Connecting Places EOIs for 2023 Touring | Information Session

welcome everyone thank you for coming um just beginning this session to say we i'm acknowledging i'm on the grounds of the traditional lands of the cooler nation pay my respects to their elders past and present um we are very lucky in rav we get to connect with lots of different traditional uh custodians across the state of victoria as we share stories and and culture and art and and we have a really we're really grateful that we we are able to travel across the state and do this kind of touring and continue and um draw from the strength of that culture that that still is thriving and strong today just a little bit of housekeeping to start with um we are on zoom if you would like captions you can click on the live transcript button at the bottom of your screen and captions will be added to the added live as we as we progress through the session we ask that you do keep your mics off for the bulk of the uh session um and camera is totally happy if you want to switch cameras off um that's whatever makes you comfortable really fine too we recommend you go into speaker view because we'll be sharing screen a lot during this as we talk through the program and talk through the application process so that button is up in the top right hand corner and questions that you have you can just pop in the chat and adam and i will both kind of monitor those as we go through so i'm bindi green i've been working at referee about four years now doing in the touring program and i am newly this year in the role of the connecting places program also with us today is adam fawcett who's our marketing and communications guru and legend and so he's here to help talk through some of the marketing material content of the session of the application so just um a little bit about connecting places this is our halls touring program uh so we work with a network of community print presenters is kind of the rough name we give them across the state who uh often volunteers uh often arts committees in small towns that like to put on events for their communities in their local hall they um the the halls are really buried uh they are um there's a variety of skills and resource across these different uh halls so the program that we offer the touring program we offer is looking for professional artists who are uh are quite flexible and adaptable and can fit into different spaces quite easily and where um and who often will be the ones with the highest kind of level of performing arts professional skills in the room uh connecting place is a program that supports presenters to do this kind of hold these kind of events we run workshops we do a lot of training we uh do a lot of networking we assist with funding and and one of the things we do is offer a touring program to suit this style of performance and this style of event and that's what we're talking about today so we're opening up applications now for artists who would like to be part of that touring program i'm going to share my screen now and just have a little look at the touring program that we've got on offer this year which will help to give you a little bit of a sense of what this program offers so for 2022 this is our website regional arts victoria you can find information about this program here connecting places uh touring program this skills development is mainly for uh the presenters but yeah there's lots tour school is a good little place to go as well for artists if you are looking for a bit of that's where we have a lot of our resources and webinars from last year available for you as well but for the touring program for this year so we've got six different shows on offer uh just scrolling down a little bit through here um the shows we have um we've got waves which is a theater show which is a storytelling show of the solo performer uh trinket the robot uh puppetry for children um during april and may um jazz high tea which is a great um a jazz company they they bring a lot of the dressing for to put on a high tea in the town and jazz music and the local community contributes by bringing the food balkan elvis music show michelangelo who's a well-traveled performer touring around victoria music a lot of music a lot of storytelling that's that's a kind of theatrical music event and sound of your town which is a a music show with mama ken spender that connects him with local choirs in that community and they do some rehearsal they come arrive the day before rehearse with the choir and then the choir joins them on stage for the event so that will be touring in august and october and junklandia which is a kids show another children's show offered during term time and that's during that's one that's during our arts and education program that we also offer to the community presenter network so you can kind of see we run generally through the middle of the year march through to november tours are generally um the timing of the tours is based on when the artists are available and also when the demand is from the presenters um the kind of the summer months tend not to be very popular because uh it's it's a really busy time it's it's it can be bushfire season as well we're doing a lot of regional touring around into um into different parts of the state um things like harvest time become start to impact when tours will happen as well uh so and the deep dark winter times are usually not great for getting audiences out to come down to the local hall so that kind of june july tends not to be as popular as well with this particular network of presenters um so there's a range of shows there we kind of they they have um a whole lot of different sorts of experiences different artistic practices but there's a bit of a common theme in that it is they're all they're all kind of uh um they're all kind of lightweight