Business Plan 2010-2015

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Business Plan 2010-2015

Blackpool Grand Theatre Trust LimitedBlackpool Grand Theatre (Arts & Entertainments) Limited

Blackpool Grand Theatre Catering Company Limited

April 2010

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Index

Page

Foreword by Chairman and Chief Executive

1 Introduction

2 Grand Theatre in Context

3 The Vision for the Grand Theatre

4 The Plan Themes and Activities

1 Programming

2 Creative Learning

3 Marketing

4 Resources

5 Building and Heritage

Appendices

A Financial Forecasts 2010-2015

B Contact Details

C Directors, Management and ProfessionalAdvisers

D References

E Lead Persons for Theme Activities

2

3

6

7

7

12

20

24

29

33

35

36

37

39

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Foreword

Welcome to a new era of business planning for the Grand Theatre, Blackpool.

We are changing the way we look and the way we do things. New governance arrangements are inplace and we will be more business-like, more efficient and more focussed. We are taking a newapproach to planning our work so that it reflects the real commitment we have to achieving theVision for the Grand Theatre.

In this Business Plan you can see our strategic objectives, activities, priorities and targets for thenext five years. This is where we will focus our efforts and our resources. The targets provide thebasis for regular monitoring of our performance against our ambition - and at the same we mustnot forget the day-to-day management of the theatre.

We recognise that the targets we have set ourselves are challenging but we need to meet thosechallenges if we are to take advantage of the opportunities available to the Grand. We will enhancethe quality and range of the offer in terms of the cultural programme and also improve the quality of

experience for our theatre-goers. In addition we have some ambitious and exciting plans forextending the stage and improving the backstage and public facilities our Theatre DevelopmentStrategy. These works would help secure the long term viability of the theatre and maintain ourposition as the North Wests principal presenting theatre outside Manchester and Liverpool. Muchneeds to be done if this scheme is to come to fruition; not least we need to secure significantexternal funding.

If we are to achieve the Vision for the Grand and achieve our objectives we recognise the need towork in partnership with our key stakeholders. Partnership working is therefore very much centralto our thinking as we set out on our journey over the coming years. Indeed, for example, theTheatre has committed over many years some of its scarce resources in working with schools andcolleges in educating our young people in the performing arts and has also sought a major role insupporting the Blackpool Council on issues such as its cultural and heritage strategy.

Blackpool is facing some difficult social and economic issues but there is a growing commitmentand impetus to tackle those issues and to bring about its regeneration. Our aim is for the GrandTheatre to be at the forefront of that process thereby emphasising the Theatre's importance as thetowns leading provider of a year-round performing arts programme and as part of the townscultural heritage.

Of course the Grand Theatre has a wider appeal than Blackpool alone. Many of our traditionalpatrons come from the Fylde Coast, from across Lancashire and even nationally. If we are to beconsidered a successful theatre then we need to develop these audiences.

These are challenging times locally, regionally and nationally. The next few years will be difficultbut we are determined to achieve our Vision for the Grand Theatre.

David Coupe Neil ThomsonChairman Chief Executive

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1. Introduction

The purpose of The Grand Theatre Business PlanThe Grand Theatre Boards of Directors, management and staff are dedicated to the process ofplanning and reviewing the Grand Theatres development. Five key reasons have been identifiedfor producing a new plan:

To ensure clarity of purpose and direction for everyone associated with the Grand Theatre To set out the Grand Theatre priorities to March 2015 and to show how these priorities will

be delivered To ensure appropriate development of all aspects of the Grand Theatres work To facilitate effective and prudent financial planning To demonstrate to Blackpool Council, Arts Council England and other stakeholders the way

in which the Grand Theatre is making effective use of public resources.

EvaluationThe Business Plan will be updated annually, and its implementation will be subject to regular

review by the Board of Directors. As part of this process - Reports from the General Manager will be submitted to the Boards of Directors, and

circulated to staff and the principal funding bodies and stakeholders, on a half yearly basis,for discussion as appropriate

Reports on significant projects and developments will be prepared by the General Manager Bi-monthly meetings of the Boards of Directors will discuss the Plan Bi-monthly management accounts will continue to be provided to the Board, and made

available to the funding bodies as required At the end of each financial year, a full evaluation of the Plan will be undertaken by the

Board of Directors and General Manager, with the content updated and operationalplanning for subsequent years undertaken

Monitoring of progress against the Plan will use a range of indicators, such as box officedata and results, market research, audience and stakeholder feedback, etc.

The outcomes from these regular reviews will be used to: Bring about improvements in performance Encourage managers, staff and volunteers to achieve their potential, and Achieve the Vision and Objectives for the Theatre

2. The Grand Theatre in Context

The Grand Theatre, Blackpool is one of Britains premier heritage theatres. Listed Grade II*, theGrand Theatre is in the top 8 per cent of all listed buildings in England, and one of only thirty listedbuildings in Blackpool. It is one of only nine large theatres listed Grade II* or above, north ofLondon 1.

In 1893 the renowned theatre architect, Frank Matcham, was commissioned by local entrepreneurThomas Sergenson to design the Grand Theatre. The theatre opened in 1894 having taken eightmonths to build at a cost of 20,000 2.

The Grand Theatre is a product of the late nineteenth-century boom in theatregoing and theexpansion of live entertainment in Blackpool, Britains biggest show town after Londons West End.This monument to pleasure is a very special form of public space. More than most theatres ofwhatever age, the Grands post-Baroque architecture creates an emotionally charged atmospherein which over 150,000 theatregoers each year learn about life, culture, politics and romance,

through what is shown and implied on stage. The popular entertainments, dramas, operas,circuses, ballets, dances, pantomimes and music presented at the Grand represent ideals,possibilities and pitfalls, whilst the opulent Grand Theatre housing them reflects a tangibleexpression of hope and dreams.

With Blackpool Tower and the Winter Gardens, the Grand Theatre is one the three crowningarchitectural achievements of Blackpool. The exterior is a visual landmark in the town centre;inside, architect Frank Matchams decorations and four-tier auditorium with 1,050 plus seats createan intimate atmosphere of festive spirit for what is also a cultural landmark.

The Grand Theatre is owned by a community organisation, Blackpool Grand Theatre Trust Limited,which reopened the theatre in 1981 following the efforts of a number of committed volunteers whosaved the theatre from demolition. Restoration work has continued without ever closing the theatre.Funding for this essential work has come from a number of sources including the Heritage LotteryFund, the Friends of the Grand, public appeals and several trusts and foundations.

The Trust Company has responsibility for improving, maintaining and conserving the building; thetheatre is operated by Blackpool Grand Theatre (Arts & Entertainments) Limited. The BlackpoolGrand Theatre Catering Company Limited is a subsidiary of the Arts & Entertainments Companyand provides bar and catering facilities for the Grand Theatre; profits on its operations are donatedto its parent company. This Business Plan covers the activities and responsibilities of all threecompanies.

The Theatre provides a wide and varied programme, both in the main house and in the Studio,appealing to all age groups. The Theatre continues to rely heavily on grants, donations andsponsorship so that Blackpool, the Fylde Coast and beyond can continue to enjoy high qualityproductions including drama, opera, musicals and ballet. There are more opportunities ahead, asthe Theatre investigates circulation spaces, the original layout of the vestibule (with its mosaicflooring), the relationship of the theatre to the shops on Church Street, and much more. Forexample, the acquisition of 43-45 Church Street offers an opportunity to bring about manyimprovements to the theatre with the potential to stage a wider range of productions with greatercultural variety and diversity.

