National Rural Touring Forum supports rural touring schemes, promoters, artists and communities to bring high quality and professional creative experiences to rural venues and audiences. It does this through advocating on behalf of the sector, creating national projects, networking, showcasing and hosting an annual conference.
What is rural touring and why is it different from urban touring?
Rural touring is where professional performances take place in rural venues. These rural venues usually take the form of a Village Hall or Community Centre, but can also be pubs, libraries and outdoors. They are rarely fully equipped arts venues. Performances are programmed by a rural touring scheme, who will curate a varied season of events. Instead of all the events taking place in a couple of rooms in one building, they take place in lots of venues across a specific geographical area, sometimes whole counties, sometimes even further. Rural touring work is very different from touring to city centres or venues in urban areas. Artists express high regard for rural touring venues and the level of professionalism from the promoters. They often talk about their appreciation of a certain “magic” and warmth of the audiences that happens at rural events which aren’t the same at larger halls or festivals.
“The heart of the reason why it’s different from a town centre art centre is that the audience knows each other. That contributes to the other thing that is distinctive, which is that rural touring events become part of shared memory, part of what builds community. So, for both of those reasons, I think that it is a very distinctive kind of artistic experience.” François Matarasso, March 2019
Green Touring Touring is inherently greener than venue-based work. Large venues consume vast amounts of energy and expel lots of carbon. People invariably drive to them – or drive to a station to get a train to get to a city where the venue is. Small-scale touring – where one van is on the road for a small cast – has a low carbon footprint in comparison. Rural touring is generally set in villages where many audiences walk to the venue. And if they don’t walk, they live usually within a 10-mile radius, so journeys are short. Previous NRTF annual surveys report that 90% of audiences travel for less than 10 minutes to get to their village hall.
Rural touring couldn’t happen without promoters who host the events. They work with the schemes to identify which performance or artist is the most relevant for their audience and do everything from box-office to get-ins, promotion, hosting artists. Many know their audiences on a first name basis. Volunteering sits at the heart of rural touring; most promoters are volunteers. Venues employing professional staff utilise the help of a network of dedicated helpers. Promoters maintain an engaged audience for shows, know what they like and are aware of the level of risk they are comfortable in taking in their programme.
All genres of work are represented in rural touring. Creative practitioners and performing companies are selected via recommendations, showcasing, introductions, festivals and seeking out shows independently. They all have a few things in common – flexibility, relevance to the audience, and professional quality work. “It’s about putting artists in front of audiences and audiences in front of artists. Everything else is fundamentally about getting that moment working Properly. Our job is to make sure that that marriage is right and the right communities, the right shows and the right artists end up in the right place at the right time and that’s very important to us.” Director, rural touring scheme
Health in the Community
Rural touring brings high-quality arts to people who otherwise would not have access to it. This can contribute to reducing the effects of isolation and to developing community cohesion, while also strengthening the capacity of local people to organise and to develop themselves. Bringing quality, diverse, and challenging arts activity has been shown to be integral to catalysing and supporting community life in rural areas, especially as other village ‘anchors’ such as shops and pubs have diminished. The act of programming touring arts into rural areas generates a range of individual and community benefits, including personal development, improved well-being and supporting community buildings and infrastructures such as pubs, halls and schools. The strengthening of existing community organisations through networking and volunteering and bringing people together positively fosters community cohesion by reducing loneliness, breaking down age barriers and even, enhanced local democracy.
In 2016, Arts Council England (ACE) launched the second round of calls for proposals to the Research Grants Programme. The call sought proposals aimed at collaborative research work to develop the evidence base around the impact of arts and culture. The role of the Research Grants Programme is to generate evidence:
■ to better understand the impact of arts and culture;
■ to make the best case for arts and culture in the context of reduced public spending; and
■ to promote greater collaboration and co-operation between the arts and cultural sector and research partners.
CONCERTA has been a national study of the benefits, for local community development, of a relatively under-researched form of creative activity: rural touring arts.
Devised by the National Rural Touring Forum (NRTF) (Lead Applicant), in collaboration with the Centre for Business in Society (CBiS) at Coventry University (Research Partner), the CONCERTA project (Contributing to Community Enhancement through Rural Touring Arts) was provided with funding of circa £150,000 by ACE under the terms of the Research Grants Programme for the period from December 2016 until March 2019. NRTF was the Lead Partner and accountable body, with oversight provided by a Steering Group, chaired by NRTF and including ACE and the NRTF Board. CONCERTA has been based on a mixed methods research design, combining the development of a national, geo-referenced data-driven evidence base of professional rural touring activity with the production of a series of more qualitative case studies of the impact of touring rural arts. The choice of case studies included a return to some of those areas studied by Matarasso (2004) Only Connect in consideration of the potential of the cumulative impact of rural touring through time.
