AcknowledgementsThanks go to all those who helped

compile this guide. The National Rural

Touring Forum commissioned the original

research and members of the Promoters

Arts Network, Highland and Islands,

provided the impetus. The author had

access to information compiled by many

arts officers, local promoters and touring

schemes and other authors throughout

Britain. He hopes that their pleasure on

finding their ideas contained in this

booklet will compensate them for not

being individually thanked.

The Dance and Drama Touring

Development Project steering group:

Donna Chisholm, East Ayrshire Council;

Morag Deyes, Dance Base; Ros Lamont,

Scottish Arts Council; Jaine Lumsden,

Scottish Arts Council; Colin Marr, Eden

Court; Caroline Middleton, West Coast

Arts; Jon Morgan, TAG Theatre Company;

Eileen Rae, Argyll and Bute Council; Tessa

Rennie, 7:84 Theatre Company, Scotland;

Simon Sharkey, Cumbernauld Theatre;

Fiona Sturgeon, Traverse Theatre; Cindy

Sughrue, Scottish Arts Council;

Amber Whibley.

The author Duncan MacInnes has worked for 10

years as a freelance arts administrator.

Previously he trained as Skye’s first

Countryside Ranger and as a Visitor

Services Manager. He established SEALL,

Sleat Entertainments for All, the

community-run arts promotion group on

Skye, and also helped set up and direct

Fèis an Eilein, the Skye Festival. He has

recently become involved in Skye’s new

Film Club. He provides administration for

the Promoters Arts Network (PAN) in the

Highlands and Islands and training for

local promoters.

By Duncan MacInnes for the Scottish Arts Council

© 2002 The Scottish Arts Council

No part of this publication may be reproduced in any format without prior written

permission of the Scottish Arts Council.

INTRODUCTION What is a promoter? 1

Your support 2

SETTING YOURSELF UP Taking the plunge 3

Constitutions 4

Accounts and VAT 5

FIRST STEPS Your audience 6

Cultural issues 7

Finding a show 8

Setting a date 9

FUNDING What will the company cost? 10

Drawing up a budget 11

Raising the money 13

WORKING WITH THE COMPANY The need for a contract 15

Sample contract 16

Domestic needs 17

Your welcome checklist 18

YOUR VENUE Technical needs 19

The technical sheet 20

Setting out the venue 21

ON BEING LEGAL Licences 22

Health and Safety 24

Insurance 26

PUBLICITY Telling the world 27

Posters 28

Publicity checklist 31

Talking to the media 32

Your press release 33

TICKETS Setting prices 34

Printing tickets 35

Selling tickets 36

ON THE NIGHT Welcoming the audience 38

Programmes and cancellation 38

Running the box office 39

Refreshments and raffles 40

Getting the show under way 41

At the end of the show 42

Evaluation 43

PLANNING IT ALL Your promoting checklist 44

A suitable timetable 45

CONTACTS 46

GLOSSARY 49

CONTENTS

The Don’t Panic guide was commissioned

from Duncan McInnes by the Scottish Arts

Council, as part of the Dance and Drama

Touring Development Project.

The Scottish Arts Council is the main arts

development agency in Scotland and recognises

the importance of touring dance and drama as

part of a vibrant performing arts culture. The

Dance and Drama Touring Development Project

was set up to investigate the current state of the

Scottish touring sector and respond with some

practical initiatives to meet its needs.

This guide is based on extensive research into

the current provision and demands of the

touring sector. One result of this was proof of

the importance within the industry of voluntary

promoters, especially in the rural areas of

Scotland. The Don’t Panic guide is aimed at

both new and more experienced promoters. It

provides accessible and, above all, practical

advice about the myriad challenges of promoting

the performing arts in small venues.

In addition to the author Duncan McInnes, we

wish to thank Fiona Dick, Dance and Drama

Touring Development Project Manager, and the

past and present members of the steering group

for the time and expertise they have invested in

this project.

FOREWORD

Graham Berry

Director

Scottish Arts Council

This guide was commissioned by the Scottish

Arts Council Dance and Drama Touring

Development Project 2001. It was written by

Duncan MacInnes for local, mainly voluntary,

promoters of touring arts events in

community venues.

The National Rural Touring Forum (NRTF)

commissioned the original ‘Don’t Panic Pack’ in

2000, and distributed it to over 1,000 village hall

promoters in England and Wales. Part of the

pack was adapted for the Music Industry

Development and Support (MIDAS) project in

the Scottish Highlands and Islands.

From that, this guide has been adapted for

Scotland. It covers everything the local promoter

needs to know, including how to set up a local

group, how to negotiate with touring companies

about the product, and advice about fees and

contracts, selling tickets and making the

tea quietly.

The guide sets out to be comprehensive,

providing information and confidence for the

new promoter and useful reminders for the more

experienced promoter. Touring companies may

find it helpful to understand what motivates

local promoters.

Quotes

Unattributed quotes come from the study of

local promoters undertaken for the NRTF by

Marketing the Arts in Oxfordshire (MAX) in 1999.

NRTF is the umbrella organisation of 34 touring

schemes in England and Wales, which makes up

a nationwide network of over 1,000 promoters.

ABOUT THIS GUIDE

The promoting experienceThis guide was written to help you stay one step

ahead, with ideas and encouragement. It

contains checklists and things to think about,

and answers many burning questions.

‘People go home and think they have

actually contributed to the event rather

than just sitting on a seat watching.

Because it is in your own environment and

you can talk to people afterwards you go

home thinking I was there, I didsomething, it was a success because Iwas there. It is so nice to feel we are all a

part of it.’Why promote?• You will find your own particular pleasure,

excitement and sense of achievement.

• It is common sense.

• It is happening all around the country.

• You are not alone.

• It is fun.

‘For me, all the effort suddenly becomes

worthwhile when, 20 seconds into the

show, I realise “we’ve done it”.’(Highland promoter)

Who are you?In writing this guide it is assumed that:

• You are a volunteer promoter - but there is

something in this booklet for everyone: those

who have just started; those who have more

experience; even those who get paid. The

learning never stops.

• You are promoting a one-night, small-scale,

touring performance - but this booklet should

also be useful if you are running any event,

from a short workshop to a two-week festival.

• Your main venue is the community hall.

Whether you are on the hall committee,

run a community arts promoting group, or

have access to several venues, the same

ideas apply.

• Most of your events will need subsidising.

Ticket income rarely covers the full costs. If

you assume that every event will bring in large

sums of money, then you are likely to be

disappointed. This booklet explores ways to

help make your events profitable.

What do you need?• Time, enthusiasm and effort.

‘Although the workload may be high, the

rewards are worthwhile. If you welcome

everyone like visitors to a party, you

will succeed.’

INTRODUCTIONWHAT IS A PROMOTER?

1

The main players

The promoter is probably you, the local

promoter, organising, probably voluntarily,

touring arts events in your venue.

The network might include your area arts

network (if one exists), the local council’s arts

development officer, or even just loose-knit links

with other local promoters.

The venue is your village hall, community

space, church, school or similar building. A small

venue is likely to hold between 50 and 200

seats, with a performance space of up to 8

metres square.

The company is the solo performer or group in

theatre, dance or music.

‘I am very happy to be one of the band of

promoters that helps to bring the divine,

the multi-talented and, sometimes, the

bizarre to the community.’(Member of the National Rural

Touring Forum)

Points to note

• General points are highlighted like this.

◆ Handy tips are shown like this.

❑ Boxes are used when there is a checklist

to complete.

YOUR SUPPORT

2

◆ Encourage arts activity!

◆ Grab the moment!

◆ Long live the community venue!

Find like-minded peopleYou have decided to promote an event - you are

(simply) required to find a show, a venue, some

local organisation, publicity and an audience.

◆ Take it one step at a time.

• Seek out whatever help you can. Ask

questions, however basic.

• Talk to others in your community - you could

well find other closet promoters.

• Contact other promoters: they will be very

pleased to give advice (and it suddenly

makes them become the expert, when they

were novices just a year before).

Going it alone?It does not matter if you are a lone promoter or

part of a large group. Try whichever works

for you.

• Lone promoters can be very effective. But try

and bring in others to spread the load.

• A promoting group might grow within the hall

committee. If it involves some people not

directly interested in promoting, keep

decision-making simple and effective.

• If the promoting group is a separate entity to

the hall committee, it gives it flexibility in

using other venues and ‘non-venue’ people.

‘21% of promoters do it alone, 24% do

most of the work in a group and 32% said

if they stopped, promotion would stop.

Delegation came high up the list of needs!’(NRTF/MAX study 1999)

Plan ahead There are lots of different things to be done and

you can allocate responsibilities:

• Secretary - keeps in touch with the touring

company and other contacts

• Treasurer - keeps the books straight

• Fundraiser - finds the money for bigger events

• Publicity person - places the adverts, the

posters and the leaflets

• Box-office manager - sells tickets before the

event and on the night

• Raffle organiser - finds the prizes, gets the

tickets and sells them

• Refreshments person - runs the bar and

organises refreshments

• Venue co-ordinator - makes sure all is well

with the venue

• Accommodation organiser - keeps the

performers happy.

There is plenty of scope for one person to do

several jobs or find work for willing supporters.

Your helpers ◆ Invite people for a ‘think-tank’ session about

what might be possible. Do not allow any

negativity, such as ‘it would not work here’.

Build a relationship with your supporters. Many

do not want to be on a committee but like

helping. Encourage the involvement of younger

people, maybe from the secondary school, for

example to act as stewards.

‘We had a new committee and the

chairperson wrote a “thank-you” to

everyone - they all replied “thank-you for

giving us the chance” - it was great.’

SETTING YOURSELF UP TAKING THE PLUNGE

3

Get yourself constitutedYou might have to take the financial and

organisational risk of your first promotion

yourself. But however small a group you are, get

yourself constituted as an ‘unincorporated

association’ as soon as you can.

◆ A simple constitution helps safeguard

your group and is essential when asking

for funding.

The constitution sets out what the group is for,

how it is managed, how large the committee is,

how often it meets, how elections take place,

what the procedure is if things go wrong and

what happens if the group ceases to exist.

Ask your network, arts officer, the Voluntary Arts

Network, the Scottish Council for Voluntary

Organisations or another local group for a

sample constitution. Rewrite and adapt it for

your needs. Check it out with a friendly local

solicitor. Better still, get your solicitor on

your committee.

Company limited by guaranteeUnder a simple constitution, if things go wrong,

individual committee members have a moral and

a legal responsibility for any debts. If you

become involved in large budgets, and there are

financial risks involving issues outwith your

control, then it is worth taking the step of

becoming a company limited by guarantee.

In a company limited by guarantee, the

directors’ personal financial liability is ‘limited’,

usually to £1. They do, however, have a legal

responsibility to make sure that the company is

run correctly.

A friendly solicitor, supportive of community

groups, will help you with a draft Memorandum

and Articles of Association. This can take a

month or so, as the draft has to be sent to

Companies House for agreement, and will cost a

couple of hundred pounds. There is also the

annual filing fee of around £15.

There is the added paperwork dealing with

certain legal requirements in annual returns to

Companies House and annual accounts to the

Inland Revenue, but it is not beyond the ability

of any competent treasurer and secretary.

Charitable statusThere are advantages in gaining charitable

status in Scots law. There will be lower taxation

if you make a profit and it is necessary if you

want to apply for funds from most trusts.

Charitable status is available to organisations

that have ‘charitable aims’ which, for you, is

likely to come under the heading of

‘educational’. Having charitable status is not the

same as having a clear legal set-up. Your group

will still need to be constituted in some way.

Gift aidNew laws make it easier for non-profit making

groups with charitable status to claim back

income tax on donations. When someone makes

a direct donation or even takes out membership

of your group, they sign a simple form stating

that they are tax payers and that they are happy

for your group to reclaim the tax. It costs the

donor nothing and can increase your revenue on

donations by around 25%.

CONSTITUTIONS

4

Annual accountsProperly kept accounts are fundamental to the

promoting group. They do not, however, have to

be complicated.

◆ Accounts presented to a funder, or even to

Companies House, do not have to be fully

and independently audited.

Your group will be classified as a ‘small

business’ by Companies House. You will need to

find out the upper limit for turnover, currently

£100,000. If your turnover is less than this, your

accounts can be much simpler.

Although many promoting groups feel they must

use (and pay for) an independent accountant,

and vote in an ‘auditor’ at the AGM, it may not

be legally necessary. Indeed, your accounts may

well come back to you from your accountant

with small print saying that the accounts are not

fully audited. It is, of course, always better to

have your accounts independently assessed by

someone other than your treasurer.