The Theatre

The Grand Theatre has a capacity of 1053 seats:Gallery 301Upper Circle 226Dress Circle 179Stalls 347

1053

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The Lawrence House Studio Theatre has a seating capacity of 80 with a maximum occupancy limitof 100.

Recent HistoryThe story of how the Grand Theatre was saved from demolition in 1973 and then came intoownership of the Trust Company is well documented. More recent history is concerned withmanaging the Theatres finances during a period of declining popularity for live theatre and morerecently, the economic downturn. Commentary on this issue is set out later in this Plan Theme 4:Resources. The stark reality is that the theatre has continued to make operating losses andrequired significant financial support from Blackpool Council as well as making extensive use of itsown reserves.

Board members and senior managers recognise that if the Theatre is to fulfil its potential then itshould do so from a firm financial base and hence the strategic aim of securing financialsustainability of its operations for the long term. This has implications for the theatres developmentin the short to medium term which requires a pragmatic approach, reconciling the need for financial

stability with the aim of moving towards a more ambitious programme, widening the cultural offerand being able play a fuller role in the wider community.

The Friends of the Grand The Theatre is supported by a very active Friends of the Grand 3. Formed in 1973 to save thebuilding from demolition, the first Friends were literally hands-on. They painted the dressingrooms, repaired holes in the ceiling and helped to get the theatre into shape. The role of theFriends of the Grand has changed over the years; nowadays Friends support the theatre indifferent ways. They raise funds from subscriptions and social events to finance projects within thetheatre, primarily aimed at enhancing the comfort of our patrons.

Over the last twenty years the Friends have contributed in excess of 800,000 towards projectsincluding the provision of new carpets, seating and technical equipment. They contributed almost250,000 towards the 2008 programme of works to improve theatre-goer amenities and torenovate the interior of the Theatre to its near original splendour.

Organisational EnvironmentThe Theatres external environment is more complex than ever before with a growing number oforganisations having influence and interest in the work of the Theatre and in the Theatre itself.Such organisations range from central government, local authorities, the Arts Council, EnglishHeritage and the North West Development Agency through to charitable trusts established topromote the arts and theatre in particular. Many of these organisations produce guidance,strategies and plans which have varying influence on the Theatres activities and programming. Ata local level for example there is the emerging Cultural Strategy for the Fylde Coast and the

recently-signed Multi-Area Agreement (MAA) between Blackpool Council, Lancashire CountyCouncil and the Boroughs of Fylde and Wyre. This Plan seeks to reflect upon the role that theGrand Theatre might play in contributing to key local priorities such as regeneration, the visitoreconomy, cultural development and heritage.

SWOT AnalysisIn order to inform the business planning process, the Board of Directors and Senior Managersconducted a summary of the Strengths, Weaknesses, Opportunities and Threats of The GrandTheatre, from the perspective of the theatre and its public. The following table shows the outcomeof this exercise.

Strengths Weaknesses Good relationships with producers Committed and experienced Board High quality staff High level of local media interest Historic building Grade II* listed building:

Matcham designed Friends of the Grand Core supporters and patrons Good relations with stakeholders and

sponsors Track record in fund raising and project

delivery Prudent financial management including

strong budgetary control

Cramped operating and public circulationareas

Programming to minimise risk Size of stage Visibility small frontage to Church Street Underlying financial deficit leading to risk

minimisation and fewer opportunities formore diverse offer

Inadequate catering facilities High building maintenance costs (listed

building) Gallery seating and environment not to

modern standards

Opportunities Threats

Developing creative learning and educationincluding increasing involvement of schoolsand colleges

Key part of revitalisation of Blackpool Host and venue for festivals Development of 43-45 Church Street Acquisition of theatre shops Availability of funding streams from national

and regional organisations Marketing using improved data and

extending reach locally, regionally andnationally

Archive and heritage materials Service Level Agreement with Blackpool

Council 4 Working with other venues Audience development Boards and management working together Key element of the cultural strategy for

Blackpool and the Fylde Coast

Increasing theatregoer / customerexpectations

Limits on public expenditure Operating costs Low pricing expectations from patrons Declining sales including ancillaries 5 Public sector funding priority diverted to the

Winter Gardens redevelopment

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3. The Vision for the Grand Theatre

The VisionThe Grand Theatre, Blackpool - where everyone enjoys and values the performing arts - is one ofBritain's premier heritage theatres.

Strategic AimsThe Theatres strategic aims are to: -

a) Welcome theatre-goers by presenting a diverse and entertaining theatre experience forBlackpool, the Fylde Coast and beyond,

b) Enhance and conserve the integrity of the Grade II* listed Victorian theatre,

c) Ensure the long term financial sustainability of the theatre, and

d) Support the continued development of creativity and learning in the local and widercommunity.

ValuesIn meeting the strategic aims and achieving the objectives there are fundamental values that willdefine the how of the Theatres work:

a) Communicating and engaging with people, communities and organisations andmaintaining strong relationships.

b) Developing and managing effective partnerships

c) Providing efficient and high quality customer experience

d) Valuing our Board members, staff and volunteers

e) Encouraging diversity and promoting equality

The Theatres Objectives1 To promote the art of theatre through programming innovative, artistic and rousing

popular entertainment, drama, opera, ballet, dance, pantomime and music

2 To continue the eclectic strand of programming which will maintain the Grand Theatresposition as one of the leading presenting houses within the North West of England.

3 To establish the Theatre as a centre for creative learning.

4 To establish, maintain and improve the skills and resources necessary for the successfulmanagement and operation of the Theatre

5 To maximise the opportunity afforded by recent property purchase to safeguard theTheatres future viability and to pursue a major scheme of improvements that will delivera better offer for producers and promoters and for our patrons.

6 To enhance the Theatres contribution to the cultural, economic and social regenerationof Blackpool and the Fylde Coast

Everyone involved with the Grand Theatre is passionate about the Theatre and looks forward todeveloping and achieving its potential and the Business Plan is central to this. Actions andmeasures of success are set out in the following sections within each of a number of Themes.

4. The Plan - Themes and Activities

Theme 1 - Programming

BackgroundThe primary aim will be to continue the eclectic strand of programming which will fulfil the GrandTheatres position as one of the leading presenting houses within the North West of England.Programme development will build on this base and form an essential part of fulfilling the Visionand Strategic Aims for the Grand and by developing the opportunities identified in the SWOTanalysis and minimising the impact of the weaknesses.

In principle, the Theatre aims to secure quality products on a split deal basis so as not to exposethe Theatre to unnecessary risk. Notwithstanding this overall approach, a prestigious production orgenre may from time to time require a substantial guarantee to secure its engagement at theGrand Theatre. Such options will be considered by the Arts and Entertainment Company as theyarise.

The right programming will help deliver the separate Audience Development Plan (see below)which will seek to attract new audiences across all genres, to develop the education and creativelearning facilities and to encourage existing theatre-goers to visit the Theatre on a more regularbasis.

This overall approach is consistent with the aim of ensuring the sustainability of the theatre. Achieving that aim however may allow for the transition to a more ambitious programme and thiswill be further considered as the theatres artistic policy is developed.