they're all kind of reasonably low-fi and very flexible and adaptable to different spaces um you can have a bit more read through about those if you like what i'll switch to now is the application page and i think adam's going to pop a link into the chat so this is where we've got a bit more information about the shows that we are looking for the timeline here so applications are open now they're going to close on the 3rd of may um we then work with a panel who come together of community presenters as well as artists who have toured through this program before and they will they will kind of make the decision together with myself and other members of the rav team to select the program for next year so applicants will be notified towards the end of may and then we announced the program live and in mid-july now this the timelines are also it does feel quite early but it's good to get these things locked down because then we go away and and sell the shows and work with the community presenters so that they can then source funding to put the shows on and that that funding announcement that funding to for the presenters is often um not confirmed until close to almost christmas time it's late november early december and that's the creative victoria timeline for their small regional presenters fund which is mainly how most of these presenters will pay for these shows so we we work with them quite closely to to put their applications together once they've decided on the shows they want for their communities they can then apply to creative victoria to get funding to cover the costs of the artist fees and some cost towards putting these events on so for the companies that are touring you um your funding comes from as what we call a seller fee so you get paid a fee per show and the presenter is the one who that takes the box office from the tickets on the night so the the the funding is kind of guaranteed for the companies um which is and it's supported by creator victoria um so it's which is a really good it's a really good program and so the risk is kind of taken away from from these presenters as well so coming down here so we've got here oh sorry i'll just creep back a little bit um one thing i will mention is we work with we have an arts and education program um we work quite closely with them and they have their but they have their separate expression of interest process um there's a link here to that you can click on to be notified when that one opens and it'll be in about four weeks time we we we kind of um we take uh we work with them to take any shows that are kind of aimed specifically for children primary and secondary age we like to offer that we like to offer to both networks both the schools network as well as the community presenter network so those applications will be done through the arts and education eoi process rather than through this connecting places program and there'll be an option in that in that application process that you can tick a box to say yes i want to be considered for this as well the application's done online we've got a link here right down the bottom to the where you can click to go to the online form and it'll take you through page by page by page where you enter information and yes no so that's kind of what the form looks like i won't go through that too much but i will draw your attention up here to say um you can save your progress uh each time you come in each time you return to it though you can you get into email and a password but you'll have to do that each time so each time you return to come back you'll have to save it again and go through that process each time you come in and out of the form what we do recommend instead is that you use a we've got a drafting tool on the website here um that you can use to prepare all your responses and we'll go through so that's the document i'll have a look through with you in a moment submission guidelines here that's a really useful one to read it's a bit of an overview and i'll leave that for you to look up in your own time um but what would be good to talk through here is the selection criteria so these this is a good guide to the shows that we're looking for for this program um innovative high quality and entertaining um innovative is kind of a it's it doesn't have to be you know changing all the rules of theater it doesn't have to be brand spanking new but we're looking for shows that are fairly contemporary kind of um new rather than things necessarily that rather than shows that have been uh around for a long time and and um high quality and entertaining is it's more it's good it's a good kind of sense of of what the it's a good way to kind of describe what the night will be if we think about the shows that we're choosing we think about the night that the presenters are putting on they're having um they're bringing their town together for a good fun night out in their local hall uh so they want they it's it's can often be like one of they might do this once or twice or three times in a year so it's a it's a big event it's a big social event there's often a supper which is really lovely they might run a bar to make some money and raise some funds for the local footy and netball club um it's it's it's a real special event kind of style of performance preferred art forms theater music cabaret comedy live performance um so it doesn't so it's i'm kind of dancing around we're saying we're not we're looking for things sorts of shows that will that will leave people um it doesn't have to always be completely upbeat we have a lot of we've had some theater shows which have touched on some quite serious content and company and presenters have used that as a springboard to talk about social issues in their town we've also had some really crazy burlesque shows um we've had some we've had a whole variety of all