Friday was the last day of the MFA Creative Producing course at Central for this emerging producer.
My final papers were submitted, my library books returned and my student ID expired. What an adventure!
I have learned much this year. I have received a wonderful introduction to the inner workings of the London theatre scene. I have been exposed to new ways of thinking. I have a better understanding of entrepreneurship and business strategy. And I have learned much about myself.
The next steps are yet to be determined as I look for employment and review visa requirements. I'd like to stay in London and gain some solid experience working in this market. But we shall see what comes along. I'm here for the summer and will endeavor to enjoy this great city as long as I'm here.
It has been a wonderful experience. Thanks for sharing it with me.
I'm going to sign off the blog for now but who knows what new adventures may prompt a return in the future! But for now...
Take care!
-m
Sunday, July 2, 2017
Sunday, June 25, 2017
"Meet Mister Toad from Toad Hall"
Twenty-seven years ago I was in a children's play at my local youth theatre called The Wind In the Willows. I played an evil weasel who was part of a gang who took over the glorious mansion that was occupied by Mister Toad. Here I am, nearly three decades later, sitting in the audience of the new West End musical The Wind In the Willows and remembering the lyrics I sang all those years ago: "Meet Mister Toad from Toad Hall". It was a bit surreal.
The West End version is not the same as the script and music I'm remembering. My production was made specifically for children's theatre and this is a brand new full-length, family-friendly extravaganza! And oh boy was it! But more on that in a bit...
The Wind In the Willows is a well-known children's book by Kenneth Grahame. It is particularly popular here in the U.K. but some Americans are familiar with the story. I for one am very familiar. Mister Toad is the centrepiece of the story and is a wealthy, carefree, adrenaline junkie who is always after the newest and fastest moving contraption. He has a need for speed and when he discovers the motorcar, well, he simply must have one. After he crashes his own, he "borrows" someone else's and crashes that one as well. He ends up in jail and this is when the weasels make their move to take over Toad Hall. Toad escapes jail and with the help of his friends, Mole, Rat and Badger, he appeals to the Court, overturns his sentence, and fights off the weasels, reclaiming his ancestorial home.
This production is absolutely huge. The costumes, the sets, the special effects. It is quite the spectacle; much bigger than the version I was in all those years ago. I have to say, I do believe my conversion into a producer it very near complete because even though I appreciated the production, my first reaction whenever a new spectacular came on stage was "How much did that cost?! It's only on stage for two minutes!" The budget for this show must have been tremendous.
The book (that's what we call the script of a musical) was written by Julian Fellowes. Fellowes is probably most famous for creating the television series Downton Abbey but also has a background writing for the stage, with credits including the stage version of Mary Poppins, School of Rock, and Half a Sixpence.
Composer and lyrist team George Stiles and Anthony Drewe are responsible for the music. They also worked on Mary Poppins and Half a Sixpence. The show that really launched their career was Honk! which is a very popular title for regional, community, and children's theatre to license and produce.
Rachel Kavanaugh is the show's director. She brings experience with the team having also directed the West End production of Half a Sixpence. Kavanaugh has extensive experience with London's Regent's Park Theatre and in the regions as Artistic Director of Birmingham Repertory.
The man that got us into those seats this past week was the show's producer, Jamie Hendry. We had a day with Hendry last week. We met him at the London Palladium where The Wind In the Willows is playing. He talked to us about being a West End producer and the process of mounting The Wind In the Willows. He also introduced us to Stiles and Drewe and they chatted to us about their process and career. Production Manager, Patrick Molony also spoke and gave us extremely valuable information about the logistics of a project of this scale. Finally, we toured the set getting the inside scoop on the complications and considerations from Molony. It was an exciting day for us and very insightful.
A week later we got to see the show. Knowing the backstory of the production made it that much more interesting. I have to say, I feel honored to have had the chance to get such an in-depth look into a huge West End show. I am truly in awe for Jamie Hendry and his entire team. Amazing.
I am entering my final week of the course this week. It's nearly over. The final papers are due on Friday and I'm wrapping everything up. I'll fill you in next Sunday, and let you know how it all finished.
