JUL 2018 RECRUITMENT PACK DIRECTOR brb.org.uk #WEAREBRB
I am immensely proud to be President of Birmingham Royal Ballet. The Company exemplifies modern, ambitious and world-class ballet, and inspires, develops and showcases the very best of our country s talent and creativity. HRH THE PRINCE OF WALES PRESIDENT, BIRMINGHAM ROYAL BALLET The future of ballet was right there in Embrace. AUDIENCE MEMBER TWITTER A standard-setting Company, that other ballet Companies, and Youth Ballets learn from. I have enjoyed seeing such a variety of their works. AUDIENCE MEMBER FACEBOOK CONTENTS INTRODUCTION THE ROLE THE PERSON THE STORY BOARD OF TRUSTEES WHAT THEY SAY TERMS OF APPOINTMENT HOW TO APPLY Cover Image: Yvette Knight. Clive Booth
Photo: Birmingham Royal Ballet at the end of the 2017/18 season on stage at Birmingham Hipppdrome. Richard Battye INTRODUCTION LET US SURPRISE YOU... Birmingham Royal Ballet (BRB) is based at the heart of England the only large-scale ballet company based outside London and our home is in Britain s second largest city with the youngest population. We have up to 60 permanent dancers and our own outstanding orchestra, the Royal Ballet Sinfonia, led by Koen Kessels, which ensures we have some of the best orchestral music in the UK. Our annual turnover is c 14 million reaching an audience of over 185,000. The corps were physically sharp and dramatically on-the-ball throughout. THE TELEGRAPH on Romeo & Juliet (June 2018) You probably think that you know what BRB does, but we want you to look again Yes, we proudly produce and tour some of the most beautiful and grand, large-scale classical ballets around the UK, in London and internationally, but do you know that we are leading the most ambitious commissioning programme of new works through our Ballet Now programme? Over the next five years we are committed to investing 2.2 million in ten new ballets, with new orchestral ballet music and designs, which has led to co-commissions with Dutch National Ballet and Queensland Ballet. It s fascinating to see what the young British choreographers are up to. THE TIMES on Embrace by George Wiliamson, our second Ballet Now commission (June 2018). We also have an extensive back catalogue of works including some of the greatest ballets of the last 70 years.
The BRB dancers delivered a full house of outstanding performances. BACH TRACK on Romeo & Juliet (June 2018) The new national Dance Hub in Birmingham, funded by Arts Council England, with a new studio and offices being built for it alongside our headquarters, opens up the possibility of new partnerships for BRB with dance companies and artists across the West Midlands. BRB is the only ballet company which includes a collective of ten, highly gifted dancers with severe learning disabilities - Freefall Dance Company. It meets weekly for classes at BRB and creates choreographic projects. We also audition 2,500 local primary school children every year to identify children who have the potential to be future professional dancers. This project, called Dance Track, is delivered in a quarter of all Birmingham primary schools with the goal to change the faces of future dancers seen on stage to better reflect society. And we do more. The Dreams project connects BRB with children who train for fun at local dance schools. We offer them the chance to be taught a famous ballet by BRB dancers and perform on stage alongside some of our Principal dancers. One Mum wrote on Facebook in February 2018: My son was fortunate enough to be part of the Sleeping Beauty Dreams project. He loved every moment of the rehearsals and the performance. His technique has developed throughout the project and it has inspired him to continue in future. The highlight, of course, was to perform in such close proximity to the principals, a real honour for my son. Watching the performance was amazing, with young dancers experiencing dancing on the Hippodrome stage, wearing beautiful costumes and performing with the stunning scenery. Thank you to everyone involved for such an amazing experience. We are also trying our hardest to break down barriers for new audiences seeing shows. This very special review written this year sums up why: Today, thanks to the BRB, I did something I never thought I d be able to do - took my two autistic children to the ballet... The performance was the Birmingham Royal Ballet doing Sleeping Beauty at the Birmingham Hippodrome. This afternoon they did their first ever relaxed ballet performance, tailored towards people with special needs who might find going to the theatre challenging, especially autistic people and people with sensory and communication disorders. You could tell the organisers