sorts of things that can be good um so we're not saying it has to be funny or it has to be upbeat or it has to be one thing or another it can be anything but it's good to think about what that experience will be why um for the town and the people coming to see the show and why that might be something that uh what place that they that your show is gonna what what what what is your show offering for that community for that night um the project is tour our community engagement component would be good to just touch on that um a lot of the oftentimes we'll have a workshop offered as along with the show so the company might arrive the day before do some singing songwriting workshops do some theatre making workshops to do a um do it we've had one company went and did talks with the in the library the local genealogy um uh local volunt um people who had joined the genealogy club because the show was all about family history and telling the story of her of her ancestor and so that got a doing talking to people who were also interested in their own family histories was a really great um little side side thing that she could offer as well uh the project is tour ready so we're looking for shows that are established um the presented we're not looking for works that haven't been made yet when the presenters who are going to be make booking this show they really they need the not as experienced as performing arts centres they don't have the the breadth of knowledge of necessarily of who what your company's done in the past um they need to be able to sell the show to their audiences in their towns and so it needs to have a good solid um the show needs to know what it is really and it because you also will be asked to adapt and be flexible to to be able to fit into a whole lot of different performance venues um relatively easy to remount there are no remount fees for connecting places like there are with our touring services uh program and that's mainly a funding a funding thing it's we the funding the show fees that these that the community presenters can offer uh are not as big as the show fees that performing arts centres can offer so we don't have the capacity to kind of spread a remount fee across all of the different presenters on the tour and that's yeah that's so we're looking for shows that might you might need a day or two to rehearse it again before you head out on the road and you can build that into your performance fee but it's not something that we can afford to pay you know fourteen thousand dollars for a two for a remount two week season so you can redevelop and get it back on the road um so just yeah it just needs it needs to be able to be able to head out quite easily it's also a lot of some of this touring is also weekend-based touring um because often these events are friday saturday nights these kind of shows it's kind of programming and so it needs it's it's helpful if the show is is able to just sort of pop out and do um different dates you don't need to kind of hold everyone together for a full two weeks to make it viable um project is relevant to regional communities there's a thousand reasons why shows are relevant um affordable maximum per show fee of three five hundred and maximum touring party of four people the touring party is mainly because rav will have access to we or we apply for funding i should say um to create a victoria to cover all the travel costs for the show and for this kind of touring it's um it's hard to it's hard we don't have as big a pool of money for the travel costs as we as we are able to access for the touring services program and so we rev covers all the costs of accommodation travel per dams so that can get expensive i want to get above four people you start to need additional vehicles on the road as well and so extra vehicles also can can get to be expensive uh so that starts to move the show your show out of connecting places and into the touring services landscape a bit more um we might have a little look there's oh i'll get to the end here and we'll go we've got a little budget template down here we'll have a look at in a minute um just when you're thinking about putting a show fee together uh the company has quality marketing materials in their application so this is coming back to the idea that this is an established show you've had a bit of a season you've got a bit of documentation um so we will ask for that um at the at the top of the application process and then so it's all ready to go and to help with selling the show to the presenters and so they can then we can build up a good tool we kind of need that stuff really early [Music] and adam will talk through that a little bit later um tech requirements are adaptable we at halls touring some shows will have some halls will have lighting rigs and a pa some will just have the bare stage and fold out seats on the floor um we um we one thing we do offer so yeah so the show needs to your show needs to be able to cope with a variety of spaces to be able to cope with some flexibility in in how it's going to be staged in the different sorts of venues i'll just come back to the technical package whoops say hello afternoon um with the technical equipment available so we offer to the presenters a technical package with the show so the touring artists can come with their own lighting and sound gear and that they then will be responsible for setting that up in the hall for the show if that's what the presenter needs so we might have a show that has eight venues on their tour over two weeks or three weeks um five of the venues might opt in to take the technical package because they don't have a tech person or tech gear and three of them will say no we're fine we've got that covered so the money that uh the presenters pay those five presenters will pay 500 contribution for a technical package five times 