Take care!
-m
*Photo rights- Jamie Hendry Productions.
The West End version is not the same as the script and music I'm remembering. My production was made specifically for children's theatre and this is a brand new full-length, family-friendly extravaganza! And oh boy was it! But more on that in a bit...
The Wind In the Willows is a well-known children's book by Kenneth Grahame. It is particularly popular here in the U.K. but some Americans are familiar with the story. I for one am very familiar. Mister Toad is the centrepiece of the story and is a wealthy, carefree, adrenaline junkie who is always after the newest and fastest moving contraption. He has a need for speed and when he discovers the motorcar, well, he simply must have one. After he crashes his own, he "borrows" someone else's and crashes that one as well. He ends up in jail and this is when the weasels make their move to take over Toad Hall. Toad escapes jail and with the help of his friends, Mole, Rat and Badger, he appeals to the Court, overturns his sentence, and fights off the weasels, reclaiming his ancestorial home.
This production is absolutely huge. The costumes, the sets, the special effects. It is quite the spectacle; much bigger than the version I was in all those years ago. I have to say, I do believe my conversion into a producer it very near complete because even though I appreciated the production, my first reaction whenever a new spectacular came on stage was "How much did that cost?! It's only on stage for two minutes!" The budget for this show must have been tremendous.
The book (that's what we call the script of a musical) was written by Julian Fellowes. Fellowes is probably most famous for creating the television series Downton Abbey but also has a background writing for the stage, with credits including the stage version of Mary Poppins, School of Rock, and Half a Sixpence.
Composer and lyrist team George Stiles and Anthony Drewe are responsible for the music. They also worked on Mary Poppins and Half a Sixpence. The show that really launched their career was Honk! which is a very popular title for regional, community, and children's theatre to license and produce.
Rachel Kavanaugh is the show's director. She brings experience with the team having also directed the West End production of Half a Sixpence. Kavanaugh has extensive experience with London's Regent's Park Theatre and in the regions as Artistic Director of Birmingham Repertory.
The man that got us into those seats this past week was the show's producer, Jamie Hendry. We had a day with Hendry last week. We met him at the London Palladium where The Wind In the Willows is playing. He talked to us about being a West End producer and the process of mounting The Wind In the Willows. He also introduced us to Stiles and Drewe and they chatted to us about their process and career. Production Manager, Patrick Molony also spoke and gave us extremely valuable information about the logistics of a project of this scale. Finally, we toured the set getting the inside scoop on the complications and considerations from Molony. It was an exciting day for us and very insightful.
A week later we got to see the show. Knowing the backstory of the production made it that much more interesting. I have to say, I feel honored to have had the chance to get such an in-depth look into a huge West End show. I am truly in awe for Jamie Hendry and his entire team. Amazing.
I am entering my final week of the course this week. It's nearly over. The final papers are due on Friday and I'm wrapping everything up. I'll fill you in next Sunday, and let you know how it all finished.
Take care!
-m
Show Poster
Mister Toad
The Weasels take over Toad Hall
*Photo rights- Jamie Hendry Productions.
Sunday, June 18, 2017
Six40 Theatre
This past week we presented a showcase I produced in the West End. Woo Whoo! Before we start campaigning for an Olivier Award, let me explain. Some months back I was referred to a group of three actors recently graduated from a drama conservatory called ArtsEd. The three actors were keen to put on a showcase to attract industry professionals such as casting directors and producers and show what they could offer. I agreed to join as their producer.
The process went something like this: We had several production meetings. I advised them to come up with a company identity and brand. They formed Six40 Theatre, the name stemming from the distances between their regions of origin. I dubbed them Creative Directors and created a website and social media accounts for the promotion of the showcase. They put the word out through several contacts that they were accepting submissions from playwrights. Scripts submissions were received and we selected two pieces to use for the showcase. We all reached out to our network and found two directors, one to direct each piece. With the playwright, who authored both scripts, on board and flexible about his work, we selected two scenes, one from each play, that best displayed the range of the actors. They started rehearsing and I created an online box office to take reservations. Admission was free but we wanted to track who was planning to come. I also worked with the venue to organize the contract and sort out the details of the performance day. The actors had already reserved the venue prior to my involvement. This fact and their clear vision and dedication are why I agreed to work with them. They were/are very together, thoughtful, and practical. Every producer's dream really.