Then, as long as the directors pass the

accounts, Companies House will accept a copy

of the accounts, in the correct format, signed by

the Chairman and Company Secretary.

Should you be registered for VAT?You do not have to be registered for VAT just

because you are buying and selling.

If your annual turnover is below the current limit

(£54,000 in 2001) then there is no need to

register. Even if your turnover is below this

figure, you can register, but it is likely that the

disadvantages will outweigh the benefits.

If you are NOT registered:

• you pay no VAT on your ticket income and any

other sales, such as T-shirts

• you avoid the tedium of quarterly returns.

however:

• you cannot claim back VAT on fees. Some

larger touring companies are VAT-registered

and will have to add VAT onto your fee

• you cannot claim VAT back on equipment you

buy or hire.

◆ Calculate what you would gain and what you

would lose by being VAT-registered.

For most local promoters VAT registration is

not an issue.

ACCOUNTS AND VAT

5

What performing companies are touring?There are large numbers of performers looking

for audiences. They will range from small one-off

shows for two people, to the touring wing of the

national companies.

Scotland can also be a popular destination for

companies visiting from England and Europe.

You only have to look at the Edinburgh Fringe

lists to see the possibilities for your venue.

• Your network may be able to supply a list of

potential touring companies, or ask your local

arts authority, the Scottish Arts Council, or

contact one of the other active networks.

• Personal knowledge. You, or a friend, might

have seen a show somewhere else that you

think suitable for your venue.

• Look in arts listings in the press and

brochures from bigger theatres.

What would your audience liketo see?• Test your ideas out by talking to other local

people, your friends, fellow committee

members, local youth leaders and other local

groups. Ask in your mobile library, local shops

and the post office.

• Find out the interests of the drama club,

musicians, youth club or women’s/men’s

groups.

• Responses may be rather conservative and

you certainly won’t get a consensus.

‘I circulated a newsletter and questionnaire

to find out what people wanted. I was

thrilled with the enthusiasm. We booked

four events and made a successful lottery

bid - a really positive impact on our very

rural community.’

◆ Ask around, and don’t make assumptions

about tastes.

• A grandmother can enjoy South African

township jive just as much as her teenage

grandchildren. Small children can be thrilled

by contemporary dance.

• The local creative writing group may be

attracted to a contemporary play; piano

pupils by live keyboard music.

• Don’t necessarily target a disability group

with a play about disability, or teachers with a

play about schoolteachers - probably the last

thing they want.

◆ Choose something you like and are pretty

sure will be acceptable.

‘A friend and I got together, opened a bank

account and booked a couple of events. We

enjoyed both events, despite a panic when

one cast member took ill and another’s car

broke down!’Be bold - create a varied andbalanced programme• Don’t try and please everyone - it will lead to

bland programming. Stretch audiences a

little. Broaden your audience’s tastes - it does

not always matter if it is not quite what they

expected or are used to.

• A repeat visit from a successful company can

develop an audience - people feel confident to

come back for another show if they liked the

first, and are more likely to encourage their

friends. But just because an oboe trio works

well, you don’t have to book another five.

◆ Aim to create a sense of trust between you

and your audience - then they will respect

your choice of events.

FIRST STEPS YOUR AUDIENCE

6

There are cultural and community issues to

think about as you develop your programme.

Do the shows reflect your community?

• Are strong themes - drugs in the inner city,

genetically modified crops, religious

bigotry - relevant or of interest to your

potential audience?

• In what ways are you trying to ‘educate’

your audience?

What are the local issues?

• Are there issues that might upset the general

community?

• Will you tread on toes if you promote on a

Sunday or ask to use the church?

Are language and dialect an issue?

• How important are Gaelic, Scots or minority

ethnic languages to your audience?

Who is your audience?

• Will it be a predominantly older, retired,

incomer audience? Or the younger,

professional members of your community?

• If your audience is largely one definable

group of the community, does it matter?

• How can you extend or change the audience?

Who are your visiting companies?

• Do you feel you must support locally-based

performers as a priority?

• Are there any boundaries, geographically or

socially, in what you wish to promote?

• How does this relate to the quality of the

event?

• How can you use visiting companies,

especially from overseas, to encourage local

understanding of their countries of origin?

What part does cultural tourism play in your

promotion?

• Do you promote for your community audience

and welcome any visitors who happen to

be passing?

• Do you focus on the visiting summer trade,

only to find that the local audience thinks it is

a tourist event, and stay away?

• How can your promotion benefit the

community and the tourist trade?

How can you work with other promoters?

• Your performance will be just part of a tour

and the company will need to plan their travels

around the needs of several promoters.

• Get in contact with other promoters to help

each other, and the company, create the most

beneficial tour for all.

‘Each year we awarded a prize to the

touring company who had completed their

Highland tour with the greatest disregard

for the road-map. Some of their itineraries

were beyond belief. We try and help

avoid that.’(The Promoters Arts Network)

Always keep in mind:

◆ you are a local, voluntary promoter

◆ you are not your education authority, social

work department or the Scottish Executive

◆ you and your helpers are doing it, and your

audiences are buying tickets, because it

is fun!

7

CULTURAL ISSUES

Making first contactWhen you contact potential companies, you will

need to know about:

• background information about the company

• general description of the show

• points of interest (topical issues, well-known

member of cast)

• their touring schedule

• their technical requirements

• accommodation and food needs

• how the show might be funded

• copies of press reviews, if not of the current

show, then of the last one

• videos of the company’s work, but be warned:

a good show can look awful on video.

Make the commitment• Discuss it with your committee.

• There may be deadlines, but don’t feel

pressurised into an early decision.

• Make the provisional booking and start

spreading the word.

Keep everyone informed• Keep everyone informed about developments:

enthuse them, don’t create a clique.

• The more helpers you have, the more the load

is spread, but the more helpers, the more you

rely on them doing what they say they will do.

◆ Hand out responsibility: does everyone know

what they are doing, and when?

• Does everyone know what is involved?

‘We once booked the Medieval Players into

a new venue and assumed the building

manager knew it was a touring play.

When the company arrived with an

enormous van-load they were refused entry.

“You can’t bring that lot in here. I thought

the Medieval Players were a couple of lute

players!” It was sorted out, the manager

was reassured, and the show went ahead

very successfully.’(Highland promoter)

Workshops • Many companies offer workshops as well as a

show. Talk about possibilities. The company

knows best what it can do and what works, if

it knows who potential participants are.

• Workshops will give local people a chance to

‘have a go’. They should educate, encourage

participation, raise awareness and be fun.

• Workshops need good planning, preparation

and evaluation.

• If the workshop is before an event, it should

encourage new people to come to the

performance (offer a joint ticket).

• If you are assured of a good audience, timid

people may well feel encouraged to come to a

workshop the next day.

‘It’s such a brilliant idea and reaches so

many people - an excellent teacher,

performer and a very loveable person, who

made the day great fun. Excellent.’◆ Attach a short talk to the main event. Get the

audience to come a little early to talk to the

director or stay behind to meet the cast.

8

FINDING A SHOW

Is there a ‘best night’for events?• Not every venue can have a Friday or

Saturday night on a tour - the company has

to work somewhere for the rest of the week.

‘We had a fantastic brass-based world

music band, but we could only get them on

Thursday and it competed with darts.

People said “Oh I’d love to come but...”

Had it been Friday or Saturday we could

have sold 200 tickets and made lots

of money.’• Some promoters make a great success of

using a regular weekday slot.

‘After a while we arranged our events for a

Tuesday night. Our audience got used to

“Tuesday night is performance night” and

liked the regularity.’Avoid clashes• Avoid clashes with other events: it divides

loyalties and benefits no one. Ask around -

other groups may be thinking of doing

something and have not yet told anyone.

• Ring round, use your local newsletter, or

venue calendar, to avoid potential clashes and

give warning you have ‘booked’ that night.

‘We forgot the room upstairs was booked

for short-mat bowls. Luckily the play was

about World War Two, so the noise of the

bowls sounded like the Blitz!’

Is the venue suitable andavailable? • What space does the company need? See the

section on ‘Your venue, the technical sheet’.

Check that the venue is available for the

show, and during the day for the company’s

‘get-in’ period and afterwards for clearing up.

• Are other local groups using other rooms in

the venue? Talk to them about your event.

• Do other local groups tend to leave things

lying around? Ask them (diplomatically) to

tidy up, as a touring company may arrive with

lots of stuff.

• Check that the other rooms in the venue are

free for changing space or storage.

• Is your venue adequately licensed? See the

section ‘On being legal: licences’.

What’s the best starting time?When choosing the right time to start, think

about:

• length of show, the interval and other

‘business’, such as raffles or introductions

• audiences who need to get home from work

and school, before coming out again

• audiences who need to get home again,

possibly with a long journey

• children’s bedtimes, especially in midweek.

Varying the starting times?• Find the best regular time and keep to it -

both on the night and for all events.

◆ If, after a few events, you change from 8pm

to 7.30pm you can be sure that someone will

turn up late.

9

SETTING A DATE

Will the company have a fixed fee?The company is likely to state a fee. This will

depend on the size of the company, the technical

complexity of the show, the number of other

venues in the tour and how much each of them

is paying, and the company’s own funding. This

is usually negotiable and, like all negotiations, it

will depend on how important it is for you to

have them, and how keen they are to come to

your venue.

In a tour a company may need several full fee-

paying nights, but can then cope with a few

other venues on lower fees, rather than suffer an

empty night.

What about box-office splits?A box-office split means the company’s fee is

based on the ticket sales for the night. There are

several ways of doing this:

• The company takes 100% of the surplus

income, after all your costs have been

removed - you make nothing and lose

nothing. Agree beforehand with the company

just what is included here.

• The company takes 80% of the total ticket

sales, leaving you with 20% to cover costs.

• The company takes a minimum fee or

‘guarantee’ and 50% (or whatever you agree)

of any extra income - you both take risks and

both gain if there is a good audience.

Be absolutely clear about this. You do not want

them to think they are receiving a guarantee and

50% of the total, rather than 50% of the extra.

• You offer a guaranteed amount against a

split, whichever is the greater, eg you offer

the company £500 against 80% of the box-

office takings, whichever is the greater.

Is the company registered for VAT? • If the company is VAT-registered they will

have to charge you VAT, whether or not your

group is VAT-registered.

• Is VAT included in their stated fee?

AccommodationOne of the joys of local promotion is social

contact with the company.

• They, and you, may be very happy about

home hospitality. Or they may ask to be in

separate rooms in a hotel or guest house.

• Who is paying for this? Is it part of the fee?

Do you book it and they pay? Or do you

include it as part of what you can offer?

• What about food?

TravelTravel is usually assumed as being included in

the fee, but clarify this. If the company is making

a special visit just to you, they may need to raise

the fee to cover the additional transport cost.

10

FUNDING WHAT WILL THE COMPANY COST?

Think of everythingCalculating a budget is relatively simple, but

may need some inspired guesswork.

• Include all possible costs. Think about

accommodation, food, drinks for the

company after the show, advertising, phone

calls, postage and venue hire.

• Some items may be provided ‘free’ by the

community - such as home accommodation,

food, the village hall, the committee’s costs

of petrol, stamps and even administration

time. Do not undervalue any of this voluntary

support. It is important you cost out all of

these - especially when the budget is part of

a grant application. You should show them as

costs on the expenditure side and also as

‘help in-kind’ on the income side.

• Be realistic about the income from ticket

sales, raffles and other sources of income.

• Show your draft budget to someone else with

experience for their comments.

◆ You can estimate costs accurately, but not

the income until the night. Every ticket sold

counts - one more can make the difference

between profit and loss.

11

DRAWING UP A BUDGET

12

DRAWING UP A BUDGET

Sample budgetThis sample budget, for a small programme of events, assumes:

• three small-scale touring theatre or dance performances, not charging VAT

• each with four performers and one technician

• that you pay their accommodation, and associated domestic costs

• that you are advertising in the local press and do one mail out in the year to 100 people

• that the companies provide posters and leaflets

• that you raise extra income from a raffle and running a bar.

EXPENDITURE £

Company fees £400, £500 and £600 1,500

Venue hire 3 @ £40 120

Heating in a meter 15

Advertising 3 @ £30 90

Ticket printing 30

Accommodation 15 @ £20 300

Food: lunch, dinner and hospitality 15 @ £15 225

Promoting group administration petrol 50

phone 40

photocopying and envelopes 10

stamps 40

administration time 300

Total 2,720

INCOME

Ticket sales 3 x 30 at £6 540

3 x 20 at £4.50 270

3 x 10 at £2 60

Raffle £50 per show 150

Bar profit £40 profit per show 120

Total 1,140

Shortfall 1,580

Group’s help in-kind lunch provided 60

administration 300

Funders Scottish Arts Council 500

Local authority 500

Local business sponsorship 120

Community council 100

Total support 1,580

Can you make surplus income?You may try to use touring arts events as a

means of fundraising for your hall or

good cause.

