Producing Feed

Producers Pool - Dates in the Diary pt1

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Towards the end of 2019 I was introduced to the concept of the Portfolio Career and it was a mindset game changer.

2019 was also the year I asked myself, which I often do year on year - "If I won the lottery what would I do?" The answer has been the same for as long as I can remember. To fund and produce independent small scale theatre working with emerging artists and directors.

This time I accepted I’d probably never win the lottery but ya do want to do this.

I know my craft as a stagemanager, my digital learning and project experience has encompassed social media and associated productivity technologies, podcast audio recording and production, I can edit video.

Mobile live-streaming and virtual worlds. Audience and augmentation.

Technology and theatre.

Not for technology but for engaging immersive idea revealing story-driven theatre. Unusual productions in extraordinary spaces. A big part of the lottery dream is to have the money to fund it.

Then there is like-minded professional networking. Nothing is more aspirational than spending time talking, listening and strategically dreaming with fellow producers. All on differing trajectories in their own careers. A community of collaborators. A tribe of mentors.

Chris Grady hosts Producers Pool.

I was, since 2018 forever attempting to synchronise my meetings in London at Equity or events by Cybersalon to draw a three-card trick where I’d get to attend a Producers Pool, Equity meeting and a Cybersalon event. Trump card would be to fit in a theatre show too.

I would augment my attendance at events on occasion, to showcase remote access potential. The immersion in ground-based experience made the strategic split to include cloud-based access hard to make happen when I was the on needing access and not providing the access which was the ultimate aim, to extend attendance.


The value and reward of cloud access were invisible to physical organisers. The concept appealed but in practice, the management of the physical event was enough.

Blending Digital and Physical looked to be a pipe dream. Then came Covid. One of the first to embrace the opportunity to pivot to digital was Producers Pool. Hurrah!

So independent producers and theatre-makers meeting monthly often with an influencing peer speaking currently happens online.

What do you have to offer?

What do you need?

This leads to the momentum and mindfulness of conversations. 

What can I offer? Insights, experience and practice to pivot to digital. What do I need? The blending back to physical with gradually lowering balanced percentage extension option to attend either way and get the same influencer insights and networking dialogue.

I don’t ask much! Am I asking too much?

Monthly on the last Wednesday, until further notice starting January 27th if you are interested in joining Producers Pool find your way to the Facebook Group.

For the mindfully invested. 

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The journey starts here www.chrisgrady.org/producers-pool
Producers' Pool (UK & International) - next meeting 4.30 pm Wed 27th January


Extraordinarily Ordinary - #DYCP

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I don’t know what to say.
I was awarded a Develop Your Creative Practice grant from Arts Council England today.

It means more than I can convey right now. My request set out how I would take where my career has bought me to, swoosh it all together package and appropriately reframe it like I never imagined I’d be able to in order to set my horizons to pursue aspiration that without the funding would be unimaginable.

So what does it mean? Big Picture Stuff

  1. I have my Creative Producers Diploma paid for
  2. I can invest in some serious networking within the immersive theatre experience arena?
  3. I have a budget for a dyslexia support work to help be with words to paper brain fog syndrome! Fi you rock.
  4. I can explore the NFT smart contract royalties/residuals concept I think could change the way we archive and invest legacy in live performance arts and entertainment.
  5. Attend at least 3 festivals in 2022 where live performance is being innovated to immerse myself in what’s possible
  6. Compile a full business proposition and production plan for my first immersive theatre piece for a paying audience
  7. Prepare and pitch to investors my innovative staging environment with its first production and NFT offer.

I’ll be podcasting with some livestreams to document and share my journey, the development and discovery also. This will afford me time to audit my own career portfolio, review and align my digital footprint and existing legacy.

All this to move forward as a Creative Producer securing and exploring unconventional and novel funding opportunities to engage investors who have an arts advocacy and production partnering itch to scratch where return on investment will be part financial, part social consciousness and part trailblazer. Proof of stake and ultimately proof of talent is the speculative investment. The right casting for the right future return.

Production scale for those intrigued is ITC and Theatre UK MRSL3 in terms of salaries to creatives and performers. The production environment and repertory of performances will, fingers crossed showcase at the 2023 Edinburgh Fringe and a similar production scale immersive festival such at Vault.

Making the dream reality actually starts today Wednesday 4th August 2021.


Dinosaur Hackathon. Interested?

DinoHack is taking shape

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It’s taking place in Bristol at The EngineShed a literal stones throw from Temple Meads Train Station.

Email if you are interested in attending or/and sponsoring kids-id@pcmprojects.co.uk

http://bit.ly/dinohack2021

It’s got some work still to do.
If you’re reading. I’m sharing.




Yes... Standing on the horizon.

Today I was offered and accepted a place on the CGO Institute’s Creative Producers Diploma which starts 1 Nov 2021

From the January 2020 line in the sand, all through the Pandemic and the lockdowns I’ve be heading to this moment.

