring%202015%2F16
Key observations from the mapping process:
• Highly populated suburban areas in the central belt have low numbers of performances given the population concentration. • City-wide concentration in Glasgow is more dispersed than Edinburgh where activity appears to be concentrated round a few key venues (see graphic below). • Some island and remote communities such as Islay, Orkney and Shetland and Kintyre received very few or no productions.
Fig 5.3: RFO and OPF funded productions 2015/16, map of venues toured to in Edinburgh and Glasgow
Glasgow Edinburgh A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 40
5.6 Calendar of tours
5.6.1 Performances by month
The calendar of tours shows a peak of activity in spring and autumn. The peak in performances in August is due to long runs at the Edinburgh Festivals.
Fig 5.4: Calendar of performances (n=644)
Venues toured to Performances 300
250
200
100
50
0 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
5.6.2 Tour by start day at each venue
Saturday was the most common day for performances with 28% of all runs in venues starting on a Saturday. Collectively the weekend nights of Friday and Saturday accounted for 46% of all start days of runs.
Fig 5.5: Percentage of performances by day of first show in venue (n=659)
30% 28% 25%
20% 16% 18% 15% 15% 10% 10% 7% 6% 5%
0% Sun Mon Tue Wed Thu Fri Sat A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 41
Methodological note
This project stemmed from the research strand ‘what does the touring environment look like?’ In order to answer this question we identified the need to better understand the funding environment for touring and specifically Creative Scotland’s role in funding touring theatre and dance.
We determined that a quantitative approach would be appropriate to give a statistical underpinning to the wider research project.
While Creative Scotland has always supported theatre and dance touring this is the first time that the funding data has been analysed in depth. The data analysis involved a number of different stages. Identifying the relevant awards, researching each award and analysing the data.
Identifying relevant touring awards and applications was done by manual identification of relevant grant awards by Creative Scotland staff with specialisms in theatre and dance. Identification of unsuccessful awards was conducted by keyword search followed by manual identification from specialist staff.
In addition relevant RFOs who tour theatre and dance work were also identified and confirmed by specialist staff.
Following identification of the relevant awards a data set was designed to capture the relevant information. The initial categories of the data set are included in the table below.
In order to populate these fields a number of research routes were adopted. Firstly the application details (Fields one to eight and 12, 13, 14) were drawn from the original application for funding.
Because many tour details are not confirmed at application stage and dates and locations often change this data was gathered from the End of Project Monitoring Forms (EoPMs) which are submitted by award recipients at the end of their projects in order to release the final funds.
The EoPM form is a standard form which is not specific to touring, and in many cases the data required for this exercise was not available. Therefore this process was supplemented by online research of company and venue websites to complete the data set.
Unfortunately we had insufficient data on box office and attendance figures to conduct analysis of this area as this is not a specific requirement in the End of Project Monitoring Form.
Through analysing this data and some consultation with specialist staff the research team applied groupings for the following categories.
Field 9, 10 and 11 – Category, sub category and Audience focus– this was done by analysing the application data and in some cases online research.
Field 23 – Venue size, this was done through online research. Some broad assumptions were applied, for example that all village halls were micro venues.
Regularly Funded Organisations are required to submit an Annual Statistical Survey return as part of their funding agreement. This submission contains a section on touring which provided us with the data for the 33 RFO organisations which tour theatre and dance. This survey also provided the basis for the data set for this project
Once the data set was completed we were able to apply formula using Excel to determine length of tour, number of venues, and start day of tour. A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 42
Analysis of the data was conducted in tandem with the other strands of the broader research project. Our data fields were determined by the key themes which came through the development of the research model. For example ‘Where are productions touring to?’ - we identified the need to know the location and the type/size of venues, ‘what type of work has been supported to tour’ - we identified the need to understand if work was new or repertoire as well as the audience focus (adult, family, young people etc).
Our approach to analysis was to identify three areas – a profile of the companies which have been funded to tour, details of the funding, a profile of the tours.
Data for RFOs was presented separately as funding data is not relevant to these organisations for which funding may make up only a small part of their work.