The project was designed to support NRTF and its Scheme members in their professional activities.
The project encompassed five methodological strands:
■ Rural Touring Schemes organisational characteristics, activities and impacts: An on-line questionnaire was sent to all 24 English Rural Touring Schemes funded in 2016.
■ Mapping the patterns and characteristics of English rural touring arts activity: a comprehensive, geo-referenced evidence base of five years of English Rural Touring Scheme activity, for all 24 English Rural Touring Schemes funded in 2016. This comprises over 700 digital maps. Activity data collected through the scheme survey has been combined geographically (using ESRI ArcGIS) with socioeconomic data from sources such as Census (census.edina.ac.uk), Neighbourhood statistics (www.neighbourhood. statistics.gov.uk) and Employment (www.nomisweb.co.uk).
■ Case Studies of the impacts of rural touring activities:– Five Core Caseswere selected reflecting levels of ‘rurality’ in Rural Touring Schemes;- Two ‘Cumulative’ Cases and an interview with François Matarasso – representing a return to local rural touring areas previously studied by Matarasso (2004); and- Two ‘Non-Scheme’ Rural (touring) Arts Investigations to investigate the possible benefits and impacts of other, often amateur, arts-based activities, rather than professional Touring Schemes. In the spirit of co-design and partnership, these cases were undertaken by NRTF with oversight by Coventry University.
■ Supporting professional touring development and wider dissemination: a range of knowledge transfer and technical expertise activities to support NRTF, their membership Schemes and broader understanding of the characteristics and benefits of professional rural touring.
Below is an example of one of the national maps produced from Scheme data, representing number of different art-form types by location in 2012-2017, by Scheme, mapped against national Rural Urban Classification 10.
In summary, the Rural Touring Schemes represent a set of small, relatively stable, long-established organisations.
Overall, annual turnovers are low, and very low in some instances, and this is reflected in employment structures. These range from between one and ten employees, often supported by a freelancer or several. The Schemes exhibit substantial variety in terms of company structure. Some are private companies, some are effectively franchises or projects run by other companies, and some are community interest companies. Many of the more established companies are charities.
Between them the Schemes deliver annually between 2,000 to 2,500 events, incorporating a wide portfolio of art-form performances and a small number of more interactive activities (including workshops, training, etc.). These are distributed across between 800 to 1,000 venues although there is some evidence that venue numbers may be dropping. Over the last five years, the Schemes have jointly delivered 9,500 events to audiences numbering just over 700,000. Annual average audiences per event sit at a highly consistent 70 to 80 person annual average.
ACE funding is core to the sector, with 21 of the 24 Schemes attaining National Portfolio Organisation status, and seven in which ACE funding accounts for over fifty percent of funding. Ticket sales represent around a third of Scheme incomes, with notable variation across Schemes. Local Authorities remain the other main funder, although at an increasingly low scale.Change dynamics are evident across the sector but one relationship is clear: simply put, the greater the turnover, the more staff are employed, the more freelancers used and the more events are programmed.
The impacts of rural touring Table ES1 (overleaf) summarises the range of impacts of rural touring identified by the research. Bringing arts activity – quality, diverse, and challenging arts activity – to a substantial range of accessible and remote rural areas, rural touring has been shown to be integral to catalysing and supporting community life in English rural areas, especially as other villages ‘anchors’ have diminished. The act of bringing touring arts to rural areas (engagement and participation) generates a range of individual and community benefits, including personal development and well-being, community assets and capacity and, ultimately, stronger rural communities. Table ES1: The Impacts of Rural Touring Arts
Promotes participation in the arts and creative activity
· Provides and catalyses high-quality, accessible, affordable, arts activity in people’s own local rural communities· Encourages engagement with the arts and creative activity, including a broader appreciation of the arts and its diversity· Inspires audiences to attend other, and a wider variety of, arts and culture events· Inspires people to take up a personal interest in the arts and creative activity – and raises the aspirations of those who already participate· Potential individual health and well-being outcomes given generation of emotion, thought, challenge, captivation, empowerment, etc. through engagement and participation
Builds art and community assets
· Develops new programmes and strands of village activity, including the identification, rethinking and re-using of existing assets· Provides an income stream for local activities, facilities and employment· Supports the provision of new community centres and facilities, including their development as arts venues· Acts as a ‘magnet’ to other arts activities to encourage the development of cultural hubs, venues and events· Contribute to, and potentially form, ‘community anchors’ – and their capacity to deliver broader services, and social, economic and rural development
Generates individual and community capacity
· Brings local people together to plan and support activity in arts and culture – volunteering · Develops individual confidence and skills· Generates volunteering, interest groups and social networks· Generates voluntary activity and self-organisation beyond the arts – community activism
Builds stronger senses of community
· Brings people together:- Reduces social isolation and builds (new) social relationships- Provides non-threatening environments (e.g. for challenging experiences/ people with protected characteristics)- Promotes diversity and challenges stereotypes- Develops community cohesion· Develops a sense of pride in, and belonging to, community· Reduces fear and contributes to community safety
In providing an updated national overview of the organisational characteristics, activities, and impacts of the ACE-funded English Rural Touring Schemes, a number of issues were raised by interviewees (Table ES2). These centred around aspects such as: funding and sustaining the rural touring arts model; strategy and rationale (and achievement of them); and, operational effectiveness.TableES2: Issues for Rural Touring Arts
Funding Quality Performances
The reducing subsidy model reaching a point where it is becoming unviable to programmeFinancial models and pressures leading to lack of risk and ‘safe programming’ – can communities be rewarded for riskier programming?What is quality anyway?