The venue was one with which I was familiar as I have attended events there before. It is called Above the Arts and is part of the Arts Theatre complex. If Arts Theatre sounds familiar, stretch back to one of my earliest blog entries. I went to see American Idiot at Arts Theatre when I first arrived in London back in September 2015. Above the Arts, specifically, has played host to a few networking events I have attended. It is a lovely space, bright and airy with comfortable furniture and a fully stocked (and staffed) bar. It is a good meeting and networking space and is perfect for cabarets and singer/songwriter gigs. It may not be the ideal place for a play because it is not a traditional black box. But for our purposes, it worked. Our showcase was almost a kind of recital for actors, casual and simple. We carved out a performance space and set up chairs for the audience around the space. We did not have any theatrical lighting and just used the light as was. We defined the performance with some music played from a playlist on an actor's phone and speaker someone brought with them. The actors and directors supplied props and costumes that were common items easily acquired. I printed out a batch of one sheet programs and we made some theatre.
I love working like this. Keeping it easy and focused on the talent of everyone involved. Good theatre is good storytelling. If you have a big budget and can get Julie Taymor to create something of opulence like she did for The Lion King, great, but theatre can be just as effective with only a makeshift stage, an interesting text and talented actors and directors.
I was thrilled with our final result. And with the audience turn out. We had an afternoon "lunch-break" show at 12:30 and a post work show at 7. Some industry personnel came and lots of supporters and friends of the company members. Our houses were ample and frankly, any more bodies in the space would have made the heat unbearable even for our short 40-minute presentation. It was a warm day and there was no air con in the space.
The piece was called Emerging Artists Showcase and the ethos behind it was to present new talent to the theatre community. So there we were, all of us, actors, writer, directors, and the producer emerging on the London scene right there in the heart of Theatreland, a couple doors down from Audra McDonald reprising her Tony Award-winning role in in Lady Day at Emerson's Bar and Grill and in throwing distance of a dozen other legends of show business. It was a delight. I do hope to work with Six40 again soon.
The deadlines are closing in and I am working on those final assignments for my course. We are coming to the end and I am excited and ready to strike out and forge a new chapter in my career.
I'll keep you posted!
Take care!
-m
The process went something like this: We had several production meetings. I advised them to come up with a company identity and brand. They formed Six40 Theatre, the name stemming from the distances between their regions of origin. I dubbed them Creative Directors and created a website and social media accounts for the promotion of the showcase. They put the word out through several contacts that they were accepting submissions from playwrights. Scripts submissions were received and we selected two pieces to use for the showcase. We all reached out to our network and found two directors, one to direct each piece. With the playwright, who authored both scripts, on board and flexible about his work, we selected two scenes, one from each play, that best displayed the range of the actors. They started rehearsing and I created an online box office to take reservations. Admission was free but we wanted to track who was planning to come. I also worked with the venue to organize the contract and sort out the details of the performance day. The actors had already reserved the venue prior to my involvement. This fact and their clear vision and dedication are why I agreed to work with them. They were/are very together, thoughtful, and practical. Every producer's dream really.
The venue was one with which I was familiar as I have attended events there before. It is called Above the Arts and is part of the Arts Theatre complex. If Arts Theatre sounds familiar, stretch back to one of my earliest blog entries. I went to see American Idiot at Arts Theatre when I first arrived in London back in September 2015. Above the Arts, specifically, has played host to a few networking events I have attended. It is a lovely space, bright and airy with comfortable furniture and a fully stocked (and staffed) bar. It is a good meeting and networking space and is perfect for cabarets and singer/songwriter gigs. It may not be the ideal place for a play because it is not a traditional black box. But for our purposes, it worked. Our showcase was almost a kind of recital for actors, casual and simple. We carved out a performance space and set up chairs for the audience around the space. We did not have any theatrical lighting and just used the light as was. We defined the performance with some music played from a playlist on an actor's phone and speaker someone brought with them. The actors and directors supplied props and costumes that were common items easily acquired. I printed out a batch of one sheet programs and we made some theatre.