Chris Grady (Mr CGO) was my first induction to Zoom as Covid hit. I’d been eager to attend Producers Pool Meet-ups but never managed to be in London at the right time to be in the right place.

Producers Pool ‘pivoted to digital’ and I couldn’t be happier. I encountered so many amazing talents all with there own paths, projects and productions.

Through Producers Pool I met Kate McStraw and secured my first producers assistant role.

So it begins

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Digital Field Trip - Clicks n Mortar - Kinoautomat

The night in March 2009 I chose to attend a cinema session I was curious. I’d read/played the pick-your-story books and Ian Livingstone & Steve Jackson dice rolling books. A pick-the-story film was new to me and that this one was a retro experience intrigued me. Definitely one of the distinct instances that has shaped the work I’m embarking upon in 2021.

Originally it was a performance, which combined a projected film with interventions from two stage moderators, which was shown for the first time in 1966. On this occasion it was being presented my the film makers daughter.

The film, One Man and his House, centers around Mr. Novák who finds himself caught up in various situations which represent moral dilemmas.

Using a specially constructed voting system, the audience members changed the trajectory of the film at several key moments by pressing red or green buttons. The direction voted by the majority would then be followed by the projection team.

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Extract - Kinoautomat, prelude to the future

http://www.progetto.cz/kinoautomat-un-preludio-al-futuro/?lang=en 

“The TV of tomorrow”, was the expression used by the British newspaper The Guardian, while the critic David Griffin spoke of it as a film that “uses the best elements from both video games and films”. The reference was to “Black Mirror: Bandersnatch”, released on Netflix just over a year ago, which attracted attention mainly due to being an interactive film in which the action stops at certain intervals and the viewer makes decisions for the protagonist, influencing the course of the narrative. A certainly compelling idea, but there were indeed quite a few viewers to whom the format seemed to be something already familiar.

Extracted - http://www.medienkunstnetz.de/works/kinoautomat

“The vote was executed by the projectionist switching one lens cap between the two synchronized projectors. The artfulness, ultimately, was not in the interaction but in the illusion of interaction. The film's director, Raduz Cincera, made it as a satire of democracy, where everyone votes but it doesn't make any difference.” (Quote from: Michael Naimark, Interactive Art - Maybe It's a Bad Idea, 1997)


Secret Stories - #SparkFestival - performing live on Zoom

Today I was able to sit in on a couple of the digital live Zoom performances taking place this is as part of The Spark Arts for Children half term #SparkFestival


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“During lockdown families from the Belgrave community, the golden mile of Leicester, met online to share and uncover their personal histories.”

Chandni Mistry performed Airmail - a set of community told adapted stories live-streamed direct to the audience’s home, over Zoom. Airmail is a collection of stories told through time, across continents and generations. Jumping from Uganda to Watermead Country Park, Leicester.

AirMail (below - Chandni Mistry)

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Rina Fatania performed The Video Call - a collection of stories that resonate voices from the heart of Belgrave, the golden mile of Leicester… a world of WhatsApps, Zooms, never ending summer barbecues and right up to lockdown.

VideoCall (below - Rina Fatania)

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I’m currently compiling the on demand versions richly recorded and underscored to podcast listening comfort perfection by Audio Artist, Dimple Patel. Directed for Zoom by Trina Haldar from stories co-written by her Satinder Chohan and participating families of Belgrave in Leicester.

Delighted to have been able to introduce Marcus Romer into the mix which provided support and confidence Trina, Rina and Chandni. He allayed their fears of Zoom bringing a sense of play to the scripts embracing the confines of the video frame. Zoom was used magnificently with Virtual Background overplayed with filters. Chandni seamlessly flipped from back to background with a well placed dog face tracing filter. Feathers were raised to the camera with the space in frame thoughtfully augmented with a Paper plane and model boat large and close in passing across the field of view.

The stories gave a glimpse into a world and culture of being a migrant from India through the eyes of 2nd and 3rd generation Leicester families. Shock and delight, I audibly gasped in Airmail, here in my home at the story of family members leaving India under duress and instructed to remove jewellery at the airport to laughter in VideoCall at the contracted text speak and Dwali zooms.

I now have the live experience. Performed in speaker view with families watching from home line up along the top of the main spotlighted performers window. Interaction between the children and Chandni during Airmail pushed the boundary to wholeheartedly demonstrate that live theatre can be digital.

The 9 stories will be available to listen to as part of the Families On Demand part of the #SparkFestival programme. I am unreservedly glad I saw them performed live.

A hat tip must go also to the zoom operators Helen Raw and Katie Bosomworth.


Moblogging... mobile blogging

So it has been a while since I was blogging by mobile. A while since I serious blogged at all. Its time to fly. I have some great projects on the cards, topics I'm researching and hurdles I'm jumping, journeys I'm embarking upon, mountains I'm climbing. All that, I want to reflect on. Oh, and the 100k aspiration. That is quite exhilarating if a tad daunting.

Thanks for visiting my blog. Enjoy!