Limits of the model
Touring model focusses companies on touring performances only – missed opportunities for innovative workshops/ community arts/ targeted commissions etc.Contradictions of promoting high-quality professional events through unpaid volunteers – and the growing challenges of ‘professionalisation’Skills concentrated in the hands of a small number of peopleSpread too thinly?
Achieving cultural diversity throughout the rural touring modelLack of work around protected characteristics
Narrow and shrinking group of ageing promoters – and volunteersLimited work to develop skill and succession in communities
Who benefits and who comes to events?
Are touring shows catering for an audience who would access the arts anyway?Could the spending have more impact if it was better targeted?What do we know about the local people who do not attend?
The research was able also to point to examples of responses to such challenges across the Schemes. Table ES3 overleaf provides some examples of Good Practice identified during the research programme. Table ES3: Good Practice Examples in Rural Touring Arts
Programmes to promote quality and innovation at a local level e.g. Rural Touring Dance Initiative (in partnership with The Place, Take Art and China Plate)
Targeted development schemes for promoters (Young Promoters Scheme Black Country Touring and Creative Arts East)Collaboration and joint projects between schemes for strategic outcomes (Shropshire and Black Country “My Big Fat Cow Pat Wedding”)Using programming to challenge racism and promote diversity (Spot on Lancashire, “The Chef Show”)Targeted support for Promoters (Village Ventures/ Live and Local – patch based link workers)Tailored support schemes for artists (Developing Artists For Rural Touring (DART) Scheme, Live and Local)Transparent, tiered risk-based subsidy rating for different performances (Spot on Lancashire)Pitching Meetings bringing local promoters together before each season to consider the whole menu of shows as a group, talk through what would work for them and organise dates together (Carn to Cove)
Volunteer support and training (Wem Town Hall)Community capacity building (Borwick and Priest Hutton)Driving wider programming through the use of rural touring programme to test out/ pilot approaches/art-form/ artists (Bulkington Community and Conference Centre)
Recommendation 1: Given learning from this research, further enhance the NRTF Annual Survey instrument. Consider how this supports regular sector-level development of impact reporting. Recommendation 2: NRTF to consider further the role of Rural Touring Schemes within current policy horizons over and above engagement and participation in the arts, such as in ‘supporting anchors of local community/rural development’, ‘contribution to civil society capacity’, ‘enhancing social cohesion’ and, ‘delivery of health and well-being’. Recommendation 3: Continued recognition and development of NRTF sector support to Schemes – communication and feedback; training, dissemination of reports, guides and resource packs (‘help fuel’); and, strategic programmes to promote excellence and innovation at a local level. Recommendation 4: For the sector and its stakeholders to consider strategic responses to key challenges raised by this Report: Succession and Sustainability; Sustainability: funding and finance; and Diversity and Cohesion. Recommendation 5: To consider research on Rural Touring Arts and Health and Well-Being as a substantial emerging research priority.
 These examples are drawn solely from the Report Case Studies. Good practice examples exist across the Rural Touring Schemes
Everyone on the Rural Touring Award shortlist has been chosen from a wider list of publicly nominated individuals, events and organisations. The nomination portal was advertised far and wide throughout the sector via email and social media.