I love working like this. Keeping it easy and focused on the talent of everyone involved. Good theatre is good storytelling. If you have a big budget and can get Julie Taymor to create something of opulence like she did for The Lion King, great, but theatre can be just as effective with only a makeshift stage, an interesting text and talented actors and directors.
I was thrilled with our final result. And with the audience turn out. We had an afternoon "lunch-break" show at 12:30 and a post work show at 7. Some industry personnel came and lots of supporters and friends of the company members. Our houses were ample and frankly, any more bodies in the space would have made the heat unbearable even for our short 40-minute presentation. It was a warm day and there was no air con in the space.
The piece was called Emerging Artists Showcase and the ethos behind it was to present new talent to the theatre community. So there we were, all of us, actors, writer, directors, and the producer emerging on the London scene right there in the heart of Theatreland, a couple doors down from Audra McDonald reprising her Tony Award-winning role in in Lady Day at Emerson's Bar and Grill and in throwing distance of a dozen other legends of show business. It was a delight. I do hope to work with Six40 again soon.
The deadlines are closing in and I am working on those final assignments for my course. We are coming to the end and I am excited and ready to strike out and forge a new chapter in my career.
I'll keep you posted!
Take care!
-m
Sunday, June 11, 2017
Lewes
Yesterday I decided to get out of the city. I took a day trip to a lovely little village called Lewes. It was a very easy journey, just a little over an hour on the train from London. Lewes is in Sussex which is South of London and not too far from the Brighton and the coast.
For a small town, there is a lot to see in Lewes. After walking from the train station past some adorable cottages and terrace houses that had been around for over hundred years, I found myself at the Anne of Cleves House. Anne of Cleves was the fourth wife of King Henry VIII and is one that survived. When Henry decided he didn't want to be married to Anne of Cleves anymore, she immediately conceded to a divorce. This gracious exit from their marriage left a positive impression on Henry and he gave her many gifts in their divorce settlement. Eventually, the two even become friends and Anne was welcome at court and referred to as The King's 'Sister'. One of the gifts Anne received from the King was this house in Lewes. The house was not occupied by Anne as she had other, more stately properties, but she rented the home to a wealthy middle-class farmer. The home is a museum and patrons are free to wander around at their own pace and discover how life was lived by common people in Tudor times.
After the Anne of Cleves House, I made my way to the historic High Street. Along the way, I took a detour through the magical Southover Grange Gardens. This is a fairly land filled with beautiful flowers, majestic trees and open meadows. The weather was absolutely perfect on Saturday so the gardens were host to people enjoying picnics or sunbathing. The Gardens were my favorite part of the whole trip. I honestly could have stayed there the whole day. But, up the hill, I went... eventually, to the High Street.
The High Street is British for Main Street and is most often a busy commercial shopping street and central location. Lewes' High Street is filled with old fashion shop fronts that no doubt stretch back many decades. Craft and antique shops are easy to find and if one needs a cup of tea or a pint of lager, those are readily available as well.
The center piece of the High Street is certainly Lewes Castle. The Castle was built 1000 years ago. It began with Norman William de Warenne just after the Battle of Hastings in 1066. The Barbican was added in the 1300s. The West Tower is the highest point of the castle and from the top one can take in stunning views of the countryside. The museum offers archaeological artefacts from the earliest days of the settlement through the Roman occupation and Saxon invasions, up through the Medieval period.
I highly recommend a trip to Lewes. I can see myself escaping there again for some relaxation, especially in the Gardens. Next time, however, I might wear some sunscreen.
I have a busy week coming up. Still working on my final assignments
and projects for the course. I'll keep you posted!
Take care!
