Guide In the Intersection: Partnerships in the New Play Sector

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A Portfolio Approach to Social Innovation Partnerships

Abdul Shayek, Adelaide Bannerman and Natalie Ibu introduced the Australian visitors to their working context, key colleagues and collaborators. Together they met with:. The INTERSECT participants will continue to support each other over the next nine months, working together on their individual and shared goals in a peer mentoring programme.

In February , the participants will come together again for a knowledge exchange based in Australia. Skip to main content. I am close to both the report and the subject since my research topic for my dissertation is the evolving relationship between the not-for-profit and commercial theatre over the past thirty years ; thus, rather than commenting further on it, I will leave you with a key passage from the executive summary with the hope that it will entice you to read the full report and share any comments you may have.

I welcome them.


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Amazon also has copies for 99 cents. I will close by saying that throughout the two-day convening I was struck by two things: the complexity of the issues which are clearly agonizing at times for those dealing with them and the generosity of spirit of all who attended the meeting.


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I am grateful to P. Carl and David Dower for inviting me to write the report and the participants for trusting me to do so. We all deviate from the ideals—ideals are meant to deviate from.

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But you have to know what they are in order to deviate from them. We did, as a not-for-profit theatre, most of us did these things because nobody else would do them!


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  8. Collaborations and partnerships were generally considered to be beneficial by the group, with both commercial and not-for-profit producers acknowledging that there is work that would not be created were it not for these partnerships. At the same time, concerns were expressed. Among them, that the goals and values of not-for-profit and commercial producers can be at odds; that costs and risks associated with enhancement deals are escalating; that artists are often put in the position of serving two masters; that the prospects of a Broadway run can change the artistic process and product; and that such partnerships have the potential to create a legal and moral slippery slope for not-for-profits.

    If there was a clarion call from the meeting, it was perhaps for clarification around this moral line—what some called the value proposition of resident theatres. There was a sense that regional theatres have been, to some greater or lesser degree, falling down on their watch—not providing adequate support to artists; not taking the artistic risks that they were created to take; not existing first and foremost for their local communities; and, most of all, not upholding alternative measures of success and an alternative set of values to those upheld by the commercial theatre.

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    PS: Beyond the excerpt that ends this essay, this post draws heavily on passages I wrote for the executive summary of the In the Intersection report. Interested in following this conversation in real time?

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    Receive email alerting you to new threads and the continuation of current threads. All of the key issues are being dealt with -- or at least put on the table -- in the discussions you are documenting and if there are no solutions yet, at least the problem is beginning to be identified. Among those key issues: the rise in power of managing directors introduced originally by the Guthrie eclipsing that of artistic directors or at least profoundly challenging their authority; the unintended consequences of the subscription-based business model; the loss of the motivating ideals of the original regional theatre movement, driven by market forces beyond the control of our organizations; the "to-big-to-fail" structures of the largest rep companies; and the growth of commercial theatre thinking and values in rep company boards, affecting the assessment of organizational and artistic success.

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