◆ Unless the event is funded in some way, it is

unlikely that ticket money alone will cover

the costs.

A good audience, raffles, bars and refreshments

can make a profit for the promoter.

• If one event loses money, don’t worry - the

next one may make a profit.

• Build up a small bank balance if you can.

Earned incomeYour event will have two sources of

earned income:

• ticket sales for the main event - see the

section on ‘Tickets’

• related trading, such as selling drink, food,

raffle tickets, programmes, CDs and tapes -

see the section ‘On the night: refreshments

and raffles’.

FundraisingTo support an application to a funding body for

your programme, you will need to plan ahead,

create proper budgets and find sources of

funding. Keep these issues in mind:

• form a group to look at what you need,

possible sources of money and how to apply

• ask your network, arts officer, arts councils,

development board, libraries and volunteer

support agencies for potential sources of

arts funding

• be clear and organised in your approach

• plan well in advance and allow plenty of time

• target funders carefully.

Arts grantsThere are variety of agencies that might support

your events. These vary from area to area and

each agency can have different aims.

Local

Community councils - small start-up grants for

local groups.

Area offices of local authorities - community

grants, localised arts funds.

Area

Local authorities - regional arts support,

community development grants, education.

Tourist boards - funds for events and festivals.

Enterprise companies - tourism development,

marketing, community development.

Area arts councils or associations - varying from

place to place, if at all present.

National

The Scottish Arts Council’s Arts in the

Community Scheme.

Awards for All offers small grants to groups with a

low annual turnover (less than £20,000 in 2002).

Making an effective application• Start locally - the more localised the agency

the sooner they might respond. Start with the

local office of your local authority before you

go to the central office - there might be

special local money.

• Be aware of deadlines - many agencies work

a year ahead and have committee meetings

only a couple of times a year. For example, a

Scottish Arts Council application may need to

be completed by December for a programme

starting the following April.

• Do not worry if you do not have all the details

to hand. You do not have to have booked the

company before you apply for funds.

13

RAISING THE MONEY

• Do not apply for something that has already

happened or halfway through your

programme - no-one gives money

retrospectively.

• Be clear about the specific aims of different

grants. Find the funding source that fits your

project and make sure your application fits

with its aims. If you adapt your project to fit

the funding, be very wary of lowering your

own aims or standards.

• Use the correct application forms - they might

even be available on the internet site of each

agency. No-one responds to a round-robin

type letter.

• Make clear and short statements about who

you are, what you want funding for, how

much money you need, and the outline

budget of your project.

Business sponsorship• Start locally and small. The donation of a

raffle prize can be nurtured into cash support

later on.

• Suggest ways that a business will gain from

sponsoring your event: getting their name

known; raising their profile; being linked to

quality events.

• Follow up with phone calls two or three

weeks later.

• Contact your bank, local supermarket chain or

other larger businesses. They may have funds

at the local manager’s discretion.

• For larger and major events, look at the

possibilities offered by agencies such as Arts

& Business Scotland.

• Thank them afterwards and suggest more

ways you can help each other.

Trust fundsThere is an enormous number of individual trust

funds. You can find lists through your local

voluntary organisation offices, libraries or

local authorities.

Trusts often have very specific aims or only fund

activities in particular geographical areas. Do

not waste their time and yours, if your event

does not fit exactly with their aims. Your own

group may well need to have charitable status

to qualify.

• Put all the important points in the first two

paragraphs of your letter to funders, in a

simple and factual way.

• This can take a great deal of letter-writing but

can produce good results.

In general• Agencies and charitable trusts will want to

see a copy of your constitution, and your last

annual accounts, if you have been running

that long.

• Most agencies will acknowledge your

application. If you hear nothing,

make contact.

• Be persuasive: try not to take ‘no’ for

an answer.

• If your application is refused, ring them up

and ask how you can improve your

application next time. The reason is likely to

be that your needs did not fit their aims, or

just a sheer shortage of money.

• Have a contingency plan. You might get only

half of what you need. Where can you cut back?

14

RAISING THE MONEY

Do I need a contract?• Yes.

• A contract is not just a piece of paper. It is a

business arrangement and includes the

verbal agreements made over the phone.

• Keep a record of phone conversations and

follow them up in writing where possible, so

that there are no misunderstandings.

• The written contract makes it possible for

others to see what has been agreed. It can

come from either party, so if the company

does not send you one, create your own to

send to them.

• Keep it simple - a contract does not have to

be elaborate: just a written and signed

agreement, which gives both sides a degree

of protection if anything should go wrong.

• If there is something you don’t like or

understand, ring the company up and

discuss it.

• There may be a cancellation clause in the

contract. If a show has to be cancelled for

good reasons, performers and venues will

understand. But make sure you know

beforehand what each has agreed to pay.

This might include part of the fee and the

expenses incurred before the visit.

• Contact the performers a week or two before

the event to check everything is running

smoothly and to note any changes or

additions to previously agreed arrangements.

It provides a final chance to ensure there is

no confusion over dates.

A contract may contain:

• the company name and contact

• the name of the show

• the promoter’s name and contact

• date, time, venue

• fee payable - does it include VAT, the

accommodation, travel, food - and when it

should be paid?

• details of tickets, publicity and merchandise

• arrival and get-in time

• any special technical requirements

• accommodation needs (beds and food)

• what terms are agreed about cancellation.

Also send:• your contact name, address and phone

number

• a map to get to the venue

• your venue technical sheet

• contact for their accommodation.

If in doubtIf you have any doubts about the content of your

contract, particularly if there are complications,

such as use of someone else’s venue, private

space, or it is a complex show, then ask advice

from a professional promoter, your council arts

department, or your friendly, local lawyer.

15

WORKING WITH THE COMPANYTHE NEED FOR A CONTRACT

16

SAMPLE CONTRACT

Contract for promoter/company

This is an agreement between the promoter and the company to present a performance (or performances) in

the venue (or venues) on the date stated and in accordance with the conditions and definitions below.

The Promoter Rural Arts Events

1 The Venue, Straththeatre, AA11 1AA

The Company The Converse Theatre Company

2 Theatre Street, Edinburgh EH99 9ZZ

Phone 0131 234 5678

Title of performance ‘Salad and Crazy Paella’

Date of engagement 1 April 2003

Venue Straththeatre Village Hall

Contact name Hector Macdonald

Phone number 01234 567890

Fee £400 by cheque on receipt of invoice, within 7 days of the performance.

(inclusive of VAT - Straththeatre Arts is not VAT registered )

Box-office receipts will be retained by the promoter.

Starting time of event 8pm, 1 April 2003

Get-in time 11am, 1 April 2003

Length of performance 85 minutes, and an interval

Accommodation Beds for six people will be provided by the promoter.

(Please confirm how many beds and what meals you need).

Performance space 7 metres by 7 metres. 4 metres clear headroom

Maximum number of seats 80

Technical PA provided by the company

Lights provided by the company

All equipment brought into the venue will be PAT-tested and fire-proofed

Tickets Ticket sales to be organised by the promoter/company

Tickets to cost £6/£4.50/£2

Members of Straththeatre Arts receive discounts of £1

Suitable audience age group 12 years and over

Merchandise The company can sell merchandise in the course of the event. The

promoter needs no cut, but hopes a donation (CD or playscript?) will be

made to the event raffle.

Publicity 50 posters (preferably 20 A3 and 30 A4)

300 leaflets (A5 or smaller)

Needed by 1 March 2003

Cancellation In the event of unilateral cancellation by either party, they will be liable

for agreed expenses to the other party.

DisclaimerThe Company indemnifies the Promoter against any action arising from the production or its presentation.

Rural Arts Events does not accept responsibility for any loss, damage or injury suffered by persons or their

property, arising out of or during the course of this engagement.

This contract, reflecting the terms and conditions agreed verbally, shall be deemed to be accepted only when

it is signed and returned. Any dispute will be settled in Scotland under Scottish law.

I have read and understood the foregoing and agree to abide by its paragraphs and clauses.

Signed for the company

Signed for the promoter

Date of signature

Dressing roomsCompanies do not expect quality dressing

rooms, but they welcome:

• heating and cleanliness

• a place for hanging costumes and a mirror

• their own toilet rather than use of

public toilets

• access to the kitchen when setting up

• access to a clothes washing machine,

possibly where they are staying.

Accommodation• Balance the company’s needs with what is

available.

• How many beds - single, double or twin -

are required?

• If company members are not all staying in

one place, and have only one vehicle, will

they need transport?

• If you provide home hospitality, understand

the needs of the performers - do they need

space and time to relax, somewhere to talk,

drink and smoke? Do they want to socialise

or be on their own?

• Do they know where to go?

• Are there any constraints, such as no

smoking in the house?

• They might come in late after a show: do they

have a key?

• Even if they are paying for it, they might like

you to book.

‘One of the bonuses is having people to

stay for the night. We had the Old Rope

String Band for the night and it was such a

laugh it definitely added to the experience.

Promoting these events is quite a lot of fun,

once it’s happening or once it’s over.’‘They looked after us really well.’(Old Rope String Band)

Food • Where can the company members eat?

• Who is paying for it?

• Do they have special dietary requirements?

• When will they eat? Performers often prefer

to eat after the show - is food available

at 11pm?

• Would they like something backstage during

the show?

Before they arrive• Set a time to meet them, make sure neither

party is left waiting for the other.

• Find out well in advance how long the

company needs to set up. A theatre company

could need all day, whereas a solo performer

might want access to the venue only three

hours beforehand, and a poet only 30

minutes.

• Warn them beforehand about double yellow

lines at the venue and staircases they may

have to negotiate with equipment. Ideally

they should unload through a wide door and

straight into the performing area.

◆ Don’t assume anything about what the

company wants to do on arrival.

17

DOMESTIC NEEDS

When the company arrives❑ Meet the company members on arrival if

possible.

❑ If not, make sure they have access to a key.

❑ The company may have travelled a distance -

offer refreshments, but they may want to get

straight into unloading.

❑ Find out who’s in charge of the company.

❑ Parking: suggest the nearest and safest place

for overnight parking.

❑ Show them around.

Show them the venue❑ The power supply: show them the main fuse

box, all sockets, different circuits.

❑ Meter: does it need feeding? Who is paying?

❑ House lights: where are they?

❑ Safety: show them the fire extinguishers,

alarms and exits.

❑ Is the heating on, is the dressing room clean,

does everything work?

❑ Heating: where is the switch? Do the heaters

glow in the dark?

❑ Acoustics of the venue: warn the company of

any problems.

❑ Pay-phone: does it work, could it ring during

the show?

❑ Kitchen: does the company have direct access

when they are setting up?

❑ Will the kitchen be in use during the

performance?

❑ Will there be noises off? - tea being made;

other venue users; next-door pub?

❑ If they set up and go away, when do they

need to get back in? Do they have a key?

❑ Leave a phone contact in case a problem

arises.

Technical❑ Setting out seats - will they do that, or you,

and when?

❑ Check they understand about potential

damage and anything fragile in the venue.

❑ Ask them to be careful about not marking

floors or paintwork, if that is important.

❑ Find out if they use water, fire or anything

else that may need cleaning up.

❑ Be supportive but not intrusive.

❑ Let them set up and rehearse in private.

The show❑ Tickets: how many have you sold? How many

do you expect to sell?

❑ Bar - tell them of your arrangements.

❑ Tell them if you are running a raffle.

❑ Check on the start time, how long the show is

and about intervals.

❑ Do the performers want drinks at the interval,

or water on stage?

❑ Check how the company would like to start

the show (long speech from you; brief

introduction; just switch the lights out?).

❑ Check the company is ready before you let

the audience in.

❑ Ask if you can let latecomers in without

disturbing the show.

Afterwards❑ How long will it take them to clear up

afterwards? They may want to stay late or

pack up next morning.

❑ Does the company needs paying on the night

or do you send the cheque on?

❑ What are the arrangements for locking up?

❑ Tell them about their accommodation and

when they can sign in.

❑ Tell them about food arrangements.

❑ Is something arranged for afterwards -

food/pub/party? Do they want it?

18

YOUR WELCOME CHECKLIST

Technical informationCollate a technical information sheet about your

venue. It will be of great help to you and visiting

performers. See the next section.

• Find out the company’s technical

requirements. If they are more than you can

supply, just discuss it with them. They will be

good at adapting, especially if forewarned.