Existing positionThe Grand Theatre has always striven to bring many number one touring performances to theFylde Coast. In recent years this has not been possible due to restrictive costs, i.e. largeguarantees or first calls from renowned producers such as Bill Kenwright Ltd, Kenny Wax, PWProductions Ltd (Mobil Touring), Northern Broadsides, English Touring Opera, Welsh and ScottishNational Theatres and The National Theatre. The Grand Theatre also finds itself in the position ofhaving a small, compact performance area. The Grand in line with current trends receives over 140performances per annum of musicals as was highlighted in the John Ardern 6 report and the RGAMarket Research 7.

In addition to its traditional catchment areas, the Grand benefits from the influx of holidaymakersand visitors to Blackpool and the Fylde Coast. The theatre is therefore currently catering for 30minute, one hour and two hour drive-time patrons, balancing the nature and type of productionswith our competitors in these drive-time locations.

Overall Programming AimsThe overall aim during the period of the Business Plan is to move towards a more diverse andinnovative programme that will maximise the Theatres potential and make a positive contributionto the emerging Fylde Coast Cultural Strategy. This will be achieved by:

a) Consolidating relationships with first class touring producersb) Enticing new producers who can bring quality productionsc) Inspiring arts funding bodies to invest in the Theatre and theatre productions

Programming methodsTo continue to reduce where possible guarantees and first calls, and to build relationships with firstclass touring production companies, e.g. Bill Kenwright, Kenny Wax, W Productions Ltd, NorthernBroadsides, English Touring Opera, The National Theatre, UK Productions and Arts CouncilEngland North West Touring. In addition we plan to try new genres and to bring other forms ofattraction to the theatres performance spaces. These initiatives will form part of our proposed

Audience Development Plan (see Theme 3 Marketing including Audience Development below).

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Programme developmentThe following table shows the number and genre of performances seen at the Grand Theatre andthe Lawrence House Studio together with an overall programme target reflecting a move towards amore balanced and culturally diverse programme. The Programme Target recognises the financialreality of maintaining and operating the Theatre whilst seeking to create a broader, more balancedartistic programme. Initially this will be achieved by increasing the number of productions in keyareas such as ballet, dance and opera. Further developments will need to reflect the CulturalStrategy and audience research.

No. of Performances Current Programme2009/10

Overall ProgrammeTarget

GenreMain

HouseLawrence

HouseStudio

MainHouse

LawrenceHouseStudio

Ballet/Dance 7 ) 18 )Children & Young Persons 44 ) 60 )Drama 62 ) 62 )Musicals 144 ) 40 110 ) 45Classic/Opera 4 ) 11 )Pantomime 54 ) 54 )Variety/Light Entertainment 59 ) 59 )Other events (days)* 0 85 10 90

374 125 384 135

* The use of the Studio may be restricted by Main House activities

Opera, Classical Music, Ballet and Dance are areas for development as part of delivering a morebalanced programme. This will necessitate the assistance of external bodies with either fundingand/or influence (e.g. Arts Council England support, local authority support, and sponsorship), ashas been evident in our approaches to such producers as Northern Ballet Theatre, GlyndebourneOpera, Welsh National Opera and Scottish Opera, for example.

The Grand Theatre has a small proportion of childrens and young persons theatre which will bedeveloped in association with the local authorities childrens and young peoples services. Manyvisiting producers provide educational workshops and activities: those who attend theseperformances and workshops are the Theatres patrons for the future.

There is much to be gained from developing closer relationships with the Fyldes theatres andother entertainment venues. The Grand Theatre will seek to play a major role in the developmentand delivery of the Fylde Coast Cultural Strategy which will be a significant factor in determiningthe Theatres future direction.

The Grand Theatre can only grow through encouraging new and existing patronage; through keystakeholders investment and through enhancing the quality and range of the cultural offer. In thefirst few years a transitional period - the aim is to programme small scale touring companies ofhigh artistic merit and then develop from there to bring productions from major national companies.

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Theme 2 Creative Learning

BackgroundThe Creative Learning Development Plan will form an essential part of fulfilling the vision for theTheatre. It will seek to develop the opportunities identified in the SWOT analysis and minimise theimpact of the weaknesses.

The aim is to establish the Theatre as a centre for curriculum support in the short term and buildfuture audience capacity from the local and regional area in the longer term. The Plan will supportthe Governments education agendas - Every Child Matters 8 and Community Cohesion 9 - by usingthe arts to provide opportunities for local students to make a positive contribution to society and toexperience a diverse range of culture through the arts. A 25 million 'Find Your Talent' scheme,part of the Government's ambition to give young people in England the chance to experience highquality arts and culture, offering five hours of cultural activities per week through schemes such as'Creative Partnerships', was announced in February 2008 by Culture Secretary Andy Burnham andSecretary of State for Children, Schools and Families Ed Balls. The Theatre is well-placed tosupport local authorities in meeting their obligations under this scheme.

Grand Theatre existing education contextThe Grand Theatre is a wonderful resource for local schools, young people and for peopleencountering disabilities. The Theatres current focus for its Education Development Plan isschools: they offer the greatest opportunity for drawing in significant numbers of young people.Schools visiting the Theatre tend to be within a 15 mile radius of the venue with limited numbers ofschools from outside the area attending. Local schools report a preference for venues inManchester. Recent feedback suggests that many schools do not currently see the Theatre as apriority destination for visits.

In February 2009 the Grand Theatre began work on a three-year initiative, becoming one or fourcommercial theatres in the country, supported by the Arts Council England, to attract a youngeraudience to theatre and the performing arts. There has been some significant success inestablishing links with families, especially through the creation of the Matcham Monkey Club; workto draw in young people in the age range 16-25 has had only limited success.

The developing Further and Higher Education provision within the area should bring an expandingbody of young people who should be provided for and encouraged to visit the venue. Studentdeals are available and the Theatre has a dedicated student MySpace. There has been littletake-up to date.

A series of consultation events has been held with Blackpools head teachers and young people.The matters raised included: programming, workshops, transport, price, theatre experience andpromotion. The results from collating and evaluating these exercises are proving useful. TheTheatre intends to extend this work to schools, students and tertiary provision in the wider Fylde

and Wyre areas.

Overall aimsThe Theatre is currently working with some 85 schools and pre-school groups (excluding thoseattending the pantomime) from across the Fylde Coast and into Lancashire. The overall aim in thisPlan is to increase the number of schools, colleges and students from the Blackpool, Fylde andWyre areas making use of the Theatre. On a longer term basis, the Theatre will seek tocollaborate with relevant partners on providing wider learning and participation opportunities.

Targets and activities

1 Take-up by educational providers to improve by 50%.2 The needs and interests of teachers and learners to be reflected in programming.3 Opportunities to experience a range of culturally diverse events and performances

are available and in line with aspirations to build greater community cohesion.

4 Key stakeholders, including students, to be given an opportunity to comment onprovision and programming.

5 Students are able to enjoy the theatre in line with the Every Child Matters agenda: All students should be able to enjoy their learning so that achievement andattainment is supported and young people are able to make a positive contributionto society.

6 The Theatre will develop outreach work as a means of building relationships with local authorities, schools, colleges, universities and their students.