500 is 2500 that then gets passed on to the artist to cover the cost of hiring tech gear and potentially a person as well to be responsible for setting that up and packing it down so when we talk about a tech package that's something that connecting places artists need to be prepared to provide and and we can help you kind of put that together and um and work through what that is um can i just jump in and ask a couple of questions bendy we've got questions um kelly's got two questions i'll just ask the first one um she says that she's a regional new south wales based artist is the fact that she's interstate an issue yeah uh we can accept applications from anywhere around australia you can be an artist we've had one artist during this year who was based in the uk um we don't pay the travel cost to get to victoria you need to be responsible for any costs associating with relocating here the only travel costs we can cover are for the regional stays or for regional artists for staying in metro areas so it's you can definitely apply you can definitely um and we do take works from interstate artists but if but we can't cover entirely all your costs of because the because we just don't have enough we just don't have enough trouble funding unfortunately our travel funding is for the touring element we are supported uh to cover travel costs for artists to get out to victoria but there's a there's an understanding that there's a home base somewhere that that you so you if you've got family in in victoria like that artists have done that before they come and stay with their family in melbourne and then we cover their travel out to the regional areas great thank you and she's got another great question actually about the requirement to be two already and what does that mean over the last couple of years when um people haven't been able to get out and tour yeah good good it's a very good question um i think it's really about um it's it's being too already is that it's more what i was talking about before about the show is is is fully developed and um the show there's a the show is you're quite clear on what the show is and and so that we can then convey that to the presenters um so we're it's we're kind of we're looking to discourage anyone who's um so we we sometimes have companies apply and they might have done you know three shows over the last four years um and they're making their new show and they think oh yep i'll put it in for this program i'll apply because i know i'll have a new show by this time next year but that's not useful for us because when we go out to our community presenter network um after july between july and uh we we need to be able to sell the show we need and they need to understand what the show is so they the performing arts centres are more able to kind of look get a sense of what your show is if it hasn't been made yet because you can talk about they've got a bit more of an understanding but for the volunteer committees they really need it really needs to be kind of um it needs to be a fairly established um work and or you need you know you need to be prepared to and you you also as artists like you need to understand how to adapt it how like when you're when we ask you questions about well can you do it in this um undercover area like we'll talk about different performance opportunities that pop up and so you need to have a clearer understanding of how your show is going to adapt to that and how to put together a technical list and a technical package that will see your show through in um through a variety of venues so you you also need to kind of really understand the nuts and bolts of of what your show is uh to be able to cope with the variety of of compromises you you might need to make it at different venues along the tour all right thank you and just one final question uh from melissa who's just asked about the size of the traveling party um she's just asked is it strictly for people or can we apply for the funding and cover any additional costs for the fifth person themselves for instance yeah look that's a great that's a great idea and um we yeah we're definitely open to to those sorts of um like that that's what our limitation is but if you've got a way of of of of dealing with that uh if you've got a little bit of extra funding then to cover that then let's talk about it and let's definitely um definitely put an application in uh and talk about how if you're sitting outside of the criteria and you've got a plan to if you've got a plan to how to cope with that then we'd love to hear it we're definitely more more open to looking at different ways of doing things here that's it you can keep going keep going thanks mindy um that's good i'll move that up there uh so funding yeah so funding i think we've talked a little bit about so just uh so you you your show fees are funded by the presenters travel costs are funded by us box office goes to the presenter that's how that kind of works um what time is it 12 30 i'm getting through i just had to have a little look at these two other documents that we've got here all right uh okay just coming back to selection criteria tech specs uh the project is able to bump in and perform same day that's ideal again it is and i think the it's a good i'm glad you asked that question because we've got like we've got one show during this year that bump that does um is splitting over two days because they're built in a big community workshop engagement process uh so that's these these are the ideals but again if your project sits outside of what we've said here then just tell us how just tell us why and there'll be sometimes good reasons why that's okay the company understands the context of working with volunteer community groups yeah so we've talked a little bit about the sort of communities you're going to april to november