Power• Performers with lights and sound will need

several 13-amp electric sockets, preferably on

several different circuits - better still, a 32-

amp or 63-amp socket (often called a

C-form socket).

Lighting• A little stage lighting enhances many shows,

even if they are not ‘theatre’.

• Theatre companies are likely to bring stage

lights and use them even if your venue

has some.

• Music groups are unlikely to tour with lights.

Ask ahead and help them create an

atmosphere, using the ‘cosiest’ form of lights

available in the venue.

• Your local authority or other venues may have

portable lighting to hire or borrow.

Blackout• Is the blackout total or partial? Are there

bright streetlights outside, other internal

lights (apart from fire exit signs), or glowing

heaters in the room (infra-red type)?

• Can cloth, or black bin bags, be safely taped

over windows without damaging paintwork?

• Can you supply any other material for

the windows?

Public address systems• Touring groups should bring sound (PA)

equipment. Don’t let them assume you

have some.

• If live musicians are involved, do they really

need amplification in a small venue?

• If you provide a sound system, be very

specific about who will set it up and who will

operate it.

Technical issues• Check if the company uses smoke machines,

naked flames, flashes or cigarettes.

• Will this set off your smoke alarm? Do you

know how to reset it? Is it possible and safe

to switch it off? Remember this may have

insurance implications.

• Is your equipment safe? Is it Portable

Appliance Tested (PAT) and fire-retarded?

‘During a show, the lights suddenly went

out. I knew the mains were a bit dicky so I

leapt from my seat and turned on the

house lights - but it was part of the plot.

One embarrassed promoter!’(Highland promoter in a venue with limited

facilities)

◆ Further details are given under ‘On being

legal: health and safety’.

19

YOUR VENUETECHNICAL NEEDS

Gradually collate information about your venue.

Prepare a short sheet with as much of the

following as you can. Send a copy to

the companies.

Add information as it becomes available. This

sheet may be of interest to other users. Ask

around, you may find that someone else has

already collated half the information.

◆ The Scottish Arts Council Dance and Drama

Touring Development Project 2001 collated a

lot of venue information, and may have you

listed, or welcome details from you.

❑ A general introduction about the venue, your

group, the village, the audience and sort of

events you usually put on - but don’t get too

wordy.

❑ Promoter’s name, address, phone, fax, E-mail

and website.

❑ Venue name, address, phone.

❑ Key-holder’s name, address, phone.

❑ Location map.

❑ Directions from nearest main road and railway

station.

❑ Distances from various towns (to give them

an idea how long journeys might take).

❑ Parking for company trucks and cars.

❑ Floor plan of the venue.

❑ Vertical cross-section of the main hall, with

the heights of any low roof-beams.

❑ Access: are there steps? How wide and high

are doors?

❑ Venue size: length, width, unobstructed

height (is the roof lower at the edges?).

❑ Stage: size and height off the floor.

❑ If no stage, an indication which way round

performers usually use the venue.

❑ Floor surface: eg wood or lino; smooth or

rough.

❑ Blackout: full blackout, curtains, high

windows.

❑ Colour of stage and window curtains; floors,

walls and even ceiling.

❑ Access to structural supports - roof beams

and pillars - for hanging lights etc.

❑ Lighting equipment available: brief list.

❑ Sound equipment available: brief list.

❑ Power supply: single- or 3-phase, 13-amp,

32-amp or 63-amp sockets.

❑ Type of heating and how it is paid for.

❑ Showers and clothes washing facilities.

❑ Disabled access: what facilities?

❑ Piano: what sort and is it in tune?

❑ Dressing rooms, kitchens and toilets: how

many, how big?

❑ Photographs of the interior and exterior.

❑ Other items ____________________________

❑ Other items ____________________________

20

THE TECHNICAL SHEET

Be imaginative• A regular audience likes variety. Part of the

magic is for the audience to find the venue

used in an imaginative way. Think of all the

possibilities and work with the company.

• Do you know what the maximum seating

capacity of your hall is? Check your licence.

◆ When setting up, always leave the seats

until last.

• Wait until the company has arrived before

laying out your seats.

• Let the company decide how it will use the

venue. It may turn the whole thing round -

put the audience on the stage, or use a side

door for the public entrance.

◆ Try not to place seats in a straight row. Try to

put a curve in them.

• If it is difficult to create curves, angle the

rows towards the performance space.

• Try and stagger the rows so that no-one is

sitting right behind another person.

Be safeThere are regulations with which you must

comply about seating arrangements in your

venue. Check these given below with your own

licensing authorities.

• Seats in each row should be fixed together in

groups of at least four. Chairs may have clips

or hook together, or secure them with wire,

stout string or plastic cable-ties.

• There must be at least 30cm between the

back of one seat and the front of the

one behind.

• Gangways should be at least 1.2 metres wide,

to take a wheelchair, or 90cm if there are

fewer than 60 seats, and must be free of

obstructions at all times.

• No seat should be more than 3.5 metres from

a gangway.

• There must be at least two exits from

the auditorium.

• If seats are laid out around tables ‘café-style’

then still allow aisles 1.2 metres wide.

• Keep seats away from fire doors, light stands

and electrical equipment.

• Raked seating can be of enormous benefit,

especially if the performance is taking place

on the floor. Make sure that arrangements

are safe and comply with regulations.

Be organised◆ Don’t put out too many seats before

the show.

• Empty seats indicate to the audience you

have undersold - 25 people in 40 seats does

not look bad; spread out over 100 seats, it

looks thin.

• If you have too many seats, the audience will

sit at the back and the front rows will be

empty. It may be better to lay out more seats

at the back as the audience arrives - it tells

the audience the event is popular, and aren’t

they glad they came.

◆ Try ‘café-style’ tables and chairs for

informal events.

• This arrangement is good when drinks are

allowed during the show.

• It helps fill the hall if the audience is small.

Be cleanEven if your venue is old and lacks facilities, it

does not stop you from providing as clean a

space as possible. Check:

• the toilets (for the public and performers) for

cleanliness, soap, towels and paper

• auditorium seats for spills

• all surfaces where food and drink are served

• rubbish, particularly around the venue

entrances.

21

SETTING OUT THE VENUE

Find out about licencesThere are many laws and licences relevant to your

promotion. Interpretation and enforcement may

vary from area to area. You will get instant and

helpful advice from some local authorities, and

difficulty in finding an answer or even interest

from others.

◆ Talk to local authorities, licensing boards,

police, other venues, voluntary associations,

and your local friendly solicitor.

• What licences are needed and what do

they cover?

• Who is responsible: the venue management or

the promoter?

• What does it cost?

• How do you apply?

• What are the licensed hours?

• What conditions need to be met by the

management?

• Can the licensee’s responsibilities be delegated

to someone else?

• Who else do you need to tell or talk to

(fire, police)?

◆ Even if licensing is ultimately the

responsibility of the venue, the promoter must

make sure that correct procedures are in place

and may need to do the ground work.

Some licencesTheatre Licence

Your venue is likely to need a Theatre Licence

under the 1968 Act. This covers plays, street

theatre, operas, musicals, dance shows and

revues ‘where the actors and actresses play a

role, whether by way of speech, singing, acting or

dancing’. It also covers mime.

These licences are statutory for any performance,

whether you charge admission or not. Councils

charge a fee but it may be reduced or even waived

for charities or educational establishments. The

licence is usually granted for one year, or you can

apply for a temporary licence to cover one event,

or a series of events. However, some councils do

not know what the licence is, or how you get one.

◆ A Theatre Licence may also allow the licence

holder to sell alcohol.

This must be in relation to a specified

performance. You must notify the Clerk to the

Licensing Board in writing, in advance.

Public Entertainment Licence

This is needed for venues hosting a concert or a

music or dance event, at which the audience is

charged admission. If you already have a Theatre

Licence, you do not need a Public Entertainment

Licence (but not the other way round). Public

Entertainment Licences are at the discretion of the

local authorities and some choose not to enforce

them. The fee is often waived for community halls,

church halls, and places of public worship.

Alcohol sales

You cannot sell alcohol without a licence.

• The venue can obtain a licence and take

responsibility.

• Negotiate a deal with an existing licensee (your

local hotel) to come in for the night. They pay

you a rental or a percentage of their earnings.

• Your Theatre Licence may allow you to sell

alcohol during performances.

• If your hall does not have a drinks licence,

voluntary organisations can usually apply for

an Occasional Licence, maybe for four events a

year. If you use up your allocation of events,

work with another community group to run the

bar - some of them might even buy a ticket.

22

ON BEING LEGALLICENCES

Hygiene

If you provide food, teas and coffees, check you

are working in clean conditions and be aware of

your responsibilities. These extend also to

the toilets. Talk to your Environmental

Health Officer.

Performing Rights Society

The venue will require a PRS (Performing Rights

Society) licence if it is involved in the playing of

live music, such as at dances, or recorded

music, such as CDs and tapes.

You are very unlikely to become involved in

paying royalties relating to the performance of a

play. This is absorbed by the company through

their fees.

Disability Act (1995)

Access regulations to public buildings are

changing. New buildings must already provide

full access. By 2004 all reasonable steps must

have been taken to adapt public buildings with

disabled toilets and ramps, but old public

buildings will not require lifts. Plan ahead and

discover if your venue will come up against

any problems.

23

LICENCES

Health and safety issuesRemaining safe is everyone’s responsibility. The

simplest way to discover potential hazards is to

use common sense and ask questions.

The answers may vary between venues and

local authorities.

• The venue - is it your venue, or do you have to

rely on someone else?

• The visiting company - is all of their

equipment, and the way it is set up, safe?

• The promoter - you should have the final say:

are you happy with everything?

◆ Undertake a simple Risk Assessment.

Risk assessmentRisk Assessment is nothing more than a careful

examination of the things you consider can

cause harm to people and what precautions are

in place to prevent harm. The excellent booklet

How to be Fringe Safe produced by the

Edinburgh Fringe for its performing companies

gives more details, but you can write simple

statements about each aspect of your venue

using these six steps.

• Look for the hazard - eg ‘Loose tables and

chairs in auditorium can jam up the exit routes’.

• Decide who might be harmed and how - eg

‘Audience’.

• Evaluate the risk - high, medium or low.

• Decide whether existing precautions are

adequate or whether more should be done -

eg ‘Outline the gangways with white tape and

keep them clear at all times’ and ‘Make

someone responsible on the night for this’.

• Record your findings - make a copy public.

• Review your assessment and revise if

necessary.

It’s impossible to list everything that might be a

hazard, but put yourself in the audience’s shoes

and go through the whole event, from arrival in

the car park to a safe departure.

Fire precautionsNew regulations came into force in 1997. The

person responsible for the venue should:

• assess the fire risks

• check that the fire can be detected in a

reasonable time and that people can

be warned

• check that people can get out safely

• provide reasonable fire-fighting equipment

• check that people in the building know what

to do if there is a fire

• check and maintain the fire safety equipment.

AccessibilityAlthough you will want to encourage as many

people as possible to visit your event, do not be

surprised if you have a poor response from

people with disabilities. They have not been

served very well in the past and a long-standing

habit of non-participation is hard to break. The

Disability Discrimination Act 1995 introduced

new laws aimed at ending any discrimination

which many disabled people face.

Whatever the facilities at your venue, there are

many ways you can help, starting with an

understanding of needs. For example, not

everyone is in a wheelchair. There are

misconceptions about deafness, blindness and

those with learning difficulties. Many are

handicapped more by other people’s behaviour

towards them than by their own lack of ability or

determination.

Special ticket concessions for those with

disabilities are not compulsory, but it obviously

encourages those who already have difficulties

in visiting your venue. You could at least offer

two seats for the price of one for the person with

a disability and their helper.

24

HEALTH AND SAFETY

Health and safety practicalities◆ Use common sense about health and safety

issues. Approach them systematically and

they will not be a burden, but help you feel

comfortable about your responsibilities to

the public.

The Venue

• The venue management should assess all the

above issues for all uses of the space. If you

are hiring the venue, ask the hall

management.

• Are all fire doors clearly marked and

unlocked?

• Do fire alarms, smoke detectors, fire

extinguishers and emergency lights all work?

• Are curtains and stage drapes fire-proofed?

• Has the venue had a visit recently from your

Fire Brigade’s Fire Prevention Officer?

• Are electrical and gas appliances regularly

checked?

• Does the kitchen need checking by

Environmental Health?

• Where do you turn off mains water, gas

and electricity?

• Where is the first-aid kit?

• How do you contact people in an emergency?

• Where is the phone and does it work?

• Is there insurance cover?

Seating

See ‘Your Venue: setting out the venue’ section

for details about safe seating.