Jude Henderson, Director – Federation of Scottish Theatres
Ian McMillan – poet, journalist, playwright, and broadcaster
Kate Green, Deputy Editor – Country Life Magazine
“What a fabulous, ambitious and ground-breaking collection of people and ideas!” Ian McMillan, 2019 Rural Touring Award Judge
Priority Judging Criteria
Highlighting steps forward, art form development, surprising stories, creative case.
BIO: I’m 20 and live in Chirnside in Berwickshire, in the Scottish Borders. I have lived in the Borders all my life. I like The Borders but transport is a real problem, it is difficult to get anywhere quickly on public transport from Chirnside.I love music, both listening and playing and am also really interested in sound engineering. I also enjoy photography and have recently started taking photographs at Live events.
QUOTE FROM NOMINEE: “I’m surprised by the nomination but honoured to have been nominated and glad to be making a positive impact on rural touring”
JUDGES THOUGHTS: It feels to me that Jasmine has gone deeper into the idea of what Rural Touring is, and she seems like a really bright prospect for the future.
QUOTE FROM PUBLIC NOMINATION: “Since Joining Boarders Young Creative Jasmine has shown real commitment to the project” Anon.
BIO: I have a huge interest in lighting and the Neuadd Dyfi has given me the opportunity to expand my interest and build my knowledge. I really do love it when the touring shows come in as I’m able to see how they work bringing pretty much everything with them. I feel that I am so lucky to be able to do all of this when I am so young. I am hoping that I can continue Learning and gaining experience so when I leave school I have the knowledge to continue with a career within this field.
JUDGES THOUGHTS: Sam is clearly an exceptional young person with a bright future in our industry. I wish him every success in his training and next steps.
QUOTE FROM PUBLIC NOMINATION: “Sam Pullen is an exceptional young man. Since 2017 when he was just 13 he has been helping out at all the Night out Shows we have had at the Neuadd Dyfi. When I say help I really mean help. He helps with the get in with the get out. Rigging lights setting chairs and clearing away at the end. If there is nothing to do he finds something. If it’s raining you will find him outside welcoming members of the audience with an umbrella.” Anon
Break Through Performance of the Year
Sophia Hatfield from Stute Theatre
BIO: ‘Common Lore’ is a fast-paced, multi-skilled solo show by actor and theatre-maker Sophia Hatfield (aka Stute Theatre), which retells Angela Carter’s collection of Fairy Tales for a modern, young rural audience. A fast-paced fusion of rap, spoken-word, live electronic music, multi-rolling and physical theatre, this production attempted to push the boundaries of solo storytelling through the creative use of technology – with live projections and sound cues triggered entirely by the performer on a mobile phone as part of the action. Inspired by interviews with young people in libraries across the North West, this show took relevant, inspiring theatre to libraries, youth theatres, schools and rural venues engaging young people who do not traditionally access theatre.Stute Theatre – Live Performance in Community Spaces, Schools and Theatres. www.stutetheatre.co.uk
QUOTE FROM NOMINEE: I am absolutely delighted that the creativity, ambition, passion and hard work of the wonderful team behind Common Lore has been recognised through this nomination. Whilst incredibly rewarding, creating and touring theatre for young adults can be challenging. From the very first commissioning meeting with Spot On, through rehearsals and when touring the show, I was blown away by the enthusiasm, dedication and hard work of the many rural touring organisations who made this show happen. The rural touring community took a risk on a new piece, with the hope of welcoming and inspiring the next generation of theatre audiences, whilst supporting Stute Theatre as an emerging company and I’m incredibly grateful. Thank you so much!
JUDGES THOUGHTS: This feels really ground-breaking because of its brief to appeal to young people in Library spaces. I like the idea of the show and the way it was written and performed.