Finally, in order to gain as full a picture as possible of the size and scale of the subsidised touring sector we drew both the RFO and Project funded data together to provide a detailed picture of all touring activity funded in one year – 2015/16. This section presents work which was funded rather than presented in that year as this is a more consistent approach. As some tours may run across two financial years.
Field Data Category Comments / Notes
1 Funding route TFAP, QP Open fund or Regularly funded Organisations 2 Financial year 3 Reference nr Grant reference 4 Applicant Postcode 5 Applicant Local Authority This was a coding framework to allow us to distinguish 6 Grant/Tour venue Grant details and tour details 7 Organisation Name 8 Title of toured activity 9 Category Theatre / Dance 10 Sub-category Classic Repertoire / Contemporary Repertoire / New Work 11 Audience focus Adult / Family / Family-adult / Young Audiences 12 Amount requested 13 Amount awarded 14 Total project cost This is the projected cost at application stage This is the final costs from their End of Project Monitoring 15 End of project cost form First date of tour (G) first date at Venue (T) from this we were able to determine the day of the week that tours 16 Date from started and from fields 16 and 17 the total length of tour - start to finish. 17 Date to Last date of tour (G), last date of venue (T) 18 Venue Name of venue 19 Venue postcode 20 Area / Local Authority 21 Number of performances 22 Number of venues A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 43
Large, (500seats +), Medium (250 - 500 seats) small (100 23 Venue size - 250 seats) Micro (< 100 seats) 24 Total attendance Insufficient data to analyse 25 Box office forecast Insufficient data to analyse 26 Box office actual Insufficient data to analyse
Appendix 1 – Companies supported through OPF by local authority
Company name by location Number of grants
Aberdeenshire 3 Dudendance Theatre 3 Angus 2 Poorboy 2 Argyll and Bute 1 Comar 1 City of Edinburgh 39 A Blank Canvas 1 Alan Greig Dance Theatre 1 All or Nothing Dance and Aerial Theatre 1 Annie George 1 Clive Andrews 1 Dance Ihayami 1 Ed Littlewood Productions Ltd 1 Emma Jayne Park 2 Errol White Company 3 Fish and Game (Eilidh MacAskil) 1 Francisca Morton 1 Frozen Charlotte Productions 1 Jabuti Theatre 1 Jack Webb 1 Janis Claxton Dance 1 Magnetic North 2 Nutshell Productions Association 2 Paper Doll Militia Limited 1 Plutot la Vie 1 Puppet State Theatre Company 1 Rachael Macintyre 1 Rachel Colles 1 Ramesh Meyyappan Productions 1 Robert Softley Gale 1 Starcatchers Productions Ltd 1 Stellar Quines Ltd 1 Stoirm Og 1 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 44