Developing the educational provision at the Grand Theatre will support the achievement andattainment of students in schools and colleges within the local and wider community. However,this is a long term vision which will require a culture change within the local area; so that going tothe theatre becomes an acceptable and established part of youth culture. To achieve this, theatreprogramming and marketing must give this potential audience due consideration and provideopportunities for this audience to feed into future programming and scheduling activities. Much ofthis work may be dependent on achieving funding from a range of partners and by buildingsustainable income streams.

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Theme 3 - Marketing (including Audience Development)

BackgroundThe Marketing and Audience Development Plan will form an essential part of fulfilling the Visionand Strategic Aims of the Theatre. It will seek to develop the opportunities identified in the SWOTanalysis and minimise the impact of the weaknesses. The Plan will address the principles ofmarketing through the classic approach of product, price, place and promotion , and include asection on Audience Development that will seek to attract new audiences across all genres,develop education and creative learning facilities and encourage existing theatre-goers to visit thetheatre more often.

The Grand Theatre existing marketThe existing major market comes from areas within a 30 minute drive of the theatre, 141,900residents being in Blackpool, 76,500 residents in the Borough of Fylde, and 110,900 residents inWyre 10 . Traditionally certain postcodes within these areas, particularly FY8 (Lytham St Annes),generated a large number of visitors to the theatre. Recent years have seen this figure diminishand research has indicated that residents of these areas are travelling to other venues. Part of themarketing strategy therefore will be to undertake audience questionnaires, which, when analysedwill assist in seeking to return these residents to the Theatre and also to identify new theatre-goers.The Theatre has recently seen evidence of increased patronage from areas such as Bolton andBlackburn with Darwen, traditionally seen as a secondary market. Some of these areas offerexcellent opportunities to attract new groups and to consider associated new and exciting art formsfor all our audiences; these might include mime, street dance and international music events.

Additionally, Blackpool has a large, transient population during the holiday season and themarketing strategy in this area will concentrate on building relationships with the tourism sector andworking closely with the hotel and catering industry.

Finally, through developing the creative learning and education programme, the aim will be toreach out to a larger audience encompassing not only the school and educational establishmentswithin Blackpool, but also those within the local boroughs of Fylde and Wyre. The Theatre willseek to ensure the involvement of Lancashire County Council in these efforts.

Overall aimsThe overall aim of the Business Plan is to increase sales income by 18.5%. This will be achievedover the five years of the Plan by:

1. growing the existing audience (no. of seats) by 12.5%2. attracting new audiences (no. of seats) of 10%3. increasing ancillary sales by 33.5%

NB. The methodology and mechanisms for achieving these targets will be detailed in the AudienceDevelopment Plan, together with further targets and measurements.

Marketing methodsThe Theatre will develop a marketing plan that will seek to bring visitors to the building for a widerange of activities, both during the day and in the evening. The traditional methods of a quarterlyprogramme of events and the theatre website will continue, as well as involving the Theatre withinthe community through community events, roadshows and other avenues that will develop theTheatre as a brand. Hitherto the Theatre offered itself as the National Theatre of Variety (NTV)but with the demise of the traditional summer season shows the NTV mark is less relevant to thecurrent programme at the Grand Theatre. More recently the Theatre has marketed itself as TheGrand Theatre Blackpool. This branding will be developed to associate the Theatre with all thatsbest in live entertainment across a wide range of genres. This will raise the overall profile of thetheatre, and make such activities as sponsorship attractive to all organisations. We will be open-minded in our approach and be prepared to listen and test new markets for daytime use of thetheatre, in conjunction with the audience development plan to try new genres and other forms ofattraction to the theatre. The Friends of The Grand is already established as a Strength in the

SWOT analysis and they already bring significant value to the theatre. Other avenues will beinvestigated for this respected and valued organisation to contribute to the theatres futuresuccess.

Production-based marketingThe Theatre has a good reputation with producers for pro-active and innovative production-basedmarketing. This will continue by developing new, as well as established methods of promotion. Aparticular focus will be on the various forms of e-commerce such as SMS marketing, E-blasts,Bluetooth marketing, electronic Brochure Delivery and continuing to maximise the use of thetheatres web site. Some of these techniques are already in use at the Theatre and will bedeveloped further. The Theatre will work with producers and encourage them to support individualmarketing campaigns. It will establish a wide network of partners to enable the distribution ofpromotional material through paper and electronic forms, through building relationships with allforms of media and through encouraging relationships, particularly with radio and regionaltelevision.

Audience development

A major part of the overall marketing strategy will be to develop a succinct and comprehensive Audience Development Plan. This will fulfil two key objectives: attracting new audiences andencouraging existing audiences to visit more frequently. Regard will be had to relevant publishedpapers from the Arts Council and other regional and national bodies.

There is a need to improve the audience and marketing information available to the Theatre. Thenew box office system is already providing a wealth of new data that will feed into performancemanagement and future planning. The intention is to supplement this numerical information withqualitative audience research into issues such as customer expectations and experience and therole of theatre locally, regionally and nationally. An additional post has been created and filled toassist in this work and to deliver marketing initiatives. Data analysis and market research will bekey features of the emerging Audience Development Plan in order that the Theatre can develop its'brand', better understand its audiences and identify new markets. It is envisaged that newaudiences will come from spreading geographical reach, through widening participation 11 andthrough the education and learning programme. Work with the Friends of the Grand and otherarts-based organisations will be used to encourage theatre-going; the Plan will look at provenschemes, such as loyalty package options.

Marketing and audience development will be the key drivers of success for the Theatre over thenext 5 years. The Theatre has a significant level of fixed costs and taken with the type of dealsoften struck with producers, a relatively small increase in patronage can result in a substantial netincrease in the Theatres financial performance. This will require investment and strengthening ofthe Marketing Team. This will be achieved and driven by the Marketing Manager in close liaisonwith the Education Officer and Programming Manager to ensure all efforts are properly co-ordinated.

Existing visitor numbers by genre are detailed below they represent the probable out-turn for the12 months to March 2010. Goals and targets within the Marketing theme are based on thesefigures.

12 Months to March 2010

Genre

Patrons(% of seats sold)

Box Office Receipts(% of total)

Variety/Light Entertainment 18 18Ballet/Dance 3 3Children 11 6Drama 13 13Musicals 38 47Classic/Opera 1 1Pantomime 16 12

100 100

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T h e m e

3 -

M a r k e

t i n g

( i n c

l u d i n g a u

d i e n c e

d e v e

l o p m e n

t )

A c

t i v

i t y

* *

L e a

d

[ B o a r

d ]

* * *

Y e a r

O n e

( 2 0 1 0 - 2 0 1 1 )

Y e a r

T w o

( 2 0 1 1 - 2

0 1 2 )

Y e a r

T h r e e

( 2 0 1 2 - 2

0 1 3 )

Y e a r

F o u r

( 2 0 1 3 - 2

0 1 4 )

Y e a r

F i v e

( 2 0 1 4 - 2

0 1 5 )

M 1 P r e p a r e

A u

d i e n c e

D e v e

l o p m e n

t P l a n

C E O

M M g r

[ A P S ]

M 1 . 1 D r a

f t P l a n

M 1 . 2 C o n s u

l t o n

D r a

f t P l a n

M 1 . 3 P u

b l i s h P l a n

M 2 D e

l i v e r

A u

d i e n c e

D e v e

l o p m e n

t P l a n

( P r o v i s i o n a

l )