QUOTE FROM PUBLIC NOMINATION: “Sophia uses these three stories to reflect on what it is like to be an un-wealthy 18-year-old in the north, yet it is done with wit, humour and sophistication. Students, apprentices, grandparents and anyone else who was ever 18 will love this piece” Anon
Theatre company Dante or DieBIO:Dante or Diemakes bold and ambitious site-specific performances that tour across the country and internationally. The company gently transforms ordinary spaces to create unique and intimate theatrical experiences.Led by co-founders Daphna Attias and Terry O’Donovan, their original productions interrogate and celebrate contemporary human stories that take place in everyday buildings – from hotel rooms to swimming pools to cafés. They have collaborated with leading arts venues across the UK including Traverse Theatre, The Lowry & The Almeida alongside grassroots organisations in the localities in which they make work. Dante or Die are SITELINES Associate Artists at South Street Reading, which champions performance in unusual locations
QUOTE FROM NOMINEE:We are absolutely delighted to be shortlisted for a National Rural Touring Award for Take On Me. Working with the guest cast members in each location around the country was an absolute pleasure and an inspiration. To every leisure centre that said yes to making this beast of a show take over your building – thank you! We hope to see more spaces being turned into theatrical landscapes over the next year of rural touring!” – Co-Artistic Directors Daphna Attias & Terry O’Donovan
JUDGES THOUGHTS: The innovative and inclusive approach to local people and local places was really impressive
QUOTE FROM PUBLIC NOMINATION: “Dante or Die’s ‘Take On Me’ tour was an absolutely incredible project to be involved in last year, and definitely one of the most outstanding, unique productions that traveled to rural Norfolk in 2018.” Creative Arts East
The Haunted Man by Kindred Theatre
BIO: Kindred Theatre was set up in 2016 to bring big stories into small spaces; our aim is to let audiences listen and see stories, old and new, in their communities, made for their spaces and relevant to their lives. It was formed by two theatre professionals, both from rural backgrounds, who have spent many years working in and loving the joyful and welcoming experience of rural touring and wanting to bring theatrical adventures into small communities.
QUOTE FROM NOMINEE: “We’re thrilled to be shortlisted for this award. After many years of working with the Networks and various rural touring companies, it’s a real pleasure to feel that our first adventure with our new company touched audiences in the way it did and brought about this recognition.”
JUDGES THOUGHTS: I enjoyed the description of transforming the space into a theatre, demonstrating that rural touring isn’t always about small, intimate performances.
QUOTE FROM PUBLIC NOMINATION: “This was the largest staged production I have seen in rural venues. Full stage and lighting and sound really transformed the space, which felt like a theatre. The production quality was so high, and acting was superb.” Anon
BIO: Growing up I was always involved in, and at my happiest when I was involved in theatre and performance. I studied Visual Arts as a mature student and that led to my passion (fuelled also by some frustration) for the arts, in all forms, being for everyone. I established a few of my own small festivals and sculpture trails where the focus was on the process of bringing people together and enabling anyone to take part at whatever level they felt comfortable with, rather than purely the end product. It was through discovering this really strong belief that led me to find the part-time administrative role at Creative Arts East. Their ethos and that of rural touring schemes as a whole seemed a perfect fit for me. I have been very fortunate to have been given opportunities and career progression well beyond my qualifications and experience and am glad that it seems to have worked out ok for me and the lovely and very supportive team I work with!
QUOTE FROM NOMINEE: Surprised, to say the least! I am constantly blown away by the ambition and dedication of my rural touring peers, so feeling very humbled by this nomination.
JUDGES THOUGHTS: I love the idea of her pushing the boundaries of what rural touring can be and do!
QUOTE FROM PUBLIC NOMINATION: “Karen as a person is absolutely bursting with energy, creativity, and enthusiasm, and she has thrown all of this into developing the Creative Arts East Live! rural touring scheme into what it is today. She is a real ‘yes’ person – she is constantly striving to push the boundaries of what rural touring can be and do.” Creative Arts East Theatr Bara Caws
BIO: Bara Caws was established over forty years ago to fulfill the demand for professional theatre for the Welsh community in the Welsh community, and we are by now the oldest professional community theatre working through the medium of Welsh. We continue to provide a unique service to our grassroots audiences at the heart of our nation and are proud to be recognised as a mainstay of the Welsh theatrical landscape.
QUOTE FROM NOMINEE: We at Theatr Bara Caws are delighted to have been nominated and shortlisted for the National Rural Touring Awards 2019. It’s wonderful to know that our work continues to be appreciated throughout Wales, and we feel passionately that we must continue to strive with our mission of presenting a high quality diverse artistic programme at the very hearts of our communities. Recognition such as this nomination is greatly appreciated – thank you.
JUDGES THOUGHTS: I’m excited and moved by the fact that they make shows in Welsh, creating new work in a so-called minority language and challenging the rest of us about our ideas about what art is and what it can be.
QUOTE FROM PUBLIC NOMINATION: “Theatr Bara Caws is a community theatre company who present original, relevant work to the widest possible cross-section of people, offering theatrical experiences of the highest quality, bringing entertainment and excitement, ingenuity and relevance to the hearts of communities in Wales” Anon
BIO: Brought up in rural Essex with no cinema or theatre within 20 miles, I had no concept of the arts as a professional possibility till I went to University. After uni I worked in producing and touring the main house, studio theatres, touring community, TIE and studio companies, until I found my true vocation of Rural Touring. I have had the best, most creatively rich time working with fun, innovative, clever, dedicated people. Artists, volunteer promoters, fellow scheme managers have become collaborators and friends. I love collectively making opportunities for human connection that people think and talk about long after the event is over.