The Company

The Company is responsible for issues relating

to their own health and safety, such as Working

Time Regulations and the equipment it brings.

• Check any hazards introduced by the

company: cables, heavy lighting stands,

naked flames, equipment in corridors.

• Is the company’s equipment Portable

Appliance Tested (PAT) and fire-retarded?

• All props, drapes and scenery must be

fire-resistant.

◆ If you are unhappy about anything, talk to

them about it.

The Promoter

• Who is the ‘responsible person’ on the night?

• Do you have enough stewards and helpers?

• Do your helpers know the positions of the

exits and extinguishers?

• Do you point out the exits to your audience

before the show?

• Who, amongst helpers, or even audience

members, is qualified in first-aid skills?

• Are the seats safe? Are they clipped

together? Are aisles wide enough? Are fire

exits clear of chairs, light stands and

equipment?

• Is there clear and safe space for wheelchairs,

pushchairs and guide dogs?

• Has someone checked at the end of the night

for smouldering cigarettes, that all heaters

and electrical appliances are turned off, and

that doors are locked?

25

HEALTH AND SAFETY

Children

There are many regulations concerning children.

Your local authority will have an officer to advise

you on your responsibilities. Unless you are

qualified to do so, you must not place yourself in

a situation where you are solely responsible for

the children’s personal care. This may arise in

workshop situations.

Parents should always be aware that their young

children are at a performance and,

unless it is a school visit, preferably be

present themselves.

◆ The Scottish Arts Council and Children in

Scotland produce a useful dos-and-don’ts

postcard.

What insurance is needed?All aspects of your promotion have insurance

implications. Insurance will be covered, in

different ways, by the three main parties:

the venue, the promoter and the

performing company.

Each should be covered for those things that it

owns or is responsible for. This might include:

buildings, contents, equipment, personal

belongings and public liability.

Each insurance company will, of course, place

responsibility on other insurance companies,

should a claim arise. For example:

• if a touring company damages the venue in

some way, who claims - the owner of the

building, the person who caused the damage,

or the organiser of the event?

• if a member of the audience suffers an injury,

do they claim against the venue or the

promoter, or both?

Answers will only arise when a claim is made but

you need to feel secure in your own insurance

cover. As usual, you can seek advice from all

sorts of people.

• If you are hiring a venue check the extent of

their insurance, both inside and outside

the building.

◆ Find out about any community insurance

schemes.

‘Highland Council runs a comprehensive and

effective insurance scheme for their village

halls. This has been extended to cover

community groups and hall users. For a

very low fee, (around £50 per annum in

2002) local groups have access to third

party and equipment insurance, at around

75p per £100 value.’(Promoters Arts Network)

26

INSURANCE

Marketing Selling the event is often far more worrying to a

promoter than arranging it. Work at it bit by bit

and you will find those effective ways of

filling seats.

Marketing is the process of deciding what it is

you want to sell, to whom and how. It includes

the publicity, audience development, and how

you set your ticket prices. It should be an

essential part of your long-term plans.

Before you leap out and plaster the area with

posters, think about who you would like to see

at your event. Don’t just say ‘everybody’ - that

will not help you focus in on how you can best

get the information to them.

Focus on those who are most likely to come -

previous attenders, special interest groups,

people who go to other things, those who come

to the venue for other reasons.

Think about those you would like to come - this

may be people from other places. You might

even find that it is those who live near the venue

but who do not normally use it.

Think about where each group goes, what they

read, where they shop, where they socialise and

when they do these things. This will help you in

getting information to the most effective places.

Remember it will cost you a lot more in time,

postage and effort to attract ‘new’ audiences,

than to sell tickets to your regular audience.

See the Scottish Arts Council’s Boost your

Performance: writing your marketing

action plan.

PublicityThere are lots of ways to publicise the event.

Find out what works for you. Here are a

few ideas:

◆ Your greatest asset as a promoter

is yourself.

• Be positive and enthusiastic: ‘the show is

good; our promoting group only offers the

best.’ People will believe you more than a

piece of paper.

• Just because you know about the event does

not mean everyone else does.

◆ Spend as much time, if not more, selling the

show, as arranging it .

◆ Try everything once.

• From flyers to loud-hailers, some will work

and some won’t, varying from place to place,

from show to show.

• Find out your collective skills and try them all

- but not necessarily all at once.

◆ Aim for the highest standard you can.

• Good posters and leaflets will sell a quality

show. Nothing too sophisticated, just

not sloppy.

◆ Promote the experience, the venue, not just

the event.

• You might think of a snappy title for your

local programme. A logo may help create a

sense of quality.

• Sell the night as an ‘occasion’. If you have a

bar or refreshments, remind people they can

come and be social. Invite them to dress

up for the night. Make the venue sound

attractive.

◆ Share publicity and audience.

• Don’t be ‘protective’ about your audience.

Help other promoters sell their events and

they will help you.

◆ Be thorough, imaginative, persistent and

enthusiastic.

27

PUBLICITYTELLING THE WORLD

• Do not be complacent: each new promotion

should be carefully planned.

• Invent a simple system and it will

become easy.

• Create a timetable of when things should be

done by, and set a target of tickets sold to

encourage everyone to be persistent.

Word of mouth• Word of mouth is the best and cheapest way

of selling the show.

• Create a ‘buzz’ - with acquaintances, key

people in local groups, teachers, and

public places.

• Go ‘cold-calling’ - down the road, door-to-door,

with leaflets. This gets you instant feedback.

• Talk a lot after the event - people will feel they

have missed out and be first in the next queue.

Mailing lists• Create a mailing list right from the start, even

if you do not wish to get into mailing

information to begin with. When you do

decide it is worthwhile, you will then have

something to work on.

• Ask people to sign in as they buy tickets;

leave forms in obvious places; have helpers

take details as the audience arrive or leave.

• Make it clear that the information will be

stored on a computer (as no doubt it will be).

• Offer an incentive - a free raffle ticket.

• Keep the original sheets, with the date of

collection, for reference.

For Data Protection reasons you should add a

phrase like ‘We promise that any information you

give us will be used for (name of promoting

group) purposes only. If you do not wish to

receive information about our future events

please tick this box ❑.’ The rule is, if you don’t

need the information, don’t collect it.

Posters ◆ Nearly all companies will provide posters.

It should be fundamental to the contractual

arrangements. The company should provide a

good poster to attract a good audience so you

can pay the company a good fee.

‘Publicity to us is important simply because

the village used to be littered: every

telegraph pole has something stapled to it.

If you get something eye-catching, not the

usual coffee morning thing, then people do

notice it.’• Quality posters tell people it’s a quality event.

Poor quality can discourage an audience. Ask

the company about the quality of their print.

• If you are unhappy with the quality tell the

company immediately. In the worst case,

overprint posters, or make up your own - find

someone competent with a computer.

• Slightly overestimate the number you want -

you can always return unused ones.

◆ Does the poster sell the show? Show it to a

friend before you have it printed or put up.

If you think a poster is at all ambiguous, then

adapt it.

‘The poster merely gave the company name

and the title of the theatre event as

“Circus”, with the venue details and time.

We had to adapt it to say it was a theatre

company and the event was a play, not a

circus for children. Lovely posters, but a

confused message.’(Highland promoter)

28

POSTERS

Size • Check what sizes are appropriate for your

area, and what the company intends to send.

• Big posters (A3) are visible, but can take up

too much shop-window room and get covered

on a busy noticeboard. Small posters (A4) are

more acceptable, but less visible.

• The company might have both, so ask for

some of each.

How soon should they go up?• Check that the company will send you

posters in plenty of time.

• Put them up two or three weeks beforehand:

any earlier and they fall down, get covered

and lose impact. Find out the best timing for

your area.

◆ On the day add ‘TONIGHT’ stickers.

Make them in bold print on a strip of yellow

fluorescent paper, on posters and A-frames,

particularly at the venue as a last-minute

reminder.

◆ Take posters down after the event.

It is polite and leaves a gap for the next event.

Putting them up◆ Put the posters up yourself.

• Put them wherever you are allowed, but do

not fly-post. Find out what is acceptable in

your area.

• Produce a roll of Sellotape or some Blu-Tack

and ask shopkeepers etc if you can put the

poster up, now, yourself. If you leave it to

them, the poster may be forgotten or lost.

• Is the poster waterproof? Felt-tipped pens

and inkjet print might run in the rain.

• Get some posters laminated in plastic.

• Find a shop with little window dressing (your

accountant, building society). Ask them to

take an eye-catching display for your event. It

can only increase their business.

OverprintingThe poster should have adequate white space

for the local details.

• Companies may offer to overprint the

posters. Be sure they have the

correct details.

• If you have access to a computer, printer and

photocopier develop your artistic flair and do

it yourself - then you can add logos, and

know that details will be correct.

• Shiny paper sometimes bubbles in a

photocopier, or smears in a printer. You may

need to put the details on by hand, or with

glued paper or with labels.

• If you hand-write the details, is it clear? Does

it look good?

Poster information should include:

• the company

• the event title

• a tag line or brief description

• the venue (plus address if not obvious to the

potential audience)

• day, date and month

• starting time (and doors open if relevant)

• ticket prices

• local contact and phone number for

information and booking

• disabled facilities

• bar/refreshments to be provided

• your promoting group’s name

• names of supporters and funders, and

their logos.

◆ Check and double-check the information

before you overprint.

29

POSTERS

Making your ownAnyone competent on a computer can place the

information on a sheet. However, it takes

practice to create a poster that is clear, readable

and attractive.

• Avoid clutter. Design a poster, don’t write

an essay.

• Use simple font styles - fancy lettering

is unreadable.

• Make the important information as large

as possible.

• Coloured inks and coloured paper can help,

but does the lettering stand out?

◆ Is your poster readable from across the

room? Do not get carried away with your

computer software!

FlyersMany companies will provide flyers - A5 or

smaller leaflets.

• Small companies might offer a limited

number but charge for extras.

• The leaflet might be generic, with no venue or

date, or have the complete tour on. Use a

computer and print sheets of small, sticky

labels. Stick one on each flyer - a good

bonding activity for your committee!

• If none are provided, you can design your

own, using information from their poster, a

computer and photocopier. But remember

that a poor quality leaflet suggests a poor

quality event.

• Distribute them in all the usual places for

collection, or mail them through your

mailing list.

• Try getting them out with local newspapers

and newsletters, through the school into the

children’s bags, or at the school gates.

• If you distribute them door to door, stick on a

personal message with a Post-it note.

• Find people who regularly walk their dog and

ask if they could put leaflets through

letterboxes for you. Make sure you do not ask

two different people to do the same houses.

A-framesSimple, wooden A-frames are a wonderful

resource. These are free-standing, fold-out

frames with a hinge at the top and splayed legs,

which can display posters on each side. They

should be:

• sturdy, so they don’t blow over

• big enough for at least four A4 posters - that’s

60cm wide and 85cm deep

• with faces of smooth wood, such as ply, and

painted with gloss paint

Be careful where and how you use them. Some

local authorities won’t allow them at all, some

only outside the venue on the day. They are no

use unless highly visible, but they must not get

in the way - on pavements or the roadside.

If you use drawing pins to put posters on your

A-frames, the rain will soon soak in the little

holes and spoil the surface. Ordinary wallpaper

paste is excellent for posters on smooth

surfaces, including your A-frames. Make it up

reasonably strong and it won’t come off in the

rain. Afterwards, just pour water over the

posters and peel them off.

Foyer displaysMake up displays with posters, leaflets and

photographs, press releases and reviews of the

company. Put the display up in another public

place and move it to the venue foyer on the

night, or place it in the foyer beforehand to

attract other venue users.

◆ Tonight’s audience is half your next one.

Have posters and leaflets on display, and tickets

for your next show on sale at the previous one.

30

POSTERS

Give a copy of this checklist to all who help with

publicity

Ways of selling❑ Word of mouth

❑ Posters

❑ Leaflets

❑ Flyers

❑ Events listings

❑ Adverts

❑ A-frames

❑ Local newsletters

❑ Press releases

❑ Previews and reviews

❑ Local radio and TV

❑ Other _________________________________

❑ Other _________________________________

Where to place postersand leaflets❑ A-frames

❑ Advice centres

❑ Arts centres

❑ Bed-and-breakfasts

❑ Bus-shelters

❑ Businesses

❑ Cafés

❑ Churches

❑ Colleges

❑ Council buildings

❑ Hoardings (no fly-posting)

❑ Hospitals

❑ Hotels

❑ Lamp-posts and telegraph poles (if allowed)

❑ Libraries

❑ Local shops

❑ Local noticeboards

❑ Mailing list

❑ Museums

❑ Post offices

❑ Private houses: leaflets through the front

doors, and posters in windows

❑ Pubs

❑ Regional theatres

❑ Recreation centres

❑ Schools

❑ Surgeries: doctors, dentists and vets

❑ Swimming pools

❑ The venue

❑ Tourist information centres

❑ Other _________________________________

❑ Other _________________________________

31

PUBLICITY CHECKLIST

Events listings ◆ Remember you are providing a public service

- you should not have to pay.