Strange Theatre CIC 1 Theatre Objektiv 1 Tortoise in a Nutshell 1 Vision Mechanics Ltd 1 Wee Stories Theatre for Children 3 Dumfries and Galloway 1 Oceanallover 1 Dundee City 4 Joan Lopez-Cleville 1 Smallpetitklein Dance Company 3 East Lothian 3 Ailie Cohen (Caryl Jener Productions Ltd) 1 Room 2 Manoeuvre 1 Shona Reppe Puppets Ltd 1 East Renfrewshire 1 Theatre Gu Leòr 1 Fife 2 Andy Cannon 1 Red Bridge Arts CIC 1 Glasgow City 42 AJ Taudevin 1 Al Seed 1 Allie Butler 1 Arches Theatre 1 Bard in the Botanics 1 Barrowland Ballet 3 Bright Night International 1 Caroline Bowditch 1 Clare McGarry (Gringog Theatre) 1 Company Chordelia 2 Company of Wolves 3 Donna Rutherford 1 Graham Eatough and Sorcha Dallas 1 Grinagog Theatre Company 1 Hopscotch Theatre Company 1 Indepen-dance 1 Ishbel McFarlane 1 Judith Williams [on behalf of The Letter J] 1 Kerieva McCormick 1 Marc Brew Company 2 National Theatre of Scotland 2 Pachamama Productions 2 Random Accomplice 1 Rapture Theatre Company 1 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 45
Sleeping Warrior Theatre Company 2 Stammer Productions (Colette Sadler) 1 Subway Theatre Company 1 Terra Incognita 2 Thomas Pritchard 1 Tricky Hat Productions 1 Tromolo Productions 1 Visible Fictions 1 Highland 5 Arts in Motion 1 Creative Services 1 Dogstar Theatre Company Limited 3 Midlothian 1 Communicado 1 Moray 5 Bodysurf Scotland 1 Charioteer Theatre 1 Right Lines Production 3 Na h-Eileanan Siar 1 Proiseact nan Ealan 1 Outside Scotland 16 Ballet Lorent 2 Compagnie Aniimotion 2 Firebrand Theatre Company 4 Greyscale Theatre Company 1 Horse and Bamboo Theatre 1 Icarus Theatre Collective 1 Modern Masterpieces 1 Rosie Kay Dance Company 1 Single Shoe Productions 1 Tamasha Theatre Company 1 Unlimited Theatre 1 Renfrewshire 1 Kai Fischer 1 Scottish Borders 1 Tabula Rasa 1 South Ayrshire 2 Borderline Theatre Company 2 South Lanarkshire 1 Claire Cunningham 1 Stirling 4 Joe Douglas 1 Macrobert arts centre 1 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 46
Sell a Door Theatre Company and Beacon 1 Arts Centre Theatre Broad 1 1 Company of Wolves 1 Grand Total 136
Appendix 2: List of Creative Scotland Regularly Funded Organisation and profile of Scottish Touring
Number of venues Number of Company toured to performances
Dance 85 141 Barrowland Ballet 13 36 Curious Seed 9 9 Dance Base 4 5 Imaginate 12 24 Independence 1 1 Plan B 10 10 Scottish Dance Theatre 25 25 The Work Room 7 27 YDance Scottish Youth Dance 4 4 Physical Theatre 43 84 Conflux 4 24 Mischief la bas 39 60 Theatre 267 800 Birds of Paradise Theatre 14 34 Catherine Wheels 2 156 Citizens 1 12 Comar 23 23 Dundee Rep Theatre 14 25 Eden Court 13 19 Fire Exit 4 20 Grid Iron 4 21 Horsecross 8 26 Imaginate 5 17 Lung Ha's 3 7 Puppet Animation Festival 47 161 Rapture Theatre 29 51 Solar Bear 18 18 Stellar Quines 11 58 The Touring Network 32 32 Tron Theatre 3 5 Vanishing Point 5 44 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 47
Visible Fictions 26 71 Woodend Barn 5 0 Total 395 1025
Appendix 3: List of all venues toured to by RFO and Open Project funded in 2015/16 by Local Authority
Number of venues Number of toured to performances