QUOTE FROM NOMINEE: How do I feel? Honoured and humbled (and TBH also a bit thrilled). Rural Touring is such a team effort – I don’t think any one person can ever be assigned particular credit for any aspect of its gloriousness
JUDGES THOUGHTS: Sian is clearly a lynchpin in her local area; one of those ‘without whom’ people who are so vital to rural touring theatre and to their communities as a whole
QUOTE FROM PUBLIC NOMINATION: “Sian was totally dedicated to Arts Alive for her twenty-year tenure, during which time she put on 2,500 live performances from 700 companies in front of 125,000 people, a record that will have been surpassed by very few” Anon
Favourite Performance of the Year
I Ain’t Afraid of No Ghost – Little Earthquake
BIO: Gareth Nicholls and Philip Holyman, aka Walsall-based theatre company Little Earthquake, have been together for 17 years, making work with each other for 14 years and have been married for (almost) one year.Little Earthquake observes one commandment: “Thou Shalt Not Bore” — and our next big not boring project is MoonFest, a nine-day celebration of the 50th anniversary of the Apollo 11 Moon landing which runs between 16th – 24th July 2019. (Our first wedding anniversary happens to coincide with the day on which Neil Armstrong and Buzz Aldrin became the first men to land on the surface of the Moon.)
QUOTE FROM NOMINEE: “We are very proud rural tourers — the network gives us a unique opportunity to connect with, learn from and, most of all, entertain audiences who live outside the catchment areas of major metropolitan arts venues, up and down the country.It is thanks to the very existence of the rural touring sector — and to the hard work of the thousands of people who support it, both paid and unpaid — that artists like us get to build these lasting relationships with audiences in the first place.Our “Favourite Performance of the Year” nomination has come directly from audience members who have experienced and enjoyed our work — and being shortlisted for this award is a massive validation of our most fundamental ambition for Little Earthquake: to make audiences the most important ingredient in everything we do.”
JUDGES THOUGHTS: This show had clearly really made the audience think about the issues, as well as entertaining them.
QUOTE FROM PUBLIC NOMINATION: “I even shed a tear as there was a real element of truth to the story. I think out of all the shows I have seen this year it was the most emotionally impactful.” Anon
Excalibow by Bowjangles
BIO: Bowjangles are a unique singing, dancing, comedy string quartet who are well known on the Rural Touring circuit for their musical comedy theatre shows. The group have been performing together for 11 years and in that time have travelled the world extensively performing in theatres and halls, at arts festivals, in schools, hospitals, the occasional prison and even in a forest in the dead of night. They also love performing at cabarets, private events and functions, and occasionally you might even see them on TV, or doing a street show. In 2018 Bowjangles won the coveted ‘Spirit of the Fringe’ Award for their show ‘Excalibow’ at the Edinburgh Fringe Festival
QUOTE FROM NOMINEE: We have been Rural Touring for a decade now and it remains one of our favourite things to do as a group. Of course, none of it would be possible without the dedication of the staff organising the scheme menus, the devotion of the volunteer promoters or the enthusiasm of the audiences who make every show we do an absolute delight. We are truly honored to have been nominated for this award!”
JUDGES THOUGHTS: The energy in this show was palpable, and the image of people from 5 to 93 enjoying work together was brilliant.
QUOTE FROM PUBLIC NOMINATION: “Unbelievable Performance Skills – playing, singing, dancing, acrobatics, hilariously funny. Stunning all round performance. Entirely unique concept.” Anon
Brilliance by Farnham Maltings
BIO: Farnham Maltings is a cultural organisation committed to increasing the range, quality and audience for contemporary theatre across South East England. One key element of that work is exploring the ways we meet the needs and ambitions of villages and market towns with whom we commission, produce and tour new theatre work.