-m
For a small town, there is a lot to see in Lewes. After walking from the train station past some adorable cottages and terrace houses that had been around for over hundred years, I found myself at the Anne of Cleves House. Anne of Cleves was the fourth wife of King Henry VIII and is one that survived. When Henry decided he didn't want to be married to Anne of Cleves anymore, she immediately conceded to a divorce. This gracious exit from their marriage left a positive impression on Henry and he gave her many gifts in their divorce settlement. Eventually, the two even become friends and Anne was welcome at court and referred to as The King's 'Sister'. One of the gifts Anne received from the King was this house in Lewes. The house was not occupied by Anne as she had other, more stately properties, but she rented the home to a wealthy middle-class farmer. The home is a museum and patrons are free to wander around at their own pace and discover how life was lived by common people in Tudor times.
After the Anne of Cleves House, I made my way to the historic High Street. Along the way, I took a detour through the magical Southover Grange Gardens. This is a fairly land filled with beautiful flowers, majestic trees and open meadows. The weather was absolutely perfect on Saturday so the gardens were host to people enjoying picnics or sunbathing. The Gardens were my favorite part of the whole trip. I honestly could have stayed there the whole day. But, up the hill, I went... eventually, to the High Street.
The High Street is British for Main Street and is most often a busy commercial shopping street and central location. Lewes' High Street is filled with old fashion shop fronts that no doubt stretch back many decades. Craft and antique shops are easy to find and if one needs a cup of tea or a pint of lager, those are readily available as well.
The center piece of the High Street is certainly Lewes Castle. The Castle was built 1000 years ago. It began with Norman William de Warenne just after the Battle of Hastings in 1066. The Barbican was added in the 1300s. The West Tower is the highest point of the castle and from the top one can take in stunning views of the countryside. The museum offers archaeological artefacts from the earliest days of the settlement through the Roman occupation and Saxon invasions, up through the Medieval period.
I highly recommend a trip to Lewes. I can see myself escaping there again for some relaxation, especially in the Gardens. Next time, however, I might wear some sunscreen.
I have a busy week coming up. Still working on my final assignments
and projects for the course. I'll keep you posted!
Take care!
-m
Anne of Cleves House
(photo from visitsoutheastengland.com)
Southover Grange Gardens
(photo from panoramio.com)
Lewes High Street intersection
(photo from www.beenthere-donethat.org.uk)
Lewes Castle
(photo from dayoutwiththekids.co.uk)
Sunday, June 4, 2017
Birthday Break
Yesterday was my birthday. Yay!
To celebrate I did nothing and it was lovely. I took it easy all last week and yesterday just enjoyed a day of relaxing. After so much focus on the paper that was due the week before it was delightful to just unplug.
Coming up this week, I am back in the swing of things. I have some assignments to finish and I really need to get out and see a show. My dear parents sent me Theatre Tokens as a birthday gift, so I really don't have any excuse now. Theatre Tokens are gift certificates for tickets to productions all over the UK. They are issued by Society Of London Theatre (SOLT) and there are hundreds of productions and venues that accept the vouchers in exchange for a ticket. Truly the perfect gift for a theatre professional like me. Thanks, Mom and Dad!
That's about it for this week. I'll keep you posted on what shows I see!
Take care!
-m
To celebrate I did nothing and it was lovely. I took it easy all last week and yesterday just enjoyed a day of relaxing. After so much focus on the paper that was due the week before it was delightful to just unplug.
Coming up this week, I am back in the swing of things. I have some assignments to finish and I really need to get out and see a show. My dear parents sent me Theatre Tokens as a birthday gift, so I really don't have any excuse now. Theatre Tokens are gift certificates for tickets to productions all over the UK. They are issued by Society Of London Theatre (SOLT) and there are hundreds of productions and venues that accept the vouchers in exchange for a ticket. Truly the perfect gift for a theatre professional like me. Thanks, Mom and Dad!
That's about it for this week. I'll keep you posted on what shows I see!
Take care!
-m
Sunday, May 28, 2017
SIBs
The paper is in! Assignment complete!
So what have I been researching and writing about for these past few months? Ladies and gents, the answer is (drumroll please), Social Impact Bonds.
Melanie, what the heck is that?