Aberdeen City 28 78 Citymoves 1 1 Gordon Barracks, Aberdeen 1 2 Lemon Tree 21 70 Lemon Tree, Aberdeen 3 3 Newton Dee Camphill Community 1 1 St Nicholas Centre 1 1 Aberdeenshire 38 39 Balmoral Castle 1 Banchory 1 1 Banchory Lodge Hotel 1 Blackhall 1 Braemar Castle 1 Buchanans Bistro 1 Crathes Village Hall 1 1 Finzean Hall (NEAT) 1 1 Fraserburgh 1 1 Inverurie 1 1 Johnshaven Village Hall 1 1 Kemnay Village Hall 2 2 Lemon Tree 1 1 Lumsden Village Hall 1 1 NEAT Johnshaven Village Hall 1 1 NEAT Kemnay Village Hall 1 1 NEAT Lumsden Village Hall 1 1 NEAT New Deer Public Hall 1 1 New Deer Public Hall 1 1 Peterhead 1 1 Portsoy 1 1 Portsoy Town Hall 1 1 The Royal British Legion (NEAT) 1 1 Tullynessle & Forbes Hall 1 1 Turriff Hall (NEAT) 1 1 Woodend Barn 12 18 Angus 4 6 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 48
Angus Arts - The Retreat, Glenesk 1 3 Dibble Tree 1 1 NEAT Arbroath Webster Theatre 1 1 Southmuir Primary School 1 1 Argyll and Bute 41 56 An Cridhe 2 2 An Cridhe Coll Community Centre 2 2 Ardfern 1 1 Ardrishaig Hall 1 1 Atlantic Islands Centre 1 1 Atlantic Islands Centre, Isle of Luing 1 1 Bunessan Hall 1 1 Castlehill Primary 1 7 Comar 4 5 Comar, Druimfin 2 1 Cove Burgh Hall 1 1 Cove Burgh Hall 1 1 Craignish Village Hall 5 5 Cullipool Hall 1 1 Dalmally Community Centre 1 1 Easdale Island Hall 1 1 Easdale Island Hall 2 2 Easdale Island Village Hall 1 1 Helensburgh Summer Festival 1 3 Innellan Village Hall 1 1 Iona Hall 1 1 Lochgoilhead Village Hall 1 1 Mull Theatre 1 1 Rothesay 1 2 Tarbert Academy 1 4 The Pavillion, Bute 1 1 The Rockfield Centre 1 4 Three Villages Hall, Arrochar 1 1 Tower Digital Arts Centre, Helensburgh 1 1 Victoria Hall 1 1 City of Edinburgh 84 426 Arts South Edinburgh 1 8 Assembly Hall 1 22 Assembly Rooms 1 14 Assembly Roxy 5 48 Brunton Theatre 2 2 Canal View Primary School 1 2 Clovenstone Primary School 1 2 Craigmillar Community Arts 1 4 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 49
Dance Base 4 20 Edinburgh Book Fest 1 1 Edinburgh Festival Theatre (The Studio) 3 3 Festival Theatre 3 4 Hidden Door Festival 1 4 Kings Theatre , Edinburgh 1 7 National Museum of Scotland 2 18 Niddrie Mill Primary 1 2 North Edinburgh Arts Centre 3 12 Out of the Blue 3 8 Royal Botanic Gardens 1 4 Royal Lyceum Theatre 1 12 Scot:Lands, National Museum of Scotland, 1 1 Edinburgh Scottish Storytelling Centre 8 18 Sighthill Primary School 1 2 St Francis Primary 1 2 Summerhall 5 70 The Custom House 1 8 Traverse Theatre 20 103 Whale Arts 2 9 Zoo Southside, Edinburgh 7 7 Zoo Southside, Edinburgh 1 9 Clackmannanshire 1 2 Alloa 1 2 Dumfries and Galloway 40 39 A' the Airts, Sanquhar 1 1 Annan Museum 1 2 Auchencairn 1 1 Buccleuch Centre 1 2 Carsphairn (Knockengorroch) 1 2 Castle Douglas 1 2 Catstrand Theatre 4 3 Colvend Public Hall 1 1 Dalbeattie 1 1 Dalry Town Hall 1 1 Drumlanrig Castle 1 Gatehouse of Fleet, Big Lit Festival 1 1 Gracefield Arts Centre 2 2 Johnstonebridge Centre 1 1 Kirkconnel 1 Kirkcudbright Parish Hall 1 1 Loch Arthur Camphill Community 1 1 Moffat 1 2 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 50