C E O

M M G r

[ A P S ]

M 2 . 1 I n c r e a s e

e x i s t

i n g r e p e a

t v i s i

t o r

b y

5 %

M 2 . 2 A d d 2

. 5 %

N e w

P a

t r o n s

M 2 . 1 I n c r e a s e

e x i s t

i n g r e p e a

t v i s i

t o r

b y

7 . 5

%

M 2 . 2 A d d 5 %

N e w

P a

t r o n s

M 2 . 1 I n c r e a s e

e x i s t

i n g r e p e a

t v i s i

t o r

b y

1 0 %

M 2 . 2 A d d 7

. 5 %

N e w

P a

t r o n s

M 2

. 1 I n c r e a s e

e x i s t

i n g r e p e a

t v i s i

t o r

b y

1 2 . 5

%

M 2

. 2 A d d 1 0 %

N e w

P a

t r o n s

M 3 I n c r e a s e

t o t a l

n u m

b e r o

f s e a t s s o

l d

C E O

M M g r

[ A P S ]

M 3 . 1 I n c r e a s e

t o t a l

a u d

i e n c e

b y

5 %

p . a .

M 3

. 1 I n c r e a s e

t o t a l

a u d i e n c e

b y 7

. 5 %

p . a .

M 3

. 1 I n c r e a s e

t o t a l

a u d i e n c e

b y 1 2

. 5 %

p . a .

M 3

. 1 I n c r e a s e

t o t a l

a u d

i e n c e

b y

1 7

. 5 %

p . a .

M 3 . 1 I n c r e a s e

t o t a l

a u d

i e n c e

b y

2 2

. 5 %

p . a .

M 4 I n c r e a s e

t o t a l

s e a

t / s a

l e s

p e r c e n

t a g e

C E O

F M g r

[ B O A R D ]

M 4 . 1 I n c r e a s e

b y

5 %

M 4 . 1 I n c r e a s e

b y

7 %

M 4 . 1 I n c r e a s e

b y

9 %

M 4

. 1 I n c r e a s e

b y

1 0 %

M 4

. 1 I n c r e a s e

b y

1 1 %

M 5 I n c r e a s e u s e o

f

T h e a t r e

i n d a y t

i m e

M M g r

P M g r

M 5 . 1 I n c r e a s e

S t u d i o H i r e

b y

5 %

M 5

. 1 I n c r e a s e

S t u d i o

H i r e

b y

7 %

M 5

. 1 I n c r e a s e

S t u d i o

H i r e

b y

9 %

M 5

. 1 I n c r e a s e

S t u d i o

H i r e

b y

1 0 %

M 5

. 1 I n c r e a s e

S t u d i o

H i r e

b y

1 1 %

M 6 A n c i

l l a r y s a

l e s

B M g r

F o

H [ J B ]

M 6 . 1 I n c r e a s e

b a r

s a l e s

b y

7 . 5

%

M 6 . 2 I n c r e a s e

f r o n

t

o f h o u s e a n c i

l l a r y

s a l e s

b y

1 5 %

M 6

. 1 I n c r e a s e

b a r

s a l e s

b y

1 0

. 5 %

M 6

. 2 I n c r e a s e

f r o n

t o

f

h o u s e a n c i

l l a r y s a

l e s

b y 2 5 %

M 6

. 1 I n c r e a s e

b a r

s a l e s

b y

1 6

. 5 %

M 6 . 2 I n c r e a s e

f r o n

t o

f

h o u s e a n c i

l l a r y s a

l e s

b y

3 0 %

M 6

. 1 I n c r e a s e

b a r

s a l e s

b y

2 2 %

M 6

. 2 I n c r e a s e

f r o n

t o

f

h o u s e a n c i

l l a r y s a

l e s

b y

3 5 %

M 6

. 1 I n c r e a s e

b a r

s a l e s

b y

2 8 %

M 6

. 2 I n c r e a s e

f r o n

t o

f

h o u s e a n c i

l l a r y s a

l e s

b y

5 0 %

T h e m e

3 -

M a r k e

t i n g

( i n c

l u d i n g a u

d i e n c e

d e v e

l o p m e n

t )

A c

t i v

i t y

* *

L e a

d

[ B o a r

d ]

* * *

Y e a r

O n e

( 2 0 1 0 - 2 0 1 1 )

Y e a r

T w o

( 2 0 1 1 - 2

0 1 2 )

Y e a r

T h r e e

( 2 0 1 2 - 2

0 1 3 )

Y e a r

F o u r

( 2 0 1 3 - 2

0 1 4 )

Y e a r

F i v e

( 2 0 1 4 - 2

0 1 5 )

M 7 M a r k e

t i n g

A s s

i s t a n

t

M M g r

[ A P S ]

M 7 . 1 R e v i e w

M a r

k e t i n g

A s s

i s t a n

t

p o s

t t a r g e

t s a n d

p e r f o r m a n c e

* * A c t

i v i t y t a r g e

t s r e

l a t e t o t h e

b a s e y e a r

2 0 0 9 / 1 0

* * * S e e

A p p e n

d i x f o r

L i s t o

f L e a

d P e r s o n s

f o r

T h e m e

O b j e c t

i v e s a n

d T a r g e

t s

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Theme 4 - Resources

BackgroundIn any entity, whether commercial or operating on a not-for-profit basis, a primary objective mustbe establishing, maintaining and improving the skills and resources necessary for its successfuloperation. The Grand Theatre is no exception.

For the Grand Theatre, resources can be divided into four areas: Governance, Staffing, Financeand Trading.

GovernanceFollowing the review of the Board membership for the Grand Theatre Trust and Grand Theatre(Arts & Entertainment) Companies in 2008, the individual areas of skill and expertise identified asnecessary in the Strategic Review 12 are now represented by new Board members. As is the casein any wholesale change of Governance/Management, it has taken some time for the new Boardmembers to acquire all the background knowledge required to make informed decisions and giveappropriate advice. It is now anticipated that Management and staff will draw on the experience of

individual Board members as and when required.

The changed Articles of Association to the two companies now provide that Board appointeesserve for a four year term. At each four year point the skills positions on the two Boards will bewidely advertised enabling other suitably qualified and experienced people to apply for thesepositions in competition with existing Board members. Appointments to the two Boards will bemade by an independent appointments panel. The purpose of this procedure is to ensure regularBoard refreshment and also commitment and demonstration of worth by existing Board members.It is expected that these procedures will result in the two Boards being comprised of persons ableto deliver high standards of governance and the capability to hold key Board positions includingthat of Chair. While maintaining their independence, the two Boards are working together to ensurethe implementation of this Business Plan and the success of the Theatre.

The many aspects of the Theatres operations should be covered by a series of policy documents;many are already in place. These policies will cover areas such as: human resources; health &safety; marketing; programming; education/outreach; finance; building acquisition, expansion andmaintenance. The intention is to review the existing set of policies and to update and/or introducenew policies where appropriate. Policy documents will be approved by the Board(s). A Boardmember with relevant expertise will be identified for each policy document and that person will beavailable to Management and staff for advice and guidance. In this way the Theatre can build onthe new governance arrangements. This approach has been used successfully over many yearsfor the finance function where there is close liaison between the Treasurer, the General Managerand the Finance Manager.

