- David Bowie
- Blood and glitter
- Not being a dick
- My sanity
The “beer” and “new structures” boxes were currently unchecked. They seemed to go well with “looking people in the eye”, “heartache” and “wounds” boxes that Sea Wall was currently filling.
Staging Sea Wall as a pub crawl of Glasgow bars, gathered around a table in the venue and asking people to chuck whatever they wanted in a box afterwards felt like it would work for both the type of play Sea Wall is and for the production I wanted to make. Beer. New structures. Boom.
Average ticket price across the run was £8.40.
Show to show, this varied between £3.75 - £13.10
I’d budgeted in line with ARC’s findings of average ticket yield of £7.20 and a 30% drop off (we had a 20% drop off) so I was pretty happy with this.
With this model I liked that some audience members could pay more if they were in a position to do so and their contributions would bolster up folks who couldn’t/didn’t donate more. A fiver is worth something different to everyone. Christine Irvine had some thoughtful comments and critiques of the pressure she found as an audience member in her review of the production for Exeunt.
We did take reservations for bookings which took us to 110% capacity. There were quite a lot of non-attenders but we did take additional business on the door and played to 80% capacity across the run.
Usually we'd present work in theatres with a 60:40 box office split in our favour. With Sea Wall, we had a range of deals with the venues;
- Free hire
- £50 a night
- 10% of box office takings
Pub theatre isn’t a thing in Glasgow, which makes me really sad as a lot of my favourite work I’ve seen has been shared in pub theatres and studio spaces. Some artists who I look up to say there isn’t an audience for it but I dunno. We’re also the city that routinely sells out lunchtime theatre with UK’s largest producer of new writing in A Play, A Pie and A Pint and has a National Theatre that is more at home in towerblocks, barns and ferries than in theatres so it’s not as if we aren’t up for a range of opportunities to have a good time.
The level of risk involved was really low. There was only two of us on the project and we made the most of our week's rehearsal that the budget allowed. If you wanted to do anything other than have one person telling a story, this model wouldn't be as effective for you as it was for us. And theatre needs range.
Our model didn’t differ from the hunners of folk who do the Free Fringe in August and versions of that. The difference here was the context, producing something outside of that oversaturated marketplace I think made audiences more generous and perhaps surprised by our stripped back staging (we didn’t even have a stage, sake.)
With just the two of us on the show, some things were a bit sticky as we adapted to a different method of presentation than we were both used to. We got better at it as the run went on. A third team member would have been useful to take care of front of house, make sure I didn't forget the gorgeous handmade freesheets designed by Georgie Mac, hustle the venue for audience members. But one extra person would drastically inflate our costs and mean no-one was getting paid properly. Better for me to roll up my sleeves and get-over-myself.
We learnt loads. Stuff like what sort of collection boxes to use, how to sign post venues, setting up a free online box office that doesn't list your event as "free", how many or few people should be in the audience.
I think we'll be back. We leaned on the strength of the writing, stripped everything back and found a model that provided security for us as artists and removed risk for audiences.
Written by Simon Stephens
Directed by Eve Nicol
Performed by Alan MacKenzie
Alex’s life is going swimmingly - great kid, happy marriage, good job - when everything is swept from him in one devastating moment.
Simon Stephens’ acclaimed monologue is a portrait of grief, guilt and the still waters that run deep in us all. Heroes Theatre's intimate new production invites audiences to share a drink in the back rooms, snugs and dens of Glasgow pubs.
Sea Wall is pint-sized theatre that packs a crushing emotional punch.