equity and diversity we love those words we love what they mean we love what they bring um yeah so down here we've got some um guidelines budget template let's have a look at that that's here so budget template for the sell-off model so this is this is here this has come from auspicious arts who are an incredible organization who support artists and producers in the independent world um there this is what they have put together and they provide um i think adam's put a link in there definitely worth going having a look on their website at their resources page this is this is to help you figure out what do i charge for my show um sell off would you use the word seller fee and so that's um when the presenter buys the show directly and the presenter takes the box office so that's the model that we've been talking about through this um so here is a it's a tool to work for you to start figuring out what your show is going to cost you um and what to charge so artists wages you might say according to the lpa everyone's going to get 12 oh that's kind of a weekly fee all right so everyone's going to get 500 we've got three people on the road uh so that's fifteen hundred dollars just in what i'm paying my artist oh i'm gonna have a crew person i'm gonna pay one of those um and then you can go through and have a look at okay it's going to cost me 50 because i've got all these vegetables i use in the show each time i do it that get eaten um produce a fee it's worth factoring in things like that because we'll be working with the producer in the lead up um so you might say oh what am i going to do 250 for the producer for each season will work through and go all right so that's getting close to working out that's what my show is going to cost and you can go through that's a very rough way of just sort of figuring out a few basics um royalties are down here if you have any royalties that you're committed to paying to your creative team um you can add those in and uh include that in your in your show we've had a couple of companies to recently take on the one music that old apra royalties and do that on behalf of all the presenters and so they just charge like they might charge like five percent or something to cover those costs so that's an option for you as well um auspicious arts have got lots of great information on this part of the process highly recommend having a look through we don't tend to get involved too much in what you charge for your show we kind of need to leave that up to you a little bit and but we will definitely help to make sure that you're charging what you're worth um we really believe in artists being paid what they should be paid and that you get paid for the time that you spend on a project so lines like admin producer fee they're in there for a really good reason so that because in in the in the lead up to you doing the tour they'll be we'll be relying on a lot of communication with you to get marketing toolkits together for interviews for all sorts of bits and pieces so um put it put a little bit of fee in there to cover your time for all of that um the drafting tool is really is a really great thing that i want to show you as well so this is the tier is a word document so that you can prepare all your responses lots of links lots of links so the first so these questions in here are all in order that you'll see them in the application so it's it's it's it's pretty much you know they they sit hand in glove these two this document and the application online so the first question we always ask is is this for primary or secondary age children audience um if yes then we redirect you to the arts and ed application process if if not or you're not sure um if you think it's more family rather than children like there's a kind of family's audience they often get used interchangeably but they're actually there's a good difference between them children is really just for kids just for that age group family is often can be you know g-rated but but you're you're wanting to appeal you're wanting to get an audience that's a mix of adults and kids together for that we really recommend the connecting places application program uh company information so this is what we'll use when we do contracting this is all the official who's the person we're talking to about this project um and a bit of business information here so the drafting tool is useful because it's got a it's usually got a bit more of this italics in here a little bit more description a little bit more information a bit more to kind of help you navigate what are you asking for here um like one here question do you intend to work with auspicious arts projects some companies work with them fairly regularly and do all their um do all their work for them and do all the contracting through auspicious arts completely up to you whether or not you work through them or work directly and there's lots of different ways but it's just handy for us to know at this stage if you're not working with auspicious arts then we just will need you to you or your organization to make sure that you have all your proper insurances in place so that you can be a responsible person out on the road taking and your people are all looked after project information [Music] here so this section is really asking for practical information so there's there's kind of two ways of talking about your show in this document one is the marketing section and this one is a much more practical description so the project information is talking about what is it what happens what's this is what the panel will read to get us to get an understanding of um what is the show that you're offering um so this is where you might this is where you can kind of give away the spoilers in the show talk about what are the really exciting moments talk about things that you wouldn't necessarily reveal