Well, I'm so glad you asked.
A Social Impact Bond is a funding device designed to for not-for-profits who wish to run a program with minimum risk to funders, in particular, government agencies.
Did your head explode? Well, hang on, I'll explain.
In the current economic landscape when government agencies are being scrutinized for wasteful spending and need to gather data and analytics to prove the tax payers monies are going to fruitful enterprises, the Social Impact Bond or SIB is one way to tick the boxes. Not-for-profit agencies can experiment with new and unproven programs and get a pledge of funding from government agencies, or, trusts and foundations, who may also be keen to minimize risk. The SIB brings in an investor or investors who takes the financial risk. Much like a commercial business investor, the SIB investor agrees to supply the upfront capital needed to launch and run an inaugural program. If the program is a success, the investors capital plus interest is reimbursed by the funder, which may be that government agency I mentioned. If the program fails the investor, just like in the commercial business world, takes the financial hit and loses their money.
When the SIB is arranged, the three major parties involved; the non-profit organization or service provider, the funder, and the investor(s) design an agreement to qualify what constitutes a successful outcome for the program. During the course of the program the service provider, or, if agreed, an outside analytics agency, will process all the data and metrics gathered during the program. This can take years so, it's not a quick process. For a theatre company, this would not be the best way to raise money for a single production but, this could work if the company was looking to begin a new division or augment an existing program, for example, outreach and education. A SIB at a theatre might look something like this:
Theatre Company X wishes to build an education program to visit schools in underprivileged areas and introduce students to Shakespeare’s plays with a goal to improve engagement with and understanding of his work. Arts Council England or ACE (England's version of the National Endowment for the Arts) is willing to fund the program pending successful results and proof of achievement of the goals set forth in the SIB agreement with Theatre Company X. A High Net Worth Individual (HNWI) (e.g. a wealthy individual) has agreed to be the investor in the SIB agreement and provide the upfront capital to produce the program. If the program is successful, then ACE will pay the HNWI the amount of their original investment plus interest. The program will take six months to build and book into schools. There will be another ten months of initial trial within the school system. Students active in the first year of the program will be monitored for the following two years to determine if their engagement with and understanding of Shakespeare’s plays has improved. This will be calculated through whichever means is established in the SIB agreement. This may include test scores, trips to the theatre, participation with theatre groups, or other activities. After four years, the inaugural results will be clear and program success and recoupment of investment determined.
So that's a SIB. They were introduced in 1988 but have only really been in use in the past 10 years. SIBs first gained traction in the social sector and have been used for programs relating to an assortment of social concerns, for example, prisoner rehabilitation, education in underprivileged areas, and homelessness to name a few. Shakespeare's Globe in London is the first arts organization to initiate a SIB. They launched theirs in 2015 as a capital campaign to extend their education and research facilities and program. It is too early to tell The Globe's SIB is a success but as the Arts sector's need for new ways of fundraising continues to grow, our eyes will be on the Globe's SIB to monitor their progress.
The course is still in full swing and I am on to my last two assignments due at the end of June. Full steam ahead as I design a professional development plan and write a reflective essay on my scholastic experience. I'll keep you posted!
Take care!
-m
So what have I been researching and writing about for these past few months? Ladies and gents, the answer is (drumroll please), Social Impact Bonds.
Melanie, what the heck is that?
Well, I'm so glad you asked.
A Social Impact Bond is a funding device designed to for not-for-profits who wish to run a program with minimum risk to funders, in particular, government agencies.
Did your head explode? Well, hang on, I'll explain.
In the current economic landscape when government agencies are being scrutinized for wasteful spending and need to gather data and analytics to prove the tax payers monies are going to fruitful enterprises, the Social Impact Bond or SIB is one way to tick the boxes. Not-for-profit agencies can experiment with new and unproven programs and get a pledge of funding from government agencies, or, trusts and foundations, who may also be keen to minimize risk. The SIB brings in an investor or investors who takes the financial risk. Much like a commercial business investor, the SIB investor agrees to supply the upfront capital needed to launch and run an inaugural program. If the program is a success, the investors capital plus interest is reimbursed by the funder, which may be that government agency I mentioned. If the program fails the investor, just like in the commercial business world, takes the financial hit and loses their money.