QUOTE FROM NOMINEE: “Hearing that your efforts and ambitions chime with peers from across the country is both humbling and hugely motivating. Knowing that it matters, as we all do, that artists can make contemporary, experimental, playful work in village halls is a truth that needs to universally understand”
JUDGES THOUGHTS: I like the idea of the intimacy of this show
QUOTE FROM PUBLIC NOMINATION: “The story had elements that were immediately recognisable to village inhabitants. It appealed to all age groups. The audience was close to the action and became very involved in the fortunes of the characters. A little sleight of hand with the ingenious set brought the show to a magical conclusion. Ideal winter show.” Anon Touring Scheme Collaboration of the Year
The northern consortium
BIO: Co-working and Partnerships: Five rural touring schemes in the North: Spot On (Lancashire); Cheshire Rural Touring; Arts Out West (West Cumbria); Highlights (East Cumbria, Northumberland, County Durham) and ArtERY live/liveLincs (East Riding of Yorkshire & North Lincolnshire), along with Arts Alive (Shropshire & Herefordshire), form an unconstituted, informal strategic alliance. The schemes have collaborated since 1999, with Arts Alive joining later, demonstrating creative programming, strength and resilience, delivering projects to the value of over £1,000,000 in jointly commissioned tours by professional touring artists and companies from the UK and internationally. The artistic quality of work in the region is increased by working cooperatively on joint ventures and increases opportunities for artists. This method of working is often cited by ACE as a model of good practice in consortia working. The methods employed use the skills and expertise of the scheme managers. Funding bids, tour programming, management, financial leadership and risk are shared amongst the participating schemes.The five schemes also collaborate with other rural schemes in the north (North Yorkshire and East Cleveland). Recently we formed new relationships with the emerging Rural Touring schemes in the South Of Scotland (Ayrshire; Borders; Dumfries & Galloway).
QUOTE FROM NOMINEE: Sue Robinson: “The combination of the professional trust we have in our northern consortium partners, combined with the APA’s commitment to us means we have as a consortium been able to punch above our weight, touring Canadian companies to our venues for over 15 years. Without this regional and international partnership, such activity would be simply impossible.We are very excited with this nomination!”
JUDGES THOUGHTS: This is clearly a strong and sustained partnership, delivering major benefits for their communities by working together. I loved the connection with Canada, and the reference to work in French.
QUOTE FROM PUBLIC NOMINATION: “Together the consortium also have worked together to address issues in rural touring, such as finding diverse companies and work and supporting artists to rural tour.” Anon
Carn to Cove and Villages in Action
BIO:Carn to Cove is the touring scheme in Cornwall and has been running for 18 years. It has a network of 85+ village halls and community spaces and programmes around 120 events per year in two seasons. When Villages in Action, the neighbouring scheme in Devon, running a similar sized project announced its intention to close in 2017, Carn to Cove stepped in to offer the network of promoters access to its own menu parties and subsequently won funding to stabilise the scheme and appraise several options to ensure its ultimate sustainability.
QUOTE FROM NOMINEE: We are really excited to be part of the rural touring awards this year, as they are becoming an established part of the NRTF year. We are really honoured to be shortlisted, as we know how much great work goes on in our sector and we are very much looking forward to meeting up with colleagues and friends at the Award Ceremony
JUDGES THOUGHTS: SOS rural touring: this collaboration has actually saved provision for a community, and pride in that achievement shines through in the nomination.
QUOTE FROM PUBLIC NOMINATION: “Villages in Action was to close. The promoters were very front footed about working with Carn to Cove. Despite capacity worries, the system seems to be working very well. I am proud that people cared enough. I am proud that Cornwall and Devon can work together so well. I am proud that communities care enough to keep work happening across the village halls” Anon
BIO: Inn Crowd is a partnership project from Applause Rural Touring, Creative Arts East and National Centre for Writing. The project supports rural pubs throughout the South East and East of England to host exciting and inspiring spoken word, poetry and storytelling performances in their pubs reaching and engaging with non-traditional arts audiences. This collaborative project also engages national Charity Pub is the Hub as an advisory partner supporting the project with pub industry expertise and advice. A key aspect of the project is the support Inn Crowd gives some of the UK’s best-spoken word artists to create, develop and tour their work to new areas. Started in 2016, the scope and range of the project has increased year on year with overwhelming responses from audiences and landlords alike w over 200 performances have taken place primarily in the southeast and further afield in collaboration with rural touring organisations nationally.
QUOTE FROM NOMINEE: “We are delighted that Inn Crowd has been shortlisted for an NRTF award. Our Inn Crowd partnerships and collaborations make it fabulous to be a part of’. Inn Crowd team
JUDGES THOUGHTS: This is a fabulous, ground-breaking scheme bringing performance to new spaces and bringing new life and new ideas to those spaces
QUOTE FROM PUBLIC NOMINATION: “The opportunity to host Inn Crowd performances has opened up the chance to host live events in some of our more challenging locations! Anon
Voluntary Promoter or Voluntary Promoting Group of the Year
Gaynor Morgan Rees and Gwyneth Kensler BIO: Gwyneth Kensler – Brought up in Holywell, I attended Bangor University in 1960. I married my husband in 1965 and then spent time living and working abroad. We settled in Denbigh in 1980. After a career teaching French and Spanish, I stood as a town and county councilor in 1995 and remain a county councilor. I joined the Theatr Twm o’r Nant committee in 1983 and became secretary in 1988. About 12 years ago I successfully applied for grants of £.75m to make the theatre as DDA friendly as possible; our theatre is now flourishing thanks to our dedicated team of volunteers.Gaynor Morgan Rees – Born and bred in AbercwmIboi, South Wales, I have been working as a professional actress on stage, radio, and television for over half a century. I moved to Denbigh in 1982; I have been a town councilor since 2004 and was mayor in 2012. I met Gwyneth in 1983 and we soon became involved with Theatr Twm o’r Nant. Since the refurbishment of the theatre 10 years ago, I have been the booking officer. The theatre has to be self-supporting since it does not receive any subsidy; we are all volunteers and give up our time for free.