had thought hard about how to make it work... They handed out social stories explaining how a theatre trip works. This included a short cartoon strip explaining the story of Sleeping Beauty. They restructured the ballet into three 30 minute segments, and removed some scenes that weren t essential to the story line, so that the audience didn t have to sit still and concentrate for too long. There was a narrator at the start of each act to explain the next stage of the story. They left the house lights slightly on and the auditorium doors open, and allowed the audience members to move around the theatre if they needed to. There was a sensory room on the ground floor, there were pictorial signs for the toilets and seating area. There were buckets of ear defenders for anyone who struggled with the noise. And there was no judgement at all, from anyone. From performers to ticket booth staff, everyone made us feel welcome. Going to the theatre was a huge part of my life until I had children. My Mom used to take me, and I always wanted theatre trips to be part of my kids lives too. But so often, events like this are inaccessible to children like mine who shout out, jump around instead of sitting,
and find the theatre environment and its rules confusing and overwhelming. Today went BRILLIANTLY. My daughter grinned from start to finish. She brought one of her sensory chew toys and was actually chewing in excitement, which I ve never seen her do before. There were many other families there whose relatives had additional needs, so there was no awkwardness or people staring at us. Not even when my son decided that he wanted to lie on the steps to watch the performance with me stroking his back. He initially screamed and ran away from the auditorium, and had a couple of anxious moments after the intervals, but once his anxiety settled a bit, he watched the dancers intently. First from under my coat, and eventually he crawled to the front of the circle and peered over the railings watching the dancers and orchestra at work. He applauded at all the right times, and even called out dat is too good!! after some of the dances!! Thank you so much for what you did today. It was truly inclusive and you will never know how much being able to attend a performance like this means to families like ours. We are a company looking to the future. We are hungry to hear new ideas, to connect with new partners and fresh ways of presenting the Company and the art form. We re now searching for our future Director and we d love to hear from you. Photo: Young audiences members enjoying a First Steps performance at Birmingham Hippodrome. Andrew Ross Photo: Members of Freefall Dance Company performing We Are Here choreographed by Lee Fisher.
THE FUTURE Current Director, David Bintley CBE, steps down after 24 years in summer 2019. The Board of Birmingham Royal Ballet wishes to appoint a new Director who will build on David s legacy and help create an exciting new phase in our nearly 90-year history. We are looking for a Director who will provide artistic leadership to the Company and galvanise all our artists, staff and supporters behind a new artistic vision. The Board is open to proposals as to how this should be done, but the main elements are likely to include: An artistic vision which is artistically adventurous and financially sustainable, and which connects with the diverse communities in Birmingham and the other UK cities in which the company performs. An international repertoire of classical, contemporary and new works, which speaks to the times in which we live and inspires the next generation of ballet lovers. Nurturing and developing our talented dancers and harnessing the excellence of all our staff musicians, technicians and producers, ballet and administrative staff to support a programme of the highest quality. An outreach and education programme, planned at the heart of the artistic programme, which builds a more diverse audience and inspires more children and adults to experience the transformative power of dance and music. Utilising digital technologies to create and present work that resonates with a 21st-century audience. Partnerships with the rich variety of dance companies in the UK, including playing a leadership role in the establishment of the new Dance Hub in Birmingham which, with Arts Council England s support, will have a studio and offices connected to our premises. A wider and more diverse set of individual and corporate donors and supporters. A special relationship with the people and communities of Birmingham, Britain s youngest and most diverse city, enriching the economic, social and cultural life of the city and the surrounding region.