Moniaive (Folk Festival) 1 2 Moniaive Institute 1 1 Ryan Centre, Stranraer 1 1 Sanquhar 2 Stickety Lickety Tea Room , Barstobrick 1 1 Swallow Theatre, Whithorn 2 2 The Usual Place, Dumfries 1 1 Theatre Royal, Dumfries 4 3 Thornhill 2 1 Tynron Parish Hall 1 1 Wigtown County Buildings 2 2 Dundee City 28 50 Ardler Complex 1 1 Bharatiya Ashram 1 1 Bonar Hall 1 1 Charleston Comm Centre 1 1 Douglas Comm Centre 1 1 Dundee Rep 3 4 Dundee Rep Theatre 9 29 Dundee Rep, Bonar Hall 1 2 Finmill Comm Centre 1 1 Hilltown Project 1 1 Kirkton Comm Centre 1 1 Menzieshill Comm Centre 1 1 Rio Comm Centre 1 1 The Gardyne 1 1 The Space, Dundee 4 4 East Ayrshire 1 1 The Palace Theatre 1 1 East Dunbartonshire 2 7 Kilmardinny House Arts Centre 1 3 Kirkintilloch Canal Festival 1 4 East Lothian 19 21 Brunton Theatre 13 14 Haddington Corn Exchange 1 1 John Gray Centre 1 2 Longniddry Community Centre 1 1 Musselburgh Grammar School 1 1 North Berwick Community Centre 1 1 The Bleachingfield Centre 1 1 East Renfrewshire 4 4 Eastwood Park Theatre 3 3 Eastwood Park Theatre 1 1 Falkirk 11 13 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 51
Barony Theatre, Bo'ness 1 1 Denny 1 1 Falkirk 1 1 Falkirk Town Hall 3 3 Falkirk Town Hall (Studio) 1 1 Grangemouth 1 1 Howgate Shopping Centre 1 1 Stenhousemuir 1 1 The Helix 1 3 Glasgow City 67 171 Adam Smith Theatre 6 12 Adam Smith Theatre 2 5 Byre Theatre 7 8 Carnegie Hall 2 9 Carnegie Hall - Studio 2 3 Carnegie Hall, Dunfermline 2 1 Dalgety Bay Library 1 1 Kirkcaldy Galleries 1 1 Lochgelly Centre 5 16 Rothes Halls 2 9 Fife 30 65 Calton Heritage Learning Centre 1 1 Carmyle Primary School 1 1 CCA, Glasgow 1 2 Citizens Theatre 3 14 Conflux 1 Deaf Connections, Glasgow 1 1 Denniston Library 1 2 Glasgow Theatre Royal 3 3 Glasgow Women’s Library 1 1 Govan Old Parish Church 1 Haghill Primary School 1 1 Kelvingrove Art Gallery and Museum, Glasgow 1 3 Kings Theatre in Glasgow 1 4 Kinning Park Complex 1 1 Merchant City, Glasgow 2 7 Molendinar Community Centre 1 2 Oran Mor 1 6 Platform 15 17 Royal Conservatoire 1 1 Scottish Ballet, Tramway 1 2 Scottish Youth Theatre 1 2 St Fransis of Assisi Primary School 1 1 St.Lukes, Glasgow 1 1 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 52
SURGE Festival / Merchant City Festival 1 16 The Village Storytelling Centre 1 5 Theatre Royal in Glasgow 1 7 Toryglen Community Hall 1 1 Tramway 9 35 Tron Theatre 11 32 Woodside Library 1 2 Highland 105 141 Achmore Village Hall 1 1 Arainn Shuaineirt 1 1 Ardross Village Hall 4 5 Ardvasar Hall 1 1 AROS, Skye 1 1 Assynt Sport, Youth and Learning Centre 1 1 Carnegie Hall 1 1 Cawdor Primary School 1 1 Central Primary 1 2 Craigmonie Centre 1 2 Craigmonie Centre 2 2 Cromarty PS - Victoria Hall 1 1 Dalneigh Primary 1 2 Dornie Village Hall 2 2 Dornoch 1 2 Dornoch Primary 1 2 Drakies Primary 1 2 Drulmfin, Comar 1 4 Durness Village Hall 1 1 Eden Court 24 35 Fort Augustus 1 1 Fort George, Inverness 1 2 Fort Willam 1 2 Gairloch Community Hall 1 1 Grantown on Spey 1 1 Invergordon 1 1 Inverlochy Primary 1 2 Inverness 2 5 Isle of Eigg Community Hall 2 2 Kiltarlity 1 2 Leven Centre, Kinlochleven 1 1 Lochinver Village Hall 2 2 Lochinver Village Hall 1 1 Lyth Arts Centre 3 3 Macphail Centre, Ullapool 8 8 Melvich Village Hall 4 4 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 53