in a press release but this is they're the bits that the um they're the bits that the the presenters really need to know because that's the exciting moments the the big reveals the the highlights they're the things that are going to get them to make a decision go oh yeah i want that for my program so this is much more practical it's to give give the presenters an understanding of what is it that we that we're getting here uh community engagement activities getting a sense of who's in your team it's useful to know who's who you know sometimes people recognize names of the creative team um that's and will will really support a show based on that because they trust that director or they trust that designer or they trust that writer um it can be a really helpful thing um it could be in diversity so some of these are optional we're really working hard to track how well we're doing in this space so it's useful for us uh if if you feel comfortable filling out these uh responses but again it's optional completely up to you uh are you doing the show we'd love to hear when shows are happening um mid-june that should be end of the year actually my apologies um it's it's a really good opportunity if you if you end up being in the program and you've got a you've got an outcome you've got a showing you've got a season somewhere uh we always love to let the presenters know so that they can come and see it and that there's nothing more helpful in knowing how to sell a show to your audience than having seen it and being able to talk about it um it's a really good way to get people uh to get a bit of audience um help help them to connect with their audiences uh touring party information how many people who's in the team do you have a check what sort of vehicle do you need so this is us thinking about um what are the travel costs going to be how many cars that are on the road how many people royalties a bit of information here and marketing information and i might hand over to adam cool thanks mindy hi everyone um so in terms of marketing for the eoi um we do ask that you provide some basic stuff like a marketing tagline some short and long marketing copy uh copy identifying some key themes and audiences around your work and any audience or review quotes that you might have that we can use part of the reason why we need all this stuff up front so early in the process is because we'll use part of that material to first pitch your show like bindi said to our community places sorry our connecting places presenter network and then obviously those presenters will use that material once they've booked a show to engage their own audiences so that's why we put so much emphasis on gathering good quality marketing materials from you guys up front um now most of the marketing materials in the eoi are fairly standard so i don't want to touch too much on that today but i will say that if you're maybe wondering what to prioritize in terms of the marketing collateral i think for us we prioritize marketing copy the images and especially a good promo video um so none of that should really come as a surprise to anyone um but if you can get those three things right you you really are giving yourself the best opportunity to be selected for the program um i'll touch on what christine said before because that that's a real obviously it's going to be a real issue for a lot of um artists unfortunately um so in terms of supplying that marketing collateral to us um we do ask that you submit that as a dropbox link so that we can easily assess your material there's really two ways that you can do that depending on how you like to work but essentially you can either have one folder in dropbox and just double your marketing collateral into that and just share that link with us um or like bindi's showing on the screen you might like to create individual folders for each type of marketing collateral which is what we do at rav which just makes it a lot easier to to navigate to stuff quickly especially for presenters as well whatever whatever method you decide to use we do ask that you don't just dump the material with random file names in there everything should be really clearly labeled um and i'll give extra credit to anyone that puts their photographer's credit in the file names i love when people do that um so aside from making sure your marketing copy your images and your promo video are as good as they can be i think the biggest tip that i can give you is and bindi mentioned earlier is just to have a look at the website and see what we're touring this year um that'll not only give you a really good idea of what kind of work is in the program but you can actually see how we use your marketing log lines and your copy and your images to promote the show to the network um so yeah have a have a good look at those five or six shows because that'll give you a really great understanding before you begin your application i'm also really always really happy to give you the individual advice if you feel that you need that um you can find my email in the guidelines document um so don't hesitate to get in touch if you need advice or help anything with anything marketing wise um and just with christine's question i think um just just just be honest in the application tell us what what you do have what you can supply and what you can't and why um i think i mean obviously you can still do really great marketing copy i'm assuming that you're like talking about things like getting images and video and things so do the best you can with what what you can do and explain why you haven't been able to provide what what you haven't been able to provide and maybe if you have selected a timeline for instance to do those things like to do a photo shoot um or to film our promo videos um and we'll obviously take that into consideration um so i hope that's