Develop our dancer talent pipeline by forging a close working relationship with the Directors of the Royal Ballet School and Elmhurst Ballet School. The next Director will take over a company with enormous assets and a rich history: a repertoire of over 100 ballets, many of them shared with the Royal Ballet. a company with up to 60 classically trained dancers, recognised for exceptional standards. the Royal Ballet Sinfonia, the UK s busiest only dedicated ballet orchestra. a commitment through its Ballet Now programme to commission ten new ballets over the next five years. a permanent home in Birmingham financial support of 7.8million per year from Arts Council England to take ballet of the highest quality to parts of the UK which would not otherwise have the opportunity to see it. The task for a new Director is to use these great assets to reshape the Company for the 21st century. We set out our detailed specification for the role overleaf but in addition to the specific skills and capabilities, we are looking, above all, for freshness of vision, new ideas, enthusiasm and ambition. Photo: Brandon Lawrence and Max Maslen in Embrace by George Williamson. Bill Cooper
THE ROLE Reporting to the Chair of the Board, the Director will work in partnership with the Chief Executive and Music Director to provide leadership and direction to the Company, to enhance its reputation for artistic excellence and innovation, to reach an increasingly diverse audience and to ensure its financial resilience. The Director s specific responsibilities are: Developing, and agreeing with the BRB Board, a new artistic vision for the Company. Planning and delivering a vibrant and varied annual programme of classical and contemporary works, consistent with the artistic vision. Setting and maintaining the Company s artistic standards; providing leadership and direction to the artistic staff; recruiting talented dancers; and nurturing and supporting their growth, wellbeing and development. Agreeing with the Board and Chief Executive a long-term financial plan for realising the vision and ensuring the annual programmes are delivered within budget. Supporting the development of a programme of engagement and participation that is integral to the artistic vision and programming. Ensuring that diversity and inclusion are at the heart of how the Company looks, operates, builds its programmes and partnerships and connects with its audiences. Acting as an ambassador, advocate and spokesperson for the Company in Birmingham, nationally and internationally. Taking a leadership role in successfully developing the Birmingham Dance Hub; and leading the Company s artistic contribution to major events, which might include Coventry UK City of Culture 2021 and the 2022 Commonwealth Games in Birmingham, thus raising the profile of the art form and the reputation of Birmingham Royal Ballet in the region. Helping to grow the support of individual donors, corporate sponsors, trusts and foundations. Keeping abreast of international developments in the world of dance, music and the wider arts maintaining a network of national and international contacts in other companies and cultural institutions. Reporting regularly to the BRB Board and Royal Ballet Governors, including through regular attendance at board meetings.
THE PERSON The successful candidate will have, and be able to demonstrate: The capability and preferably the experience to provide artistic leadership and direction to a large dance Company. Exceptional communication and representational skills with the ability to inspire and enthuse others, both within the Company and outside. The ability to develop and articulate an artistic vision which defines a 21st-century ballet company, and to commission and curate an annual programme of work which gives reality to that vision. An ability to work with and understand the needs and demands of choreographers is essential, but the successful candidate will not necessarily be a choreographer. A commitment to diversity and inclusion in how the Company looks, operates and builds its artistic vision, programmes and partnerships; and, preferably, experience of connecting, through dance, with diverse audiences and communities. Preferably professional experience as a classical ballet dancer with an understanding of the English style. A broad international view and knowledge of the classical and contemporary ballet repertoire, including up-to-date knowledge of contemporary choreographers, composers and designers, and of the latest developments in the art form across the world. It is preferable that the candidate has a global presence. The ability, and preferably experience, to identify talented dancers and support their development, health and well being. An understanding of the financial and commercial constraints on a large-scale touring company and a willingness to work within an agreed financial framework. Evidence of working collaboratively with people of different abilities, skills and disciplines to produce a successful outcome. Personal qualities of energy, enthusiasm, openness, tolerance and fairness; and an intolerance of bullying and discrimination.
