The 4th Priority of an Artistic Director
This November, I’m launching a programme of Coaching and Training that guides aspiring Artistic Directors through everything they need to know from the moment they apply to the end of their first year in the job, built around 7 priorities. I’ll be posting about one priority each day this week to give you a flavour of what we’ll cover in the Programme. Yesterday was Priority 3 - People. Today is Priority 4 - Programming.
It might seem strange that Programming is our fourth Priority but in reality, it doesn’t matter how many good ideas for productions you have, if you haven’t properly Prepared, articulated your Purpose and earned the trust of your People, none of your ambitions will come to fruition.
Programming is an art, for sure, but as with your Artistic Vision it will only be as strong as your business model. Understanding how to balance art with income, your taste with the desires of your audiences and the organisation’s ambition with its capacity is part of the craft.
Meanwhile you’re also balancing the present with the future, ensuring a steady pipeline of ideas, content and concepts both from within and from without the company. Taking the time to invest in the ‘important but not urgent’ tasks of meeting artists, commissioning and R & D when there are so many ‘urgent but non-important’ tasks making demands on your time is a skill Artistic Directors use constantly.
At the heart of your first year will be your opening season - a calling card for audiences, funders and artists that puts your vision in to practice. Strategising how and when this happens as well as ensuring it has the impact you desire on your stakeholders and customers - all without destabilising any work already in place - is a complex piece of orchestration.
From the moment you apply for the job until the end of your first year, Programming requires balancing your focus between three key areas:
Inherited programme: It’s likely you will inherit some programming when you arrive. Framing this work as both continuity and contrast will be essential to building a bridge to your tenure. Some take a bold approach and clear the decks - others honour existing commitments and use the time to ‘cross-fade’ into their own programme. It’s likely you’ll have brought some work with you. Deciding how you’re going to manage existing work is crucial before you start (hence the importance of Priority 1, Preparation) in order to avoid burning bridges or feeling like you haven’t quite ‘arrived’.
Your First Season: Nothing says ‘new Artistic Director’ like their opening Season. There’s a lot of pressure and most of it you’ll be putting on yourself. It’s an exciting opportunity to show the world your taste, ideas and skill and to set the tone for your tenure. It’s tempting to splash the cash; and sometimes that’s what’s needed. Others take a more modest approach, building in sustainability from day 1. Whatever your strategy, your opening season needs to walk your talk (see Priority 2, Purpose).
Seeding future programmes: As a Director you might like nothing more than spending time with artists, writers or designers, dreaming up ideas to pitch to theatres, producers or funders. It’s a great way to spend your downtime between productions - seeding and cultivating. But when you’re an Artistic Director, that time quickly and quite rightly becomes claimed by Board Sub-Committees, Marketing Strategy Meetings and Donor Events. Protecting the time - and more importantly, the head space - to speculate and dream the future in the midst of the demands of the present is an essential skill to master.
If you’d like to learn how to hone these three key Programming skills and more, Sign Up now to my upcoming 7 Priorities Programme for Aspiring Artistic Directors. Tomorrow, Priority 5: Planning.