useful um yeah i think that's it for me we're running out of time so i'll keep that pretty brief i'll hand it back to you bendy but if any other questions yeah just get in touch i'm really happy to to help and yeah question there from reuben can we use google drive instead of dropbox yeah if you've got this already set up somewhere um totally happy and we've got this in here i've got somewhere if like where all the responses are you can just or you can just let us know what what the link is to where all this stuff is already stored and that's totally fine there's no point you know repeating a whole bunch of work we don't want you spending time setting up a whole dropbox folder list if you've already got something exactly the same in google drive um or another platform shared just platform let just let us know that's no problem at all yeah uh just a question there from rosemary um if accepted into the program re-accessing other funds what are the maximum number of venues one might play what is the minimum number of venues so we would work with you on what's achievable for your show and how that will how many venues is really about how long does it take to bump in how much time off between shows are you gonna need how much uh sometimes you know we don't tend to do more than five venues in a week um and that would be for a show that would have like a four hour bump in so you would have travel bump in do the show and stay that night the next day so five five venues over six days is probably the max and that's pretty rare four is is a solid week often with connecting places it's two or three in a week because the um the performance nights tend to aim towards the the weekends rather than um like monday and tuesday nights are rarely performance nights um yeah it's it's it's and like bendigo for instance are really great they book it they can sometimes book a show for a week they'll do um bumping on the monday do a show tuesday wednesday at the capitol theater and then thursday friday saturday you're out to different halls within 45 minutes of bendigo where they put shows on in small halls so that could be like a little mini tour within the big tour um we so yeah we we start with a time from you of when let's let's look at this two week period and then we go away and we we work out what is your what's your parameters for traveling and touring and then we work to fill as many venues in that as we can uh submission for vc drama theatre studies yeah if you're looking at submitting the vce drama playlist they're always looking for shows um that that uh have touring in regional areas we often have in our touring services um we've usually got at least one if not two shows which are on the vc playlist i would recommend going through the arts and ed program for that because that would they would then that if you apply through that program um you would have a lot more opportunity to get out to schools as well as performing arts centers and venues we've started our arts team and now starting to book shows we did a show house canyon the last year that we could tour 2019 um which went out to a mix of performing arts centers and schools they had kind of two versions of the show uh and that worked really well so we kind of work we we've got our three streams arts and ed touring services and connecting places but any presenter network can kind of book shows from can book any other so performing arts centers can book shows from any of those streams schools are able to kind of book shows from any of those streams connect you know it's there's a real we try and make roughly specific to the sorts of venue and then but then we make them available to everyone so there's always a weird little bit of crossover sometimes uh marketing tech specs all right so there's a bunch of questions here that um are kind of the basics that we kind of need to know that will end up being in the contract um that we're committing to if you've got a textbook document totally you can upload that you might need but with thing you might need to readjust it a little bit to think about horse touring um thinking about uh what what does your show need technically to fit in a small hall rather than a full kitted out venue um do you need some help what sort of help do you need from the staff you might not get lighting and sound people who know how to program a lighting desk but you um you get some very willing and enthusiastic helpers if you need them to help hang things from the walls or tape down cables or empty an empty van it's thinking uh what does your show need minimum stage so how big a floor space do you need for your show are there a puppetry show sometimes need if it's need light blackouts so things what other things do you need the venue to provide that to make your show successful flat floors are often a thing uh if you've got lots of things on wheels on your stage um thinking about how what do what what are the kind of non-negotiable things that your show's gonna need uh lighting and sound projection those sorts of things so a lot of the halls we go to um there's notes here saying avoid three-phase consider booms trees um cables extra power leads um yeah we you're often plugging into maybe two or three power points within the building um so three-phase power is often not an option so thinking about tech in terms of power points and how many power points you might need to run all your gear um just want to ask a quick question from um reuben about tech specs he's um asked is there an average dimension for venues would you say this average it's hard to say the good thing is um the good thing is that like often often they'll have a they'll have it they might have a raised stage but there's also the flat floor so if if your show won't fit on what the rage there's there's various ways to present in these places um would you would