THE STORY Our story reaches back to the 1930s, with the latest chapter seeing us proudly carry the name of the City of Birmingham since 1990. The digital revolution, funding environment and audience expectations have changed more in the last generation than in the preceding half century. As the pace of change becomes ever faster, we need to ensure classical ballet continues to make an impact. Our turnover is c 14 million per annum, benefiting from Arts Council England funding over three years of nearly 8m pa. We employ around 180 permanent members of staff, with up to an additional 300 casual staff supporting productions. Last year, our audiences across the UK exceeded 180,000 over 140 performances in nine UK venues. We are dedicated to touring, with 90% of our performances outside the capital city (2017/18: 146 UK performances; 14 in London). CLASSICAL AND CREATIVE BRB is synonymous with the heritage of the English ballet tradition as well as advancing the art form through the creation of new works rooted in the classical ballet style. We have a rich collection of ballets from the greatest choreographers this country has ever produced. The Company boasts a repertoire of some 200 one-act and full-length ballets, from the country s most outstanding productions of the classical canon to the edgy, contextual works that characterise our most recent achievements. These works demonstrate our ability to attract some of the world s finest choreographers, dancers, designers, composers and musicians. Collaboration is becoming increasingly important. Sharing of co-productions are almost essential to creating new work, with partners such as Houston Ballet and National Ballet of Japan critical to this approach. Meanwhile, we are forging ever-closer links with other major ballet companies and building crossgenre relationships to help strengthen the dance sector. We share a special relationship with the Birmingham Hippodrome and Dance Hub, who all share one location. New work is vital to drive the art forward, challenge our dancers and artists to push the boundaries of their talent, and enhance our global reputation. The creation of new work is
integral to our strategy, with commitment to this demonstrated by two new productions featuring this year and a commitment to at least two works a year for the next four years. We tour a wide range of repertory to audiences throughout the UK. Regular international touring takes us to places such as Virginia, USA; Tokyo, Japan; Munich, Germany; and Hong Kong. OPENING DOORS TO DANCE We are proud of our home in the centre of one of the youngest and most diverse cities in Europe. From the traditional to the modern, our performances are intended to inspire, entertain and delight, delivering the highest standards of artistry in music, dance and design wherever we perform. Alongside our main-stage performances, we engage in many ways to introduce our art form to everyone. Every year, more than 20,000 participants from 0 90 years old take part in engagement and participation activity in Birmingham and across the UK. This includes 3,000 children from primary schools from across Birmingham, many of which are in areas of multiple deprivation, who have the opportunity to take part in workshops and audition for free ballet training classes. Our Dance Track programme, celebrating 21 years this year, also identifies upcoming talent from diverse backgrounds and offers access to free classes to those who may not otherwise have such opportunities. To date, individuals on this programme have secured places at world-renowned ballet schools, some of whom have gone on to have professional dancing careers. Dance also sets up habits of healthy behaviour which can last a lifetime, combating issues such as mental health problems, behavioural difficulties, obesity and other diet-related illnesses such as diabetes. It increases cognitive ability, achieves healthier hearts and lungs, stronger muscles and bones, better co-ordination, better social and communication skills and increased creativity. We have developed powerful and proven responses to these issues and are immensely proud of our world-class Jerwood Centre, the first of its kind, which is recognised as a leading facility that support for dancers to assist them in achieving their performance potential. Freefall Dance Company provides the opportunity for talented dancers with severe learning difficulties to achieve above and beyond what it is often expected of them, both by themselves and by society. There were ten dancers in the company during the 2017/18 season and the response to the disciplined approach of ballet produces amazing annual performances, films and encounters. One of our key goals to develop and expand this incredible offer outside Birmingham.
RECENT SUCCESSES In the past two years in particular, we have seen some significant successes. Ballet Now is a ground-breaking initiative furthering the tradition of creativity and innovation pioneered by Ninette de Valois, founder in 1931 of what was to become Birmingham Royal Ballet. This new initiative is creating a legacy of new traditions, new talent, new ballets and new audiences. Ballet Now s purpose is to provide a unique and enriching pathway to aid the development of choreographers, composers and designers who show originality and world-class potential. Each participant will create new works that will be shared with audiences throughout the UK and beyond, premiering at either Birmingham Hippodrome or Sadler s Wells, London. Over five years the initiative will support 30 new artists, ten choreographers, ten composers and ten designers, providing them with mentoring, resources and access to Birmingham Royal Ballet s outstanding facilities. This exciting new initiative is overseen by a Creative Consortium of renowned industry leaders. They will set the framework for the project, award commissions as well as offer inspiration, mentoring, development and support throughout the entire process. The beauty of Ballet Now is that there ll be a new piece coming along in a few months time. DANCING REVIEW The Nutcracker re-imagined A landmark partnership between Birmingham Royal Ballet and Royal Albert Hall was formed in 2017, whereby we re-imagined and performed a version of Sir Peter Wright s iconic production originally created for Birmingham in 1990. Developed using investment awarded by Arts Council England s Arts Impact Fund, we created this new arena presentation which premiered in December 2017 to great critical acclaim. There were eight performances which saw 92% audience capacity and record breaking ticket sales. Amongst the performers were 16 young people (aged 8 12) who were chosen following auditions led by our Engagement & Participation department. After 34 hours of rehearsals and costume fittings, they too took to the stage for eight glorious performances. We also engaged with local people affected by the Grenfell fire disaster in workshops and invited them to see a working rehearsal.