QUOTE FROM NOMINEE: “We are delighted to have been nominated by Night Out Wales with whom we have a close and happy relationship. Without the sponsorship of the Night Out Scheme we would not be able to hold professional performances at Theatr Twm o’r Nant. We have a full, varied and exciting programme.””What a surprise and also an honour. With funding for the arts so greatly reduced, we are pleased to be able to do what we can to help promote the arts in Wales.”
JUDGES THOUGHTS: They have obviously done an amazing job over 20 years – people like this make the world go around
QUOTE FROM PUBLIC NOMINATION: “For over twenty years formidable double act Gaynor Morgan Rees and Gwyneth Kensler from Theatr Twm o’r Nant in Denbigh have booked performances through the Night Out scheme in both English and Welsh. In the last four years they have promoted 36 shows (so far) and we anticipate many more to come.”
BIO: Retired businessman David has had a lifelong involvement with live performance. Realising at a very young age that he was no performer, he turned to the backstage arts, and has at various times been a makeup artist, stagehand, set builder, lighting designer and operator, director, producer, and festival organiser (all unpaid!).
He stumbled across Live & Local in 2012, and immediately knew that promoting professional shows would be a fantastic opportunity to bring great art to his busy community centre. With his fabulous team of helpers, he has put on 44 shows of all genres to almost capacity audiences.
QUOTE FROM NOMINEE: How do I feel? “Thrilled and surprised to be nominated, not just for me, but also for my wonderful team of helpers. Grateful to our audiences who are prepared to give something new a try; to the brilliant performers who thrill and surprise us; and to the fab Head Office staff who are always there to help us.”
JUDGES THOUGHTS: I was particularly impressed by the extent of David’s engagement with companies to expand their thinking about rural venues and audiences. This is a person who clearly lives and breathes rural touring, to the benefit not only of his own community but to people all over the UK.
QUOTE FROM PUBLIC NOMINATION: “David is an outstanding example of a forward-thinking, committed rural touring promoter who goes the extra mile, and his efforts deserve recognition.” Anon
Yvonne Brown and the committee at The Dog Inn, Belthorn
BIO: The Community of Belthorn bought the Dog Inn, their village pub, from a developer in 2015, and became Lancashire’s first Community-owned pub. Part of the commitment to the community was to host a variety of events – the village doesn’t have a village hall, church or church hall, so the Pub has always been the main focus of activities. We hosted our first Rural Touring event about one year after opening, in our new Community room upstairs at the pub – even before the room had a carpet! This was a performance by Howard Haigh and was a sell-out. Since then, we have hosted 2 or 3 performances each year, which have attracted both local audiences, and those travelling from further afield. Performances such as the ones we have hosted are new for the Community of Belthorn, but appear to be very much in demand. “
QUOTE FROM NOMINEE: ” We are absolutely amazed to be nominated and short-listed for this award. With the help of Spot-on Lancashire, we have brought new and varied arts performances to Belthorn, and these have been well-received, and we intend to continue to offer these experiences. “
JUDGES THOUGHTS: This is a fantastic, multi-generational initiative, putting the pub at the heart of community life. I like the fact that the committee is nominated along with Yvonne, although she’s clearly a driving force!
QUOTE FROM PUBLIC NOMINATION: “All of the work Yvonne and the committee do is aimed at combating social isolation in this rural community by using the pub as a central point of contact for its residents. Spot On is incredibly proud to be one of many activities that ensure Belthorn is a thriving community and it is people like Yvonne Brown who make that happen.” Anon
This short form is designed to help you asses whether or not your show is Rural Touring ready. We take you through the very basic needs of rural touring and give you a list of things to consider. We also point you to other helpful resources and pages along the way. Please note this form is NOT a way of submitting your show to be considered for touring but should be used as a tool to equip yourself with the knowledge you need to approach schemes.