• There is a growing number of places to list

your event: start with those that you know

your potential audience will see: local papers,

tourist information, councils, libraries.

• More and more people use national listings

and the internet for local events.

• If your local paper does not have a listings

column, now is their chance to start.

The media might include:• newspapers and magazines

• special interest newsletters and bulletins

• radio and television stations

• television and radio programmes relevant to

your event

• the internet.

Writing a press/media release• Talk to the company about a press release.

Will they send it direct to the paper or via

you? You can use their press release

unedited, or adapt it, or write your own.

• If you write your own, remember you are

providing the facts, not necessarily the

final story.

• A picture will add to the impact.

• Ring the paper or radio station before you

send something in.

• Find out the last day that details can be

accepted. The deadline may be two or three

weeks before publication for a newspaper,

and longer for a magazine or newsletter. Local

weekly papers often accept copy on the

Monday of the week of publication, if they

have been warned.

◆ Send press contacts a free ticket - it’s no

financial loss as they might not have come

otherwise.

• Invite them to write a review as well.

Information in the paper after the event might

not help with your audience numbers, but it

will help raise your profile as a promoter.

• Arrange a good photo opportunity with the

paper - the company arriving, something eye-

catching in the street, workshop in the school.

• Follow up with a polite phone call to check if

the story will be included in the paper.

• Afterwards, if they do a good feature on your

venue, phone and thank the editor.

Good relationsPress coverage is an important way to reach an

audience. A story and photo can often do more

than an advert. It is free and stimulates interest

over a wide area.

◆ Create a good relationship with the local

paper and the appropriate journalist.

◆ Find out about special arts pages in the

press or themes in magazines. Use these to

sell your special stories.

Your network, arts officer, other local

organisations and the Scottish Arts Council Help

Desk may be able help with media lists. Develop

your contact lists with names, addresses, phone,

fax, frequency of publication/broadcast,

geographical area, deadline days.

◆ Offer your local radio or paper some tickets

as a prize for one of their competitions. They

will be won by someone who would never

have come and create some good airtime.

After the eventWrite a report for the local paper on the event -

how many people came, a synopsis of the show,

audience reaction and date of next event.

32

TALKING TO THE MEDIA

M E D I A R E L E A S E

For immediate release

Local Promoters are WonderfulGrab their attention in the first few lines. Make sure you have got the main

news in the first paragraph, as many editors will not read beyond that when

looking for stories. Give brief details of what is happening, where it’s

happening, why it’s happening, who is involved and when it’s happening.

Then you can expand on the story. One page in total should be enough, and not

more than two. Use the space you have carefully. Always assume that the reader

knows nothing about the event you are publicising. Stick to short sentences.

Avoid jargon and abbreviations.

They like an added story - like ‘Four people needed to carry in the set.’

‘Quotations from organisers provide light relief,’ said the writer, ‘and add weight

to the story.’

Type the story in double line spacing and short paragraphs.

Remember you are writing editorial, not an advert. Read other newspaper

articles to get a feel for the way in which you should write your piece.

Only send in photographs if they are of good quality. Both black-and-white and

colour are acceptable, as colour can also be printed in black and white. Do not

write on the back, but attach a sticky label with a typed caption, your address,

and the photographer’s name.

At the end of the first page (if you go over to two) type... more

Finish with fuller details of the event, restating the title, venue, date, time,

ticket prices and contact name for tickets and more information.

And then you type...

ENDS

Note to Editors

You can add background information about your organisation for the benefit of

journalists after the word ‘ends’. This is not part of the release but merely to

give further information to editors. They may phone you to ask further

questions. So always add on...

Further information from: your name, group, and phone number.

33

YOUR PRESS RELEASEbold, clever

and attention

grabbing titleuse your

headed

notepaper

or ‘embargo

date’ if you

need one

What do we charge?Ticket prices cause more discussion and worry

than anything else. Ask other promoters or your

network. The price is only part of the reason

people come. You must balance the need to

attract new people and a large audience with

covering your costs.

• People are happier to pay a reasonable price if

they have good information about the show.

• Compare your prices with last year and other

local events. ‘I cannot afford £5’ often means

‘I choose not to spend £5 on your event, but

will happily spend the same £5 and lots more

on other things.’

◆ If you have a company with a low fee, or even

a free show, still charge a good price and

invest the profit.

If you set prices too low, you:

• undervalue the event - understand the full

costs: the company, venue hire, lighting,

heating, equipment, theatre licence, mailing,

advertisements

• undervalue yourselves - why go to all that

hard work and then give it away?

• undervalue the company - cheap tickets

suggests cheap quality.

◆ Listen out for: ‘Gosh, is that all?’ at the ticket

office, and increase prices accordingly.

‘For our first film show we set low prices to

attract a new audience. Over 100 people

came, but we did not cover costs. Next time

we raised the price and everyone was still

very happy.’

If you set prices too high:

• you turn away some people, particularly

families, who really cannot afford it

• it might suggest elitism (‘art is only for the

well-off’).

◆ Listen for ‘That’s quite a lot for the whole

family,’ and adjust accordingly.

Try different prices • If the current barrier is £5 or £6, a special

quality or popular event could easily sell

for £7.

• Decrease prices when targeting new

audiences.

• People will pay more on a Friday or Saturday

than on a Monday.

Everyone likes a discount• £1 off the price for tickets bought before a

certain date.

• Offer family tickets and consider the options

about what constitutes a family.

• Offer party bookings, but set a challenge eg a

discount for six or more people.

• Be clear about ‘concessions’: there is no legal

requirement, so you should consider if they

include old-age pensioners, unemployed,

students, people with disabilities, single

parents on income support.

• What is your policy on tickets for your

own helpers?

• Keep a record of how many tickets in each

category you sell.

◆ Set a policy and be firm, but flexible, at

the door.

34

TICKETS SETTING PRICES

Having tickets feels moreprofessional◆ People are much more likely to turn up at

your event (especially on a wet and windy

night) if they have already paid for a ticket.

Some promoters never use tickets. Others use

simple raffle tickets, print their own or go to a

commercial ticket business.

The benefits of having tickets are:

• promoters and audiences like the ‘security’

• it creates confidence for the promoter (and

alerts you to a problem if they are not selling

in advance)

• it makes advance sales possible, particularly

if you use other outlets or people to sell them

• they add kudos to the night - part of making

the event ‘special’

• they help keep control of seats sold and

reduce the danger of overselling.

Professional tickets

• There are several companies who supply

even small quantities, very quickly and

cheaply. This is obviously the most

professional option.

Several companies specialise in printing large

and small quantities of theatre tickets at short

notice and at very reasonable cost. Your local

printer may be able to help, but shop around

and ask other promoters.

Make your own

• Print them yourself, on a computer. Although

this will have the feel of being ‘home-made’,

some careful work can produce a very good

and flexible result.

• Use A4 card, either plain or coloured, print

out the tickets like labels and slice them up.

You can get pre-perforated card for business

cards, which make good tickets.

• If you have nothing else, at least use a book

of cloakroom tickets on the night.

Printed tickets should have on them:

• title of event

• promoting group

• venue

• date

• time

• ticket prices

• ticket number

• contact number.

You can add:

• the seat number instead of a ticket number, if

your seats are numbered

• sponsors

• logos

• conditions of entry eg no late entries.

◆ You can print six books of 25 tickets, not one

book of 150 tickets - and then distribute the

books amongst several sellers.

Remember the legal capacity of your venue and

do not print more tickets than you are allowed

to sell.

35

PRINTING TICKETS

Filling those seatsYour biggest fear is probably that you won’t sell

‘enough’ seats. Enjoyment by those who are

there is far more important than just filling the

venue. Don’t judge your success merely on the

turn-out.

◆ When asked, always say ‘Tickets are selling

well.’

• People don’t like to come if they think the

audience will be small - stretch the truth

artistically.

◆ Give out number 35 first to give the

impression tickets are selling fast.

Your ticket sellers ◆ Give yourselves a realistic target of tickets

sold as an incentive.

• Make it easy for people to buy tickets.

• Make it easy for shops, libraries and other

people to sell them.

• Distribute tickets to your sellers as early as

you can.

• Give simple instructions for ticket sellers. Be

clear about:

• who is eligible for a discount

• who cheques are made out to

• who the contact is, if there is a query

• basic details about the show

• who will be collecting the stubs and

money, and when.

• Ask ticket sellers to collect, if possible:

• names and phone numbers of the

customers, for future mailing and in case

of cancellation

• how many tickets of each price are sold

• a record of the complimentary tickets

handed out.

• Keep in touch with your sellers each week to

check on their progress.

• It is essential to collect in all unsold tickets to

have for sale on the door.

Complimentary ticketsUse free tickets to thank helpers and ticket

sellers, to encourage the press, and lobby

support from local councillors.

◆ Don’t allow anyone else to be liberal with

your free tickets.

Phone bookings• Is it worth setting up a credit card system? It

can be a hassle and expensive. Can you use a

local agency - the tourist information centre

or local council? Remember you lose a small

percentage of the income.

• You can just collect the names, for payment

on the night. Make sure there is a person or

answering-machine at the end of the phone

number. Don’t forget to bring the list along to

the box office on the night.

• Ask people to send a stamped addressed

envelope with their cheque, if you are going

to post them the tickets before the event.

• Be firm in asking those who do not pay in

advance to let you know if they are not

coming.

• Don’t turn people away on the night until you

are sure you are full.

36

SELLING TICKETS

ReturnsPeople may buy a ticket and then not be able to

come for good reasons. What is your policy on

returns? Does everyone involved know it? Would

you return money in these cases when

someone:

• returns an unwanted ticket a week before

the event

• makes the effort to come to the venue with

an unwanted ticket, because they can no

longer stay for the show

• meets you a week after the show and tries

to get money back because they forgot

to come?

◆ Sometimes the maintenance of good

community relations is more important than

the value of the ticket. If someone insists on

their money back, it may be better to lose

the money than their custom forever.

Membership schemesThink about a membership scheme. This might

not be a priority, but if you develop a regular

programme, it can be a good way to

maintain support.

◆ Design the system that works for you.

You can sell tickets:

• for each event on its own - this is the no-

hassle way to do it

• predominantly through an all-inclusive

season ticket.

◆ Set up a membership or ‘friends’ scheme.

37

SELLING TICKETS

‘We run a season of six events in the winter,

for which you buy one inclusive ticket in

September.’(A Highland arts guild)

‘Our community arts group promotes 15

events each year. We offer membership at

£12, running for a year from joining, for

which you get £1 off tickets, and mailed

information. ’(Highland promoter)

Membership scheme advantages:

• it creates a loyal and supportive audience

• people will buy membership just to support

the cause (and may not actually come)

• it should provide more income than the

discounts taken up.

Membership scheme disadvantages:

• it can appear like an exclusive club

• if pushed too much, non-members feel they

are not welcome

• it can add to the work, both in keeping

records, and on the night

Be flexible and talk to the nearest promoting

organisation about mutual membership.

◆ A membership scheme will only attract part

of your audience. Remember the others who

only want to come to individual events.

Make the audience feel special• Make them want to come.

• Make it easy for them to get a ticket.

• Make it easy for them to get there.

• Make them feel welcome when they arrive.

‘The really good thing about events in our

hall is that it is so nice just to be able to

walk there.’(Local promoter with no car)

Easy parking• If parking is inadequate, plan a solution

beforehand.

• On a dark night it can be useful to have a

volunteer outside with a torch.

Signs at the venue◆ Encourage your local council to put up a

signpost to the venue.

• Can the public find the venue easily,

especially from the main road and for those

coming from afar?

• Is there enough parking?

• Is the outside lighting sufficient?

• Is the access for disabled people clear?

• Can your audience, especially newcomers,

find the entrance and box office easily?

• Are the toilets and auditorium clearly signed?

• Are there signs for latecomers?

◆ Create simple signs made from light,

coloured corrugated plastic sheet, cut to an

arrow with ‘tonight’s event this way’. They

can easily be put up with light wire to help

the audience find the venue and removed

afterwards. Ask your local sign printers.

Help with transport• Try out a minibus scheme or a car-share

scheme.