The development of this new production was intended to give us a model for re-imagining and developing other existing productions to fulfil their touring and commercial potential, without compromising our artistic and social mission. Following its box office and critical success, we announced in April that we ll be returning to the Royal Albert Hall in December 2018 to share this magical production with many more audiences from far and wide. the biggest Nutcracker in London this Christmas. SAM SMITH, THE LONDONIST Growth We would usually expect audiences to be somewhere in the region of 145,000 to 150,000 ticket buyers depending on performance numbers. In 2016/17 season it was 145,000 and around 185,000 in our 2017/18 season. Growing audiences is one of our main priorities during 2018-2022. PEOPLE AT THE HEART OF WHAT WE DO In our ambition to be a global leader in everything we do, we provide unrivalled opportunities for dancers, musicians, designers and choreographers, by working with them to develop their skills, from the earliest years of training through to career-long development. Our close relationships with Royal Ballet School and Elmhurst Ballet School help to ensure we have a talent pipeline, in fact we are the biggest employer of Royal Ballet School graduates. Through working in exciting, innovative and industry-leading ways, as well as partnering with others in the sector and local educational establishments, we want to be the place where new talent aspires to be. We want to create an environment that fosters innovation, creativity and excellence across all disciplines a launch-pad for an internationally recognised career in the arts. Birmingham Royal Ballet has a track record in nurturing talent and providing an environment to help people fulfil their potential. We are committed to ensuring that people are at the heart of everything so we continue to attract, inspire and develop the talent of the future.
Photo: Jenna Roberts and Tyrone Singleton in Concerto by Kenneth MacMillan. Caroline Holden BOARD OF TRUSTEES Birmingham Royal Ballet, as a company limited by guarantee, is governed by a board of non-executive directors (charitable trustees). In accordance with the Articles of Association, the directors are also the members of the company. The Board of Directors are responsible for decisions covering the significant areas of Birmingham Royal Ballet s affairs such as: overall strategy, approval of budgets and major capital expenditure projects, and development of key policies including general treasury and risk management policies. Sir David Normington joined the Company as Chair in May 2018. Sir David Normington GCB (Chair) Dame Jenny Abramsky DBE Anthony Coombs Michael Elliott Sue Harrison Ross MacGibbon Hemma Patel Deborah Spence Ian Squires Anna Williams FCA, DChA (Company Secretary) For the latest financial reports please visit brb.org.uk/thecompany
WHAT THEY SAY BRB is one of the most important lyric partner companies for ATG regional theatres, bringing high quality and scale of performance at the highest performance level. We enjoy the luxury of a long-term mutually supportive partnership with the Company, with planning and strategic development over several years ahead enabling depth and breadth of analysis, audience development and engagement STUART GRIFFITHS PROGRAMMING DIRECTOR, ATG THEATRES Photo: Valentin Olovyannikov as King Rat in Peter Wright s The Nutcracker at the Royal Albert Hall. Drew Tommons I have been enjoying Birmingham Royal Ballet for 15 years and donating for much of that time. It is such a wonderful feeling to be a little part of the Company. I get to see rehearsals and meet members of the Company for my donations. Marvellous! DONOR Through the generations we have always had music and dance in our family. This is why we want to encourage young dancers and musicians, because of the great pleasure they keep giving us and the privilege we have in being able to help in their futures. DONOR
TERMS OF APPOINTMENT Time Commitment: This is a full-time position Term: The appointment will be initially for five years, but subject to renewal by mutual agreement. Re-numeration: A six-figure salary will be subject to negotiation and annual review. Start Date: Spring 2019 Location: The role will be based at Birmingham Royal Ballet in Birmingham but will involve touring, and work throughout the UK and internationally, both with the Company and individually as a BRB ambassador. HOW TO APPLY Saxton Bampfylde Ltd is acting as an employment agency advisor to Birmingham Royal Ballet on this appointment. Candidates should apply for this role at www.saxbam.com/jobs using code EQOC. Click on the apply button and follow the instructions to upload a CV and cover letter, and complete the application and equal opportunities monitoring form. The closing date for applications is noon on Monday 24 September 2018 If you are unable to apply through the website, please email belinda.beck@saxbam.com quoting reference EQOC.
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