Staffing

The Grand Theatre benefits from a hard-working and effective management team operating withinthe constraints of a limited budget.

A detailed review of staffing was commissioned from external consultants RGA Limited in 2009 13 .The review included a health check of staffing levels at the Theatre and identified areas forimprovement. Overall the consultants concluded that:-

a) the Directors are a powerful instrument for the future development and operation of thetheatre in terms of leadership and strategic planning

b) the senior management team are highly motivated, andc) staffing levels are at a lean base.

RGA Ltd recommended that steps should be taken to increase resources in finance andadministration; endorsed the Theatres decision to introduce a new post of marketing assistant andidentified the need to appoint a development director to assist in fund raising (revenue and capital)and in securing partners for projects and activities.

The Theatre is well supported by The Friends of the Grand; it is hoped that, under the overallmanagement of the senior staff, their support will continue and that they work with the Theatre toachieve the objectives and targets within this Plan.

FinanceThe income of the Theatre is not currently adequate to meet overheads and to operate on asustainable basis.

Following the loss of significant Summer Season income in 2005 and 2006, the Theatreapproached Blackpool Council for financial support. The Council instructed consultants, BonnarKeenlyside, to undertake a Strategic Review of the Theatre. This Review recommended that theCouncil gave financial support to the Theatre, initially for a two year period (2007/08 and 2008/09).This support was by way of subsidising the anticipated losses, which were shared equally betweenthe Council and the Theatre. In addition funding is received through a Service Level Agreement(SLA) with the Council, which continues subject to regular review. The SLA sets out a number ofobligations on both organisations and in particular to enhance the provision and developmentof a wide range of cultural, education, community, tourism and economic programmes, as well as

the development of new initiatives aimed at encouraging greater access to the theatre.

The complete depletion of the of the Arts & Entertainment Companys unrestricted funds throughsupporting the Theatres losses was avoided by the receipt of a windfall refund of VAT in2008/09. The Arts & Entertainment Company currently has sufficient operational reserves tocontinue operating the Theatre pending adoption of a trading plan which will aim to create asufficient surplus to meet future capital requirements (other than major project expenditure). It isalso essential (and, indeed, best practice advice), that charitable organisations such as the GrandTheatre have sufficient unallocated reserves to sustain operations in more difficult times. Basedupon guidance from the Charity Commission it is the intention to achieve unrestricted andundesignated reserve funds for the Arts & Entertainment Company in the range 200,000 -250,000, equivalent to 3 months running costs. The comparable figures for the Trust Companyare 30,000 to 50,000 for its unrestricted and undesignated reserve fund. The outcome of thecurrent policies adopted by the Board of the Trust Company is forecast to be a deficit see

Appendix A. Further policy decisions will be addressed when the outcome of certain currentfunding applications is known.

External funding donations, loan or grant aid will be sought in order to finance major capitalworks. Such funding requirements will be part of the consideration given to any proposed capitalprojects.

TradingBlackpool Grand Theatre is, by any measure, a major local trading entity. Its charitableconstitution, the location in a listed building and the aim to maintain a certain standard of producttends to limit the potential for profitable trading.

It is the intention that the Theatre should trade profitably. To achieve this outcome, there is a needto -

1 Obtain additional revenue and contributions to expenditure overheads from a range ofsources including sponsorship, donations and grant aid etc.

2 Expand and/or enhance the activities to increase income from the services supplied tothird parties

3 Obtain revenue support from local, regional and national bodies.4 Maximise income from existing activities (through marketing and audience

development)5 Maximise income from property and investments.

In the current economic climate is essential that the Theatre has a sustainable financial operationwith outside financial assistance by reference to agreed levels of funding based on the programme

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of performances and other activities including the delivery of services through appropriateagreements. The pressures on public funding are likely to mean that there will be a short tomedium term reduction in the availability of ad hoc funding, grants and donations. The Theatre willcontinue to press for project and revenue funding as part of its overall approach to the Theatresfinances.

The new governance arrangements will be regularly monitored and reviewed to ensure that theskills and expertise are available for the benefit of the Theatre and are utilised to their maximumpotential.

T h e m e

4 -

R e s o u r c e s

A c

t i v

i t y

L e a

d

[ B o a r d

]

* * *

Y e a r

O n e

( 2 0 1 0 - 2

0 1 1 )

Y e a r

T w o

( 2 0 1 1 - 2

0 1 2 )

Y e a r

T h r e e

( 2 0 1 2 - 2

0 1 3 )

Y e a r

F o u r

( 2 0 1 3 - 2

0 1 4 )

Y e a r

F i v e

( 2 0 1 4 - 2

0 1 5 )

R 1 G o v e r n a n c e

C E O

[ M M

,

M S

,

K A R ]

R 1 . 1 R e v i e w e x i s t

i n g

p o l i c

i e s a n

d c o n s i

d e r

w h i c h p o

l i c i e s

r e q u

i r e a

t t e n

t i o n a n

d

i d e n

t i f y g a p s

( i f a n y )

w h e r e

t h e r e

i s n o

a p p r o p r i a t e p o

l i c y

R 1

. 1 R e v i s e e x i s t

i n g

p o

l i c i e s

R 1

. 1 P r o

d u c e n e w

p o

l i c i e s

( i f r e q u i r e

d )

R 1

. 1 I m p

l e m e n

t

p o

l i c i e s a n

d k e e p

u n

d e r r e v i e w

R 1

. 3 I m p

l e m e n

t

B o a r d m e m

b e r s

h i p

r e v i e w a n

d

r e c r u

i t m e n

t p r o c e

d u r e

R 1

. 1 I m p

l e m e n

t

p o l i c i e s a n

d k e e p

u n d e r r e v i e w

R 1

. 1 I m p

l e m e n

t

p o

l i c i e s a n

d k e e p

u n

d e r r e v i e w

R 2 S t a f f i n g

C E O

[ K A R ]

R 2 . 1 C o s t a n y

p r o p o s e

d c h a n g e s

a r i s i n g

f r o m

e x t e r n a

l

r e v i e w a n

d

i m p l e m e n

t ( s u

b j e c t

t o a v a

i l a b l e

r e s o u r c e s ) .

R 2

. 2 A n n u a

l r e v i e w o

f

s t a

f f i n g

l e v e

l s

R 2

. 2 A n n u a

l r e v i e w o

f

s t a

f f i n g

l e v e

l s

R 2

. 2 A n n u a

l r e v i e w o

f

s t a

f f i n g

l e v e

l s

R 2

. 2 A n n u a

l r e v i e w o

f

s t a

f f i n g

l e v e

l s

R 3 F i n a n c e

C E O

[ D C

,

M M

,

M S ]