• Make any scheme simple and flexible.

• Provide a simple booking system. Clearly

identify the pick-up points, and give audience

members the confidence that the system

will work.

Sell the whole evening, not just the showThink of ways of making the evening both

special and profitable for your group. Dress up

the venue; dress up your helpers. Provide a few

extras in the way of food or drink.

Event programme• Touring companies may well have

programmes to sell and will be pleased if you

can sell them at the door. If you know how

many the company gave you in the first place,

you can just use the box-office float and pay

the company back afterwards.

You can make up your own and remember to

include:

• an introduction about the promoting group

• details of the show and cast and creative

team - in the middle, so it is easy to read,

without paper-rustling, during the show

• your funders’ and sponsors’ names and logos,

with requests for more support

• advertising at a reasonable rate for local

businesses

• your own advert for the next show

• a tear-off part for a mailing list

• a simple questionnaire about the audience’s

reactions and future requests (place a box by

the exit to put them in).

38

PROGRAMMES AND CANCELLATION

ON THE NIGHT WELCOMING THE AUDIENCE

What if the show has to becancelled?Cancellations are usually caused by two things:

problems with the company (eg illness) or

problems with the venue (eg flooding)

• Make a firm decision - do not worry that it

may appear to be the wrong one.

• Tell the accommodation, the venue and

others involved.

• Blitz your posters, A-frames and notices with

‘cancelled’ signs.

• Contact as many as possible of those who

have already bought tickets.

• Be at the venue at the advertised time, to

explain to anyone who turns up.

The box office◆ The box office is the first welcome your

audience has. Use it to set a good tone and

level of expectation for the rest of the night.

You might think you need only a tin box and no

tickets to take money from 15 people... and then

in come 150 people, some with tickets, some

with reservations and some in wheelchairs, all

desperate to get into a venue that seats only

120 people...

Helpers should know:

• when to arrive at the venue - at least 45

minutes before the audience does

• the location of entrances, exits, toilets and

cloakrooms

• some details about the show, so they can tell

the public, if asked

• when the audience can take their seats - the

company might well need the space up to 10

minutes before the show, especially if there

is no separate warm-up room

• when the interval is, and when the show

finishes (for taxis and lifts).

Arrange things so that:

• your box office is easily accessible and

clearly signed and does not create a queue to

block the entrance

• there is one queue to sell tickets and another

to collect pre-paid tickets

• those carrying pre-paid tickets can by-pass

the box office

• sellers of programmes and raffle-tickets do

not cause bottle-necks

• different people are responsible for the

different sales.

For the box office:

• fill your cash box with a large float - lots of £1

coins, 50 pences (if your prices are not in

whole pounds) and some fivers. Many people

will give you a £10 or £20 note

• keep separate floats for the tickets, the raffle

and refreshments

• have pre-booked tickets ready for collection,

possibly in envelopes, and in alphabetical

order

• make clear signs, showing prices and the

name for cheques

• be very clear how many seats you can sell

• be clear about the safety of allowing people

to stand at the back

• have a policy for prices for those who have to

stand, but remember your prices are already

low and they may find a seat once they

have paid

• be secure - keep the money locked away during

the show - no opportunity means no crime

• mark ticket stubs, to keep accurate box-office

records, and for balancing money

• ask people for their names and addresses for

your mailing list.

◆ You will rarely manage to balance the box-

office money with the ticket stubs exactly, so

do not lose sleep over it.

39

RUNNING THE BOX OFFICE

• Be as accurate as you can in recording the

total number of people present. Do a

(surreptitious) head count to check the

number of ticket stubs.

• Be totally accurate about the total income.

• It can be useful, but not vital, to correlate the

number of tickets sold at each price with

the total.

For latecomers:

• Does someone have to remain outside the

performance area? - hopefully not

• Have a policy (which might change each

night) for latecomers: can you let them in? Do

you charge the full amount?

The bar and drinks• Be sure you have the right licence and know

who is responsible.

• Companies are often happy for people to

watch with a drink in their hand. It may be

appropriate to set the venue up ‘cabaret’ style

with small tables. It may be better to use

plastic glasses, although it can lower

the tone.

• Refreshments during the show may be

inappropriate for chamber music or a quiet

solo theatre performer.

◆ Check this beforehand with the performers.

Food• It may be appropriate to provide teas, coffees

and food before, during the interval or

afterwards.

• Be aware of hygiene regulations.

• Arrange plenty of help.

• Set up everything and heat up the tea-urn

before the show starts, to avoid your helpers

having to leave noisily five minutes before

the interval.

• Be careful about kitchen noises when

preparing and clearing up the interval

refreshments.

• A quick turnaround (20 minutes?) is needed,

especially if there is also a raffle in the

interval, so avoid bottlenecks: arrange several

serving points and put milk and sugar for self-

service at a distance from the serving points

to keep the queue moving.

• If food is part of the show include it in the

(higher) ticket price.

• Avoid selling crisps, especially to an audience

of children.

Raffles◆ Make the raffle special.

A bar of soap and some cheap wine may not

suggest ‘quality’.

◆ Give everyone a free raffle ticket - and then

sell them more.

The benefits of a raffle are:

• it raises funds

• it can get people outside the audience group

involved - local businesses are happy to

donate

• no village hall event is right without a raffle

• it creates a sense of involvement - but make

sure everyone has a chance to buy a ticket.

The problems with a raffle are:

• it can lower the tone and lengthen the

evening

• it can interfere with the artistic flow

• the noise of tearing raffle tickets can be

off-putting.

40

REFRESHMENTS AND RAFFLES

Is everything safe?The technicians will have done their best, but

make sure they have done nothing which might

make the venue an unsafe place. See section

‘On being legal: health and safety’.

Smoking policies• Is it a no-smoking venue? Do all the helpers

know? Are signs needed?

• If the venue allows smoking, you must clear

this with the performers beforehand.

Is the company ready to start?• Confirm all is going okay.

• Check that they are ready before you let

people enter the performance room.

• Find out who is responsible for giving the

signal to start, house lights off etc.

Get the audience seated• Are you organised for wheelchairs, those who

cannot climb steps or need more leg-room?

• Check if you can you let in latecomers.

Reserve some seats for them near the door.

◆ Put up signs ‘quiet please - show in

progress’. For latecomers it helps to give

directions: ‘enter quietly - seats to the left’.

Start on time • Short delays are acceptable to everyone,

especially if due to queues at the door. More

than 10 minutes is discourteous to those who

have arrived early and to the performers.

• Check outside for latecomers just before

you start.

Public announcements• Make yourself known. A brief (yes, brief )

welcome is appropriate, but check with the

company first. Use the interval for a few

announcements - tickets for forthcoming

events, raffle, and thanking your supporters

and funders.

• Remind the audience about mobile phones,

smoking policy and use of cameras.

• Only speak again at the end if appropriate -

be very careful not to spoil the magic.

During the show• Enjoy the show, but be alert - you are

responsible for the audience and performers.

• Do a discreet head count, to compare with

the ticket sales.

ChildrenA young audience gives you extra responsibility

and work, but oh, they are a joy.

• Very young children will burst into tears as

soon as the show starts and need to leave.

All the rest will go to the toilet every five

minutes. So have enough help, with someone

always at the door.

• Sit children on mats at the front with space

between them and the show. Place an

adult nearby.

• They will forget it is a live show. They will

talk, wander around, throw sweets at the

puppets and try all manner of innovative

things to enhance the performance.

◆ Treat your young audience with the respect

you would an adult audience.

41

GETTING THE SHOW UNDER WAY

At the end of the show◆ You are the host - thank your audience for

coming.

• In some cases it may be appropriate to do

this before they leave their seats, but not in a

half-hour speech. Better still, just have the

helpers stand at the exit and thank everyone

on the way out - that way you get the nice

comments as well.

◆ Thank the performers, the stage crew and

your helpers.

Clearing up• Let the company members do their own

clearing up. They will appreciate it if you keep

out of their way, but be around if help is

needed, make a cup of tea or place a drinks

order at the pub.

• If there is any inadvertent damage, appease

the janitor or hall committee. If it was caused

by performers’ carelessness (especially if they

were warned), point it out firmly but politely

at the time.

• Your job is to clear chairs, take down posters

and displays and wash up. It can become a

long, late and lonesome job by yourself - ask

for as much help afterwards as for setting up.

• Check the hall for anything left behind.

Does the company need paying?• If you are paying on the night, particularly if a

gate-split has to be worked out, it is not

embarrassing to talk money straight after

the show.

• Do they need cash? Do you have the cheque?

Is it countersigned? Get a receipt.

• Tell the company how many people came and

the ticket income. Even if you are paying the

company a set fee, it may need this

information for its own funding.

How was it for you?• Your reaction to a show will be very different

from that of the audience. You will be

concentrating on tickets, the company and

small problems. It is difficult to take a

dispassionate view about the artistic quality,

the reaction of the audience or the overall

success of the night.

• When asked how it went, your answer is likely

to reflect the size of the audience or how nice

the performers were to deal with.

◆ Don’t worry:

• if the show was not exactly what you

expected

• if audience numbers were small

• if the audience responds very differently to

different events.

‘The company really enjoyed performing in

the area - very much at the heart of the

company’s ethos of rural arts

development.’(Horse and Bamboo Theatre Company)

◆ Have a nice cup of tea and book the

next event.

42

AT THE END OF THE SHOW

Tell the world afterwards• Write a brief report, both positive and

negative, as soon as possible.

• Report back to other committee members

who may not have been there.

• Feed the information back to the company.

• Report back (maybe at the end of the

financial year) to your funders.

• Be enthusiastic - you have put in a lot of work

and want to make it better next time.

• Sort out any forms, and especially money, as

soon as possible.

◆ Be honest about any problems, good points

or other issues. Talk to those who support

you, they are not there to examine your

abilities.

Audience evaluation◆ Don’t be afraid to ask what the audience

thought about the event.

• You can just chat to them afterwards. Written

forms are useful, but only if you ask the right

questions and use the information

afterwards.

• Have someone handing out forms and

collecting during interval (or use a box).

• Offer an incentive, like a draw for free tickets

for the next show.

• Use tick boxes for easy completion.

Reasons for going might include:

❑ Saw the poster

❑ Somebody told me

❑ Read it in the paper

❑ Heard it on the radio

❑ Got a leaflet through the door

❑ To meet friends

❑ Nothing else to do

❑ Thought the show looked good

❑ Like supporting the promoters

Also ask them:

• what they want next time

• for help another time - suggest some of the

skills that you are looking for.

And if they don’t come?It is just as important, but very difficult, to find

out why people don’t come. Ask people face to

face, or leave forms with the librarian or the

doctor’s secretary and encourage people to

complete one. Send a sheet home with

schoolchildren for them and their parents.

Think about the reasons that you cannot

control:

❑ The weather

❑ Family events

❑ No buses

❑ No babysitter

❑ Clashes with favourite TV programme

The reasons for not going, that you might have

more influence over, include:

❑ Can’t be bothered

❑ Too old to go out

❑ No friends going

❑ Reluctant to go on my own

❑ Not used to going to the theatre

❑ Don’t know what to expect

❑ Too arty

❑ Cost

❑ Never go to anything in the venue

❑ Seats are too hard

❑ Car parking

❑ Sounds boring

❑ Would have gone if I’d known it was on

❑ Not enough information

‘If they don’t want to go, nothing will

make them!’(Speaker at an NRTF conference)

43

EVALUATION

This list is not comprehensive. It includes things

to think about in advance that will help the event

go much more easily. They are grouped loosely

in line with this guide, rather than in time order.

❑ Ask around about what a local audience

might like to see.

❑ Set up the promoting group.

❑ Find out what performances/activities are

available.

❑ Get first-hand information from someone who

has seen the company.

❑ Receive information on some shows and talk

about them.

❑ Make the commitment - choose a date and

time.

❑ Inform all the others who will be part of the

event.

❑ Plan ahead with all your helpers.

❑ Check the venue is available and suitable.

❑ Think about ‘get in’ and ‘get out’ times for the

company.

❑ Check for clashes.

❑ Confirm the booking.

❑ Negotiate fees with the company.

❑ Think about ticket prices.

❑ Create a budget.

❑ Investigate sources of funds.

❑ Develop a contract.

❑ Find out the domestic needs of the company.

❑ Send map, directions and contact information

to the company.

❑ Book accommodation.

❑ Develop a technical sheet for the venue.

❑ Think about how best to use the venue.

❑ Check for the licences needed.

❑ Check health and safety issues, fire and

access.

❑ Check your insurance.

❑ Plan publicity and promotion.

❑ Arrange for posters, flyers and signs.