When the SIB is arranged, the three major parties involved; the non-profit organization or service provider, the funder, and the investor(s) design an agreement to qualify what constitutes a successful outcome for the program. During the course of the program the service provider, or, if agreed, an outside analytics agency, will process all the data and metrics gathered during the program. This can take years so, it's not a quick process. For a theatre company, this would not be the best way to raise money for a single production but, this could work if the company was looking to begin a new division or augment an existing program, for example, outreach and education. A SIB at a theatre might look something like this:
Theatre Company X wishes to build an education program to visit schools in underprivileged areas and introduce students to Shakespeare’s plays with a goal to improve engagement with and understanding of his work. Arts Council England or ACE (England's version of the National Endowment for the Arts) is willing to fund the program pending successful results and proof of achievement of the goals set forth in the SIB agreement with Theatre Company X. A High Net Worth Individual (HNWI) (e.g. a wealthy individual) has agreed to be the investor in the SIB agreement and provide the upfront capital to produce the program. If the program is successful, then ACE will pay the HNWI the amount of their original investment plus interest. The program will take six months to build and book into schools. There will be another ten months of initial trial within the school system. Students active in the first year of the program will be monitored for the following two years to determine if their engagement with and understanding of Shakespeare’s plays has improved. This will be calculated through whichever means is established in the SIB agreement. This may include test scores, trips to the theatre, participation with theatre groups, or other activities. After four years, the inaugural results will be clear and program success and recoupment of investment determined.
So that's a SIB. They were introduced in 1988 but have only really been in use in the past 10 years. SIBs first gained traction in the social sector and have been used for programs relating to an assortment of social concerns, for example, prisoner rehabilitation, education in underprivileged areas, and homelessness to name a few. Shakespeare's Globe in London is the first arts organization to initiate a SIB. They launched theirs in 2015 as a capital campaign to extend their education and research facilities and program. It is too early to tell The Globe's SIB is a success but as the Arts sector's need for new ways of fundraising continues to grow, our eyes will be on the Globe's SIB to monitor their progress.
The course is still in full swing and I am on to my last two assignments due at the end of June. Full steam ahead as I design a professional development plan and write a reflective essay on my scholastic experience. I'll keep you posted!
Take care!
-m
Sunday, May 21, 2017
Dog Day
This past week's highlight has to be the visit from some furry friends. I live in student accommodations called Nido. The Nido staff are great about planning community events. Most of the time these are parties with bands or DJs. Those events are not usually my scene. But this past Wednesday Nido hosted Dog Therapy Day and that was lovely. Ned and Dash were brought by an organization that specializes in cheering people up with a little K9 attention. This was a lot of fun. Ned is a German Shepard mix and Dash a King Charles Spaniel. Dash, coincidently is also the name of Queen Victoria's favorite King Charles Spaniel. Many of the residents gathered in the lobby to hang out with our tail wagging visitors. Treats were provided so we could bribe the pups in our direction. It was fun to hang out with the dogs and unwind a little.
My focus has been and continues to be the final case study. It's due on Friday and I'm moving into the final stretch. These case study projects are all about research and academic rigor. My natural writing style is not the tone and technique that is needed so I have been visiting the writing centre at school to make sure I'm on the right track. I'm feeling good and ready for these last few days of work on this project. After which, I will move on to the last two assignments of the course.
Next weekend, there are bound to be some celebrations in having finished the case studies. I'm looking forward to them!
Take care!
-m
My focus has been and continues to be the final case study. It's due on Friday and I'm moving into the final stretch. These case study projects are all about research and academic rigor. My natural writing style is not the tone and technique that is needed so I have been visiting the writing centre at school to make sure I'm on the right track. I'm feeling good and ready for these last few days of work on this project. After which, I will move on to the last two assignments of the course.
Next weekend, there are bound to be some celebrations in having finished the case studies. I'm looking forward to them!
Take care!
-m
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