R 3 . 1 R e v i e w

f i n a n c i a

l f o r e c a s t s

t o

a c h i e v e

b r e a

k - e v e n

b y 2 0 1 3 - 1

4 o r e a r l

i e r

R 3 . 2 M a

i n t a i n f r e e

r e s e r v e s a

t a

d e q u a

t e

l e v e l w

i t h v i e w

t o

a c h i e v i n g

f i n a n c i a

l

s u s t a

i n a

b i l i t y

R 3 . 3 U n

d e r

t a k e

r e s e a r c

h i n t o l e v e

l s

o f p u b l i c f u n

d i n g a t

U K t h e a

t r e s

R 3

. 1 R e v i e w

f i n a n c i a

l

f o r e c a s t s

t o a c h

i e v e

b r e a

k - e v e n

b y

2 0 1 3 -

1 4 o r e a r l

i e r

R 3

. 2 M a

i n t a i n f r e e

r e s e r v e s a

t a

d e q u a

t e

l e v e

l w i t h v i e w

t o

a c h

i e v i n g

f i n a n c

i a l

s u s t a i n a

b i l i t y

R 3

. 3 P r e p a r e

s t r u c t u r e

d r e q u e s t s

f o r

f u n d

i n g

f o r

l o c a

l

a u

t h o r

i t i e s a n

d o

t h e r s

R 3 . 1 R e v i e w

f i n a n c i a

l

f o r e c a s t s

t o a c h

i e v e

b r e a

k - e v e n

b y 2 0 1 3 -

1 4 o r e a r l

i e r

R 3 . 2 M a

i n t a i n f r e e

r e s e r v e s a

t a d e q u a

t e

l e v e

l w i t h v i e w

t o

a c h

i e v i n g

f i n a n c i a

l

s u s t a

i n a

b i l i t y

R 3 . 3 U p

d a

t e r e p o r t

f r o m

Y e a r

O n e w

i t h

r e p e a

t r e s e a r c h

R 3 . 1 A c h

i e v e

b r e a

k -

e v e n p o s i

t i o n

R 3 . 2 M a

i n t a i n f r e e

r e s e r v e s a

t a d e q u a

t e

l e v e

l w i t h v i e w

t o

a c h i e v i n g

f i n a n c i a

l

s u s t a

i n a

b i l i t y

R 3 . 3 P r e p a r e

s t r u c t u r e

d r e q u e s t s

f o r

f u n

d i n g

f o r

l o c a

l

a u t h o r i

t i e s a n

d o

t h e r s

R 3

. 1 A c h

i e v e

b r e a

k -

e v e n p o s i

t i o n

R 3

. 2 M a

i n t a i n f r e e

r e s e r v e s a

t a d e q u a

t e

l e v e

l w i t h v i e w

t o

a c h

i e v i n g

f i n a n c i a

l

s u s t a

i n a

b i l i t y

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T h e m e

4 -

R e s o u r c e s

A c

t i v

i t y

L e a

d

[ B o a r d

]

* * *

Y e a r

O n e

( 2 0 1 0 - 2 0 1 1 )

Y e a r

T w o

( 2 0 1 1 - 2

0 1 2 )

Y e a r

T h r e e

( 2 0 1 2 - 2

0 1 3 )

Y e a r

F o u r

( 2 0 1 3 - 2

0 1 4 )

Y e a r

F i v e

( 2 0 1 4 - 2

0 1 5 )

R 4 T r a

d i n g

C E O

D C

[ M M ]

R 4

. 1 D e

l i v e r

o b l i g a

t i o n s u n

d e r

S e r v

i c e

L e v e

l

A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

R 4

. 2 C a r r y o u

t

a n n u a

l r e v i e w o

f

S e r v

i c e

L e v e

l

A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

R 4

. 1 D e

l i v e r

o b l i g a

t i o n s u n

d e r

S e r v

i c e

L e v e

l

A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

R 4

. 2 C a r r y o u

t a n n u a l

r e v i e w o

f S e r v

i c e

L e v e

l A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

R 4

. 3 C o n s i

d e r

e x t e n

d i n g s e r v

i c e s

t o

o t h e r

l o c a

l a u

t h o r i

t i e s

R 4

. 1 D e

l i v e r

o b l i g a

t i o n s u n

d e r

S e r v

i c e

L e v e

l

A g r e e m e n

t w i t h

B l a c k p o o

l C o u n c i

l

R 4

. 2 C a r r y o u

t a n n u a

l

r e v i e w o

f S e r v

i c e

L e v e

l A g r e e m e n

t w i t h

B l a c k p o o

l C o u n c i

l

R 4

. 1 D e

l i v e r

o b l i g a

t i o n s u n

d e r

S e r v

i c e

L e v e

l

A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

R 4

. 2 C a r r y o u

t a n n u a

l

r e v i e w o

f S e r v

i c e

L e v e

l A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

R 4

. 1 D e

l i v e r

o b l i g a

t i o n s u n

d e r

S e r v

i c e

L e v e

l

A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

R 4

. 2 C a r r y o u

t a n n u a

l

r e v i e w o

f S e r v

i c e

L e v e

l A g r e e m e n

t w

i t h

B l a c k p o o

l C o u n c i

l

* * * S e e

A p p e n

d i x f o r

L i s t o

f L e a

d P e r s o n s

f o r

T h e m e

O b j e c t

i v e s a n

d T a r g e

t s

Theme 5 - Building and Heritage

BackgroundThe Plan aims to maximise the potential of the Theatres heritage. This will require a continuationof the practice of ensuring proper maintenance programmes and of taking opportunities to improveand develop the Theatre. It will be important to maximise the opportunity afforded by recentproperty purchase to safeguard the Theatres future viability and to pursue a major scheme ofimprovements that will deliver a better offer for producers, promoters and patrons.

ContextBlackpool Council's Heritage Strategy (2006-2010) recognises the promotion of Blackpool'sheritage - the world's first working-class seaside resort - as a key driver in the town's regeneration.The promotion of the town's heritage is essential to change the regional, national and internationalperception of the town, by demonstrating that it is a world class destination and by increasing localpride in the town. The Grand Theatre is central to the town's strategy: " a product and symbol ofthe late nineteenth-century boom in theatregoing and the expansion of live entertainment atBlackpool, Britains biggest show town after Londons West End." 14

The Grand Theatre was built in 1894 to designs by Frank Matcham (1854 -1920). Matcham wasthe most famous theatre architect of his day, responsible for over 80 theatres as original architect.Of his theatre designs, only 20 survive in their original form and use. The theatre's popularity withaudiences and performers means that this is not heritage for design historians. The Grand Theatrehas been able to accommodate most of the technical changes in traditional proscenium theatreover the last 100 years: the core ingredient - a direct relationship between actor and audience -has not changed and is the principal reason why producing companies and audiences enjoyperformances at the Grand.

The Grand Theatre has been maintained to a high standard compared to many other theatres andis in the fortunate position of having completed the restoration of the key elements of its Matchamheritage:

the stone entrance frontage and dome at the corner of Church Street and CorporationStreet

the original painted and gilded plasterwork of the auditorium the original colour scheme for furnishings and curtains

The reason behind the national importance of the Grand Theatre's heritage is also one of thereasons underlying the theatre's declining commercial viability. The building plot was restricted andwith the exception of the Victoria Palace Theatre in London, the Grand has the smallest of allMatcham's proscenium stages. The small scene dock and the limited number of dressing roomsfurther restrict the scale of productions available.

Audiences' expectation of increasing sophistication of sets and effects means that productions are

designed for London and provincial theatre stages that are deeper than the Grand's. Theproduction companies want to tour their profitable, first run shows to Blackpool due to its regionaland national market, but often cannot afford to cut down sets for one theatre on the first run. Therestricted site also impacts on the external presentation of the Theatre and on the internalcirculation spaces. Victorian theatre placed less emphasis on these components than is expectedby modern theatre audiences. At the Grand Theatre, this is even more pronounced: the externalexpression of theatre is restricted to the small stone corner and dome. The bars cannot cater foraudiences who expect further enticement, such as a meal, to make long journeys for aperformance.