❑ Contact local media.

❑ Arrange tickets.

❑ Set up a booking and ticket sales system.

❑ Think about a membership scheme or special

groups.

❑ Organise refreshments, raffle and other

domestic matters.

❑ Create an ‘on the day checklist’ for when

things really get busy.

❑ Think about parking and transport.

❑ Set up reception and box office.

❑ Check the venue for safety, blackout, offstage

noises and light, exits.

❑ Organise venue - clean and tidy, turn on

heating.

❑ Welcome the performers or make

arrangements for them to get into the venue.

❑ Show them round the venue and sort out

accommodation and food.

❑ Lay out the seating.

❑ Welcome the audience.

❑ Enjoy the show.

❑ Complete box-office forms and keep the

money in safe place.

❑ Clear and lock up.

❑ Pay the company.

❑ Send any press cuttings that appear locally to

the company and funders.

❑ Think about your next show, and how you can

make it an even better night.

44

PLANNING IT ALLYOUR PROMOTING CHECKLIST

From the date of booking❑ Discuss the show

❑ Confirm the venue booking

❑ Swap contracts with the company

❑ Find your helpers and decide who is going to

be in charge of things like:-

❑ Posters and publicity and speaking to the

press

❑ Selling tickets

❑ Refreshments

❑ Being the contact for the performers and

accommodation

❑ Running the evening

6 weeks before❑ Contact the company for up-to-date details of

the show

❑ Technical details, health and safety, and legal

issues

❑ Domestic needs

❑ List local groups, schools, and people who

could be interested

❑ Check deadlines for the local media

❑ List the possibilities for posters and leaflet

distribution

❑ Print tickets

4 weeks before❑ Distribute posters to your helpers

❑ Send information to listings sections in the

press, etc

❑ First leaflet drop to public outlets

❑ Send leaflets to your mailing list

❑ Make up a display for the local library, or

front-of-house

❑ Start talking about the event, to individuals

and local groups

❑ Start selling tickets

❑ Invite any guests or VIPs eg local councillors

3 weeks before❑ Check the posters are up

❑ Send out press releases: write your own, or

adapt the company’s one

❑ Place adverts, if you use them

2 weeks before❑ Check poster sites if possible

❑ Make second leaflet drop

1 week before❑ Remind local press

❑ Keep talking about it

❑ Always have tickets handy to sell

❑ Arrange the front-of-house staff

❑ Check final arrangements with the company

❑ Check arrangements for the venue,

refreshments, accommodation, tickets and

money

❑ Create an ‘on the day’ checklist

On the night❑ Check that your helpers know what is

expected of them and their responsibilities

❑ Use your checklist and add to it as you go

along, for next time

❑ Enjoy

45

A SUITABLE TIMETABLE

AREA NETWORKSIn Scotland, touring arts promotion has

developed in very different ways in different

parts of the country (and in some areas, not at

all). Many local authorities have strong

programmes of directly-promoted events and

some also provide some support to their local

independent promoters and networks. In other

areas there is little in the way of organised arts

promotion at local level.

The Promoters Arts Network (PAN) in the

Highlands and Islands is an independent

network of 70 or so local promoters, including

volunteers in local venues, arts officers and

professional art centre staff. PAN provides

information, lists and a twice-yearly forum.

Promoters wanting to develop touring arts

events in Argyll and Bute should first contact the

Arts Development Officer.

The Promoters Arts Network

Ostaig House, Teangue, Isle of Skye IV44 8RQ

Phone: 01471 844207 E-mail: dm@cali.co.uk

Argyll and Bute Council Arts Development Officer

Eaglesham House, Mountpleasant Road

Rothesay PA20 9HH

Phone: 01700 502252 Fax: 01700 505758

E-mail: eileen.rae@argyll-bute.gov.uk

North East Arts Touring NEAT serves Aberdeen City, Aberdeenshire and

Moray. It promotes drama, dance and the

visual arts.

North East Arts Touring

His Majesty’s Theatre, Rosemount Viaduct

Aberdeen AB25 1GL

Phone: 01224 650709

E-mail: mmilne@arts-rec.aberdeen.net.uk

Dumfries and Galloway ArtsAssociation DGAA is the independent regional agency

funded by the local authorities and the Scottish

Arts Council to develop the arts over south-west

Scotland. The association works with local

venues and promoters to fund and organise

touring arts into the area.

Dumfries and Galloway Arts Association

Gracefield Arts Centre, 28 Edinburgh Road

Dumfries DG1 1JQ

Phone: 01387 253383 E-mail: jenny@dgaa.net

Website: www.dgaa.net

AGENCIESThe Scottish Arts CouncilThe Scottish Arts Council is one of the main

channels for government funding for the arts in

Scotland, receiving its funding from the Scottish

Executive. It also distributes National Lottery

funds. It funds some arts organisations for

annual programmes of work and makes project

and lottery grants to individual artists and

arts organisations.

Scottish Arts Council, 12 Manor Place

Edinburgh EH3 7DD

Phone: 0131 226 6051 Fax: 0131 225 9833

Helpdesk: 0845 603 6000 (local rate)

E-mail: help.desk@scottisharts.org.uk

Website: www.scottisharts.org.uk

Arts & Business ScotlandThis is the organisation that creates links

between arts and business. While it does not

offer funds for small events, it can offer advice

and support when you wish to talk seriously

about business support.

Arts & Business Scotland, 6 Randolph Crescent

Edinburgh EH3 7TH

Phone: 0131 220 2499 Fax: 0131 220 2296

E-mail: scotland@AandB.org.uk

46

CONTACTS

Awards for AllThe main aim of this programme is to fund projects

which involve people in their community; bringing

them together to enjoy arts, sports, heritage,

health, education, environmental and other

community activities.

Your group can apply for a grant from Awards for All

if you are based in Scotland; you are a non-profit

group; you have a constitution or set of rules which

you have adopted; you have a bank or building

society account in the name of your group, which

requires at least two signatures on each cheque or

withdrawal; you can enclose your most recent

annual accounts or statement of income and

expenditure. These must be audited or signed as

approved by an office holder; you need a grant of

between £500 and £5,000; you can spend the grant

within one year; and your annual income last year

was less than £20,000.

If you want a hard copy of the application pack,

please call the application pack hotline on

0845 600 2040.

Awards for All, Norloch House, 36 King’s Stables

Road, Edinburgh EH1 2EJ

Phone: 0131 659 7000 Fax: 0131 659 7010

E-mail: scotland@awardsforall.org.uk

Website: www.awardsforall.org.uk

Community Fund, ScotlandThis is responsible for distributing lottery funds to

charitable projects.

Community Fund, Scotland

Highlander House

58 Waterloo Street, Glasgow G2 7DB

Phone: 0141 223 8600 Fax: 0141 223 8620

E-mail: enquiries@community-fund.org.uk

Website: www.community-fund.org.uk

Enterprise Music Scotland This is the main agency for classical music

promotion in Scotland and handles the Scottish Arts

Council’s funding to local promoters for this artform.

Enterprise Music Scotland, 37 Dee Street

Aberdeen AB11 6DY

Phone: 01224 574422 Fax: 01224 572315

E-mail: emusicscotland@btclick.com

Website: www.emusicscotland.co.uk

Federation of Scottish Theatre This is the membership organisation for

professional theatre in Scotland. It offers

advice and services to members as well as

being a powerful and effective lobbying voice

for Scottish theatre.

Federation of Scottish Theatre,

25 Ainslie Place, Edinburgh EH3 6AJ

Phone: 0131 467 2525

E-mail: fst@blueyonder.co.uk

Website: www.scottishtheatre.org

HI Arts This is the arts development agency for the

Highlands and Islands.

HI Arts, Suites 4/5, 4th Floor

Ballantyne House, 84 Academy Street

Inverness IV1 1LU

Phone: 01463 717 091 Fax: 01463 720 895

E-mail: info@hi-arts.co.uk

Website: www.hi-arts.co.uk

The National Rural Touring ForumThis is the umbrella organisation of 34 touring

schemes in England and Wales, which makes up a

nationwide network of over 1,000 promoters.

The National Rural Touring Forum

Highfield, The Square, Yapham, York YO42 1PJ

Phone: 01759 303624

E-mail: nrtf@dial-pipex.com

Website: www.nrtf.org.uk

47

CONTACTS

Performing Rights Society3 Rothesay Place, Edinburgh EH3 7SL

Phone: 0131 242 5740

0845 309 3090

E-mail: scotland.musiclicence@prs.co.uk

Website: www.prs.co.uk/scotland/

Scottish Council for VoluntaryOrganisations This is the umbrella body for voluntary

organisations in Scotland, with offices in

Edinburgh, Glasgow and Inverness. It is the voice

of all voluntary groups in Scotland and is the

source of a lot of good information and advice.

SCVO, 18/19 Claremont Crescent

Edinburgh EH7 4QD

Phone: 0131 556 3882 Fax: 0131 556 0279

E-mail: enquiries@scvo.org.uk

Website: www.scvo.org.uk

Voluntary Arts ScotlandVoluntary Arts Scotland is part of the Voluntary

Arts Network and provides a wealth of

information and briefing sheets of great use to

voluntary arts and crafts organisations.

Voluntary Arts Network, PO Box 200

Edinburgh EH2 4WN

Phone: 0131 220 4466 Fax: 0131 220 4477

E-mail: info@vascotland.org.uk

Website: www.voluntaryarts.org

How to be Fringe Safe (Edinburgh Fringe, £5) is

for those putting on a show in the Edinburgh

Fringe. The booklet goes into great detail about

all the technical, safety, legal and access

requirements for small-scale promotion and is of

enormous use to all local promoters.

The Festival Fringe Society

180 High Street, Edinburgh EH1 1QS

Phone: 0131 226 0026

E-mail: admin@edfringe.com

Website: www.edfringe.com

Boost your Performance: writing your marketing

action plan (the Scottish Arts Council, free) is

designed for larger arts organisations to develop

their marketing and audience development, but

has a lot to offer all arts groups.

The Arts Promoters’Pack by Jo Hilton (1997)

published by East Midlands Arts, (free with

£3 p&p) goes into considerable detail about the

setting up, funding, marketing and management

of a small-scale arts venue.

East Midlands Arts

Information Services

Mountfield House, Epinal Way

Loughborough, Leicestershire LE11 0QE

Phone: 01509 218292

E-mail: info@em-arts.co.uk

Also search the internet for bookshops offering

specialist arts managements books.

48

CONTACTS BOOKS

A-frame

A simple, wooden, free-standing, fold-out board

to display road-side posters on each side.

Blackout

The ability to make the performance space

totally free of stray light, usually through the

windows from outside.

Front-of-house

The area in the venue and the activity involved

with welcoming the audience and selling tickets.

Flyer

A small leaflet, usually A5, or one third of an A4

sheet, advertising the event and designed for

potential audiences to take with them. It

usually has more detail than a poster.

Gate split

The system of payment where the money from

ticket sales is shared at the end of the night

between the promoters and the performers.

Get-in

The time required by the performing company to

set up their show. This sets the time when the

venue needs to be free for their use and when

you expect the company to arrive.

Get-out

The time needed after the show for the company

to pack up. This sets the time that the venue can

be finally locked at the end of the evening.

Help in-kind

All those items in the budget that have a value

but which might come free, such as private

accommodation, administration done for

nothing, or a rent-free venue.

Home hospitality

The provision of bed, breakfast and an evening

meal in private homes belonging to members of

the promoting group. A standard practice which

can lower the cost of the event and help the

company connect with the community.

Light stand

A metal stand, usually with folding triangular

legs, on which the stage lights are fixed. These

are often placed in the audience so need to

be safe.

PAT

Portable Appliance Testing ensures the safety of

use of any portable appliance. Since 1 April 1990

it has been a legal requirement for employers

and the self-employed to have all portable

electrical appliances and equipment periodically

inspected and tested for compliance with the

safety regulations.

Plastic cable-ties

Short lengths of plastic strip which loop round

and self-lock by inserting one end through a

clip at the other. Available in electrical and

hardware stores.

49

GLOSSARY

50

Equal opportunitiesThe Scottish Arts Council operates an equal opportunities policy. Our

offices have disabled access. Certain publications can be made available in

Gaelic, minority ethnic languages, in large print, Braille or audio format.

Scottish Arts Council

12 Manor Place

Edinburgh

EH3 7DD

phone: 0131 226 6051

fax: 0131 225 9833

Help Desk: 0845 603 6000 (local rate)

E-mail: help.desk@scottisharts.org.uk

website: www.scottisharts.org.uk

championing the arts for Scotland

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April 2002ISBN: 1 85119 113 5