you say a town hall is probably the average community hall probably smaller yeah and i i kind of differentiate because town halls are often quite big um community halls are like the scout hall or the um that kind of hall it's a little bit smaller a little bit more intimate um you often might not have much more than a it might be like about eight meters wide five meters deep um that's yeah but it's thinking about what your what your show kind of needs um and you can be like it can be flexible for some shows like with the ballet ballet companies if they're going to bring tarkett with them and roll out some target they really need to have um they kind of need to know yeah that that can determine how deep the show needs to be because the roles of tarkett are exactly 1.2 meters wide um so they don't want to have tarkett rolling over the front if you've got so it's circus and physical theater that becomes an issue with as well um if you've got set pieces that need to be set out in a particular um ratio to each other um then yeah you you get an if you're gonna need what what does your show need and then will it fit into those spaces and how do we fit it into spaces yeah and lorraine's pointed out yeah they're often 120 to 150 seaters with audience often seated on round tables that happens a lot yeah yeah yeah yeah it's something really lovely that they'll put tables out and have bring bring their picnic baskets and have a chat have a natter and then watch a show uh audio projection tech um like we don't need a fully detailed list of every single element um but it's good to know all right two radio mics we've got two trees on stands like it's you can talk at this stage of the application process it's um we don't need a detailed fully kitted out list of everything but um a good sense of of the basics of what your show is going to need um transport notes what sort of vehicle do you need will you fit in a one-ton van can you fit in a wagon do you need it do you need something bigger you could also say i've got a car that's you know if you want to use your own car there's also that's an option as well um and we can you know this is the thing we'll talk about once once we actually get into the point of doing of talking once we get the into the nuts and bolts of getting a tour on the road um support materials if there's anything additional that you need you can attach a workshop workshop information is really good for this if you've got a little one pager that you use to advertise your workshops about what it costs what you need um how many people it can suit like that's that's really helpful for presenters to kind of see um yeah anything anything that hasn't been covered and when you get to that point like that's also where you can upload your tech specs or other bits and pieces um there's me that's my name there's my email address um you can email me at any time i've also show you kind of can i just ask one more quick question yeah sorry lorraine's just asked if community engagement or workshops are possible um is this an extra cost to presenters on top of the show fee depends oh it's a good question actually you can you can either offer it as a package it can be so we have some artists that tour and say we we've got a we offer this is what our our presence in your town costs for 3 400 you get a show you get and you get a workshop like it's a package kind of deal because they really really want that connection they really want to prioritize that um it can be an added extra uh it can be something that's a lot of circus often uh circus shows often offer like juggling classes or acrobatics kind of classes and for you know four hundred dollars for a 30 student class for one hour and they bring all the gear with them um it's up to you how you want to package it um and but yeah it's often an extra an extra cost um yeah super thanks mindy what are the cars coming back for i did want to show you just one thing oh yes bookings um we've also i'm also doing phone appointments if you want to like we're talking very generally about the whole process here and about the program but if you want to talk about your specific show if you've got particular questions there's a phone booking appointment process here so this is our website this is just on the main connecting places touring show and down bottom here there's a link to the booking page where you can go here you can pick a time pick a date if those dates and times don't suit you then let me know send me an email and we can arrange a different time that's no problem but i've kind of put aside a few little blocks of time to do phone calls so yeah get on board i've already had a few and it's been really great they're just kind of like 15 minute sessions um if we need more time we can book another appointment but usually that's enough to kind of get a sense of answering what questions you have ah we've got any more other lurking questions no that's it so far my goodness four minutes to spare i think that's everything i wanted to cover i'll think of all the things i haven't told you as soon as we finish but um that but yeah that's generally it's a really great program like as i say it's very celebratory of local towns it's very much um it's a that you'll you'll spend more time after your show talking to the people who came and having a cup of tea and a plate of scones and cakes we'll spend another hour after the show just chatting to all the people who just came and saw your show and loved it and and it's a really it's a really wonderful way to tour around victoria yeah you don't like if you don't like talking to people don't apply to this program because you talk to lots of people yes yeah thanks everyone for coming uh that's it we'll leave it there great thanks mindy cheers bye everyone

2022-04-20 23:31

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