Since 1981, the Theatre has put together a significant archival collection. The principal reason forpreserving archives is to enable researchers to make use of the information they contain. There isa need to establish a policy on public access to the archives rather than reacting to ad hoc requests. The aim is to ensure that the Theatre's memories, artefacts and documents are

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preserved and conserved, but the Theatre is unable to provide the conditions necessary for thecare and administration of its archives.

Building MaintenanceThe theatre is owned by the Blackpool Grand Theatre Trust Limited and is operated by BlackpoolGrand Theatre (Arts and Entertainment) Limited. The operating company holds a full repairing andrenewal lease and accordingly is responsible for all maintenance and repair costs as well as costsassociated with any legislative requirements. Any necessary works are identified throughquinquennial surveys, the last being completed in September 2008. The Trust Company isresponsible for new works and development of the site.

Future developmentsThe purchase of 43-45 Church Street has created the possibility of radical improvements to theoverall site to address shortcomings in operational and visitor facilities. It also allows the possibilityof increased access from the main Church Street elevation. This has resulted in the developmentof a Theatre Development Strategy for which the outline brief is inter alia to:

extend the stage and scene dock to cater for first run shows

rationalise and improve all backstage facilities to cater for increased numbers of actors rationalise the theatre's administration areas to free up spaces that could be better usedfor visitors

complete the external restoration of the theatre to improve visibility of the theatre withinthe town and to improve access to the workshop theatre

provide new visitor facilities to increase ancillary spend and make the destinationattractive and competitive with venues in Manchester and Liverpool

complete the reseating programme provide improved educational and learning opportunities safeguard the Theatre's long term viability

Additional components of this w ork might usefully improve the presence of the Theatre and itsoperational needs. The most significant of these is the improvement to the Corporation Streetground level frontage to provide a visual demonstration of the Theatres commitment to Blackpooland its regeneration.

Archives and HeritageThe Grand has always acknowledged public interest in all aspects of theatre. This is evidenced byits successful back-of-house tours and youth theatre. The Theatre's website presentsreminiscences of theatre in Blackpool. Theatre by its nature is temporary and relies on novelty forcontinuing success. But there is also a demand to understand the unique performance history ofBlackpool in general and the Grand in particular as shown by Blackpool Council's heritagestrategy.

It is the intention to transfer the Theatres archive collection to an organisation having expertise in

the physical care, storage and handling of archive material15

subject to the stipulation that theownership of the collection remains with the Grand Theatre Trust.

It is also the intention to reproduce some of the archival material to a high standard. Displaymaterial will be exhibited in the Theatre itself and at other suitable venues in and around Blackpool.These displays will help to tell the story of the Grand and its role in the entertainment history ofBlackpool.

T h e m e

5 -

B u

i l d i n g a n

d H e r

i t a g e

A c

t i v

i t y

L e a

d

[ B o a r d

]

* * *

Y e a r

O n e

( 2 0 1 0 - 2

0 1 1 )

Y e a r

T w o

( 2 0 1 1 - 2

0 1 2 )

Y e a r

T h r e e

( 2 0 1 2 - 2

0 1 3 )

Y e a r

F o u r

( 2 0 1 3 - 2

0 1 4 )

Y e a r

F i v e

( 2 0 1 4 - 2

0 1 5 )

B 1 I m p

l e m e n

t i t e m s

o f w o r k

i d e n

t i f i e d i n

Q u

i n q u e n n

i a l

P r o p e r

t y R e v i e w

C E O

B 1 . 1

C o m p

l e t e

o u t s

t a n

d i n g w o r

k

f r o m

R e v i e w

2 0 0 8

B 1 . 1 C o m p

l e t e

o u t s t a n

d i n g w o r

k f r o m

R e v i e w

2 0 0 8

B 1

. 1 C o m p

l e t e

o u

t s t a n

d i n g w o r k

f r o m

R e v i e w

2 0 0 8

B 1

. 2 Q u

i n q u e n n

i a l

p r o p e r t y

R e v i e w

( S e p

t e m

b e r

2 0 1 3 )

B 2 C u r r e n

t b u

i l d i n g

i s s u e s

C E O

B 2 . 1

L i a

i s e w

i t h

B l a c k p o o

l C o u n c i

l r e :

C h u r c

h S t r e p a v i n g

B 2 . 2

R e n e w a

l o f

l a p s e d

L i s t e d

B u i l d

i n g c o n s e n t

f o r

4 t h s t o r e y

M a t c h a m

C o u r t

B 3 T h e a

t r e

D e v e

l o p m e n

t

S t r a

t e g y

C E O

[ B o a r d s ]

B 3 . 1

F i n a

l i s e a n

d

a g r e e

b r i e

f a n

d p

l a n s

f o r T

h e a

t r e

D e v e l o p m e n

t

S t r a t e g y

B 3 . 3

P u r s u e

d i s c u s s i o n s w

i t h

f u n d e r s

f o r

T h e a t r e

D e v e l o p m e n

t

S t r a t e g y

B 3 . 2 S u

b m

i t p

l a n n

i n g

a p p

l i c a

t i o n a n

d s e e

k

l i s t e d b u

i l d i n g c o n s e n

t

B 3 . 3 P u r s u e

d i s c u s s

i o n s w

i t h

f u n d e r s

f o r

T h e a

t r e

D e v e

l o p m e n t

S t r a

t e g y

B 3

. 4 K e e p p r o

j e c t a n

d f u n d i n g u n

d e r r e v i e w p r e p a r e a p p r o p r i a

t e

i m p

l e m e n t a

t i o n p

l a n

t o i n c l u d e

t h e a

t r e p r o

d u c t

i o n s

d u r i n g w o r k s

B 4 A r c

h i v e s a n

d

H e r i

t a g e

C E O

A r c

h i v i s t s

[ S H - R

]

B 4 . 1

N e g o

t i a t e t h e

t r a n s f e r o

f t h e

a r c h

i v e m a

t e r i a

l t o a

s p e c

i a l i s t f a c i

l i t y .

B 4 . 2

. P r o

d u c e a

d o c u m e n

t l i s t i n g

t h e

t e r m s o

f a g r e e m e n

t

B 4 . 6 U p

d a

t e a n d

m a

i n t a i n a r c

h i v e

m a

t e r i a

l

B 4 . 7 I n c o

l l a b o r a

t i o n

w i t h s t a

f f f r o m

t h e

s p e c i a

l i s t f a c i

l i t y ,

B 4

. 6 U p

d a

t e a n

d

m a

i n t a i n a r c

h i v e

m a

t e r i a

l

B 4

. 7 S e

l e c t m a

t e r i a

l

f o r

d i s p

l a y a t

T h e a

t r e

a n

d o

t h e r

l o c a

t i o n s :

B 4

. 6 U p

d a

t e a n

d

m a

i n t a i n a r c

h i v e

m a

t e r i a

l

B 4

. 7 D e

l i v e r

d i s p

l a y

p r o g r a m m e

( p l u s

r e v i e w

& u p

d a

t e

B 4

. 6 U p

d a

t e a n

d

m

Documents

Business Plan 2010-2015