Mill Theatre, Thurso 3 3 Nairn Community Centre 1 1 Plockton Village Hall 1 1 Raigmore Primary 1 2 Rasaay Island Community Association 1 1 Resolis Memorial Hall 1 1 Sabhal Mòr Ostaig 9 12 Strathpeffer Pavilion 1 1 Sunart Centre, Strontian 2 2 The Melvich Hotel 1 4 Thurso 1 1 University of the Highlands and Islands 1 1 Victoria Hall 1 1 Watten Primary 1 2 Wick 1 1 Inverclyde 20 25 Beacon Arts Centre 20 25 Midlothian 2 3 Carlops Village Hall 1 1 Glencorse Barracks, Penicuik 1 2 Moray 15 18 Drouthy Cobbler, Elgin 2 2 Elgin 1 2 Fochabers Institute 1 1 James Milne Institute, Findhorn 1 1 Kinloss Abbey 1 3 Lossiemouth Town Hall 1 1 Moray Walking Festival 1 1 Mortlach Memorial Hall, Dufftown 1 1 Rise Dance festival , Findhorn ( Bodysurf Scotland) 2 2 Universal Hall 4 4 Na h-Eileanan Siar 9 10 An Lanntair 2 3 Barvas and Brue Community Centre 1 1 Carinish Village Hall 3 3 Castlebay Community School 1 1 Sir E Scott School, Tarbert 1 1 St. Peter's Hall 1 1 North Ayrshire 7 7 Dalry 1 1 Gaiety Theatre, Ayr 1 1 Harbour Arts Centre 2 2 Harbour Arts Centre, Irvine 2 2 Kilwinning 1 1 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 54
North Lanarkshire 2 5 Cumbernauld Theatre 1 4 Motherwell Civic Centre 1 1 Orkney Islands 2 2 Gable End Theatre 1 1 Pier Arts Centre (Orkney) 1 1 Perth & Kinross 18 25 Birnam Arts 7 7 Kinross Parish Church 1 1 Murthly Village Hall 1 1 Perth Concert Hall 3 3 Perth Concert Hall, Norie-Miller Studio 1 2 Perth Horsecross 3 9 Pitlochry Town Hall 1 1 Strathearn Art Space 1 1 Renfrewshire 15 22 Beacon Arts Centre 1 1 Eastwood Park Theatre 1 1 Johnstone Town Hall, Paisley 1 1 Mckillop Institute, Lochwinnoch 1 1 Paisley Arts Centre 10 17 Paisley School 1 1 Scottish Borders 36 45 Bowhill Estate, Selkirk 1 Bowhill Theatre , Selkirk 2 2 Caddonfoot Hall 1 1 Eastgate Arts 9 9 Eastgate Arts 1 Eyemouth Hippodrome 1 1 Galashiels 1 2 Haining House, Selkirk 1 6 Heart of Hawick 3 3 Mac Arts 2 3 MacArts Centre 5 5 MacArts Galashields 1 1 Melrose 1 Midlem Hall 1 1 Newlands Centre 1 2 Oxnam Village Hall 1 1 Smailholm Village Hall 1 1 The Haining 1 5 Victoria Halls, Selkirk 1 1 Yarrow Fues Hall 1 1 Scottish Local Authorities 1 110 A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 55
(blank) 1 110 Shetland Islands 1 1 Mareel, Shetland 1 1 South Ayrshire 8 9 Arran Music Festival 1 1 Gaiety Theatre, Ayr 6 6 Harbour Arts Centre 1 2 South Lanarkshire 20 24 Biggar / Volksfling Festival 1 1 Cumbernauld Theatre 7 7 Cumbernauld Theatre 1 1 East Kilbride Art Centre 3 3 Hamilton 1 2 Hamilton School For The Deaf 1 1 Lanark Memorial Hall 1 1 Motherwell Theatre 1 1 Rutherglen Town Hall 2 3 St Athanasius 1 2 St Brides 1 2 Stirling 20 30 Dunblane Centre, Stirling 1 1 Macrobert Arts Centre, Stirling 17 27 Tolbooth 1 1 Tolbooth 1 1 West Lothian 9 10 Addiewell PS - neighbouring Community Hall 1 1 Bathgate 1 1 Howden Park Centre 3 2 Howden Park Centre, Livingston 1 1 Polkemmet Primary School - West lothian 1 2 Regal Theatre , Bathgate 1 1 Whitdale Primary School - West Lothian 1 2 Grand Total 688 1465