Blog

Job Opportunity: Producer

About Jack Dean

 “Artists like rap storyteller Jack Dean make us excited about what they might do next”

– The Guardian

Jack Dean is a writer, performer, poet and theatre-maker who uses hip-hop, spoken word, comedy and theatre to investigate modern mythologies, contemporary social issues and the human condition. His current repertoire includes three full-length theatre productions. These include two shows for adults, Grandad and the Machine and Nuketown, along with Horace and the Yeti, an eco-adventure for children aged 3+. He has been supported by a range of funders, including Arts Council England, Literature Works, Seedbed and the Lush Foundation, and received commissions from Camden People’s Theatre, Apples and Snakes, Unlimited, Barnsley Civic, ARC, Bristol Old Vic and the Bike Shed Theatre, among others. He is producer and creator of the Infinite Hex and Fake Town fables storytelling podcasts. More information about Jack can be found at his website: www.jackdean.co.uk .

 

The Role

Jack is seeking a Producer (individual or company) to support the management of a series of projects in 2018. This will involve:

  • Marketing, and project management for the tour of Nuketown in May/June 2018.
  • Fundraising, marketing, and project management for the production of new show Jeremiah, launching in September / October 2018.
  • Tour booking and fundraising for a summer 2019 tour of Jeremiah.
  • Managing Jack Dean & Friends, a planned Arts Council England-funded programme of audience & organizational development spread across all of 2018’s projects.

 

Person Specification

Essential

  • Strong communication skills, and ability to set and meet deadlines consistently and delegate effectively.
  • Extensive experience of UK tour booking for small-scale theatre work
  • Experience of successfully raising funds from Arts Council England’s Grants for the Arts programme, especially of applications both under and over £15,000 in size.
  • Experience of delivering successful marketing campaigns for small-scale touring theatre work.
  • Ability to attend face-to-face meetings once a month in Exeter

 

Desirable

  • Experience of raising funds from diverse sources, especially trusts and foundations and / or individual giving.
  • Experience of promoting digital content, especially podcasts and Youtube videos.
  • Experience of delivering audience development and / or organisational development projects.
  • Strong relationships with audiences and venues in the South West.
  • Production / company management experience on small-to-mid scale theatre

 

Fee

£100 per day on a freelance basis, based on an average of 1 day per week, to include all personal expenses. The initial contract will cover 15 days between January & April 2018, with the hope that the role will continue and expand beyond this timeline as more funding becomes available.

 

Timeline

 

Deadline for applications: 5pm Sunday  5th November 2017

 

Interviews in Exeter: Week of 13th November 2017

 

Decisions: Week of 20th November 2017

 

Start: Early January 2018

 

How To Apply

 

Send a CV, a link to your website (if applicable) and a brief cover letter outlining your suitability for the role in relation to the Person Specification to Jack at jackdean1989@gmail.com

CASTING CALL: HORACE & THE YETI

Jack Dean in association with LittleMighty is looking for a FEMALE actor with a playing age between early 20s and early 30s to perform in the tour of a new two-hander for families and children aged 4+.

The role will see the performer play a number of different characters. Physical theatre skills and a strong singing voice are essential requirements. Some experience of puppetry and object manipulation would be desirable but not essential.

Rates of pay:

£100 per day plus travel and accommodation expenses. How to Apply:

Casting will be through a workshop-style audition led by director Tom Wright. This will take place from 2- 5pm on Saturday 9 September in Barnsley (location tbc if called).

To apply, please send us an email including a link to your Spotlight profile or CV to producer Dick Bonham at dick@littlemighty.co.uk by 3 September.

About the show:

Intrepid Victorian adventurer Horace is out hunting yeti! He’s trekking across the Himalayas, hoping to find one of the legendary Abominable Snowmen. The creature is guarding a priceless jewel, which is wanted by Queen Victoria herself.

But things change when Horace actually meets the Yeti, who turns out to be far from Abominable. Together they head off on a journey though the valley of Shangri-La, here mythical beasts live hidden from humanity.

But Horace has to make a choice. Will it be personal glory or saving the natural world?

The show was originally commissioned and developed through a Research & Development period with The Civic Theatre, Barnsley and ARC, Stockton.

Written and with music by Jack Dean Directed by Tom Wright
Design by Emma Williams Dramaturgy by Dick Bonham Produced by LittleMighty

Dates:

You will need to be available for the following dates:

Rehearsals – Barnsley:

3 – 6 Oct 2017
9 – 13 Oct 2017 16 – 20 Oct 2017

Rehearsals – venue TBC

23 – 25 Oct 2017

Performances:

26 Oct 2017 – The Carriageworks Theatre, Leeds
4 Nov 2017 – CAST, Doncaster
14 Feb 2018 – The Ropewalk, Barton-Upon-Humber
17 Feb 2018 – The Coro, Ulverston
19 Feb 2018 – Northrope Hall with Creative Scene
20 Feb 2018 – Batley Bulldogs RLFC with Creative Scene
21 Feb 2018 – The Venue Birstall with Creative Scene
22 Feb 2018 – Healey Community Scene with Creative Scene
23 Feb 2018 – Thornhill Sports & Community Centre with Creative Scene 2 – 7 April 2018 – The Bike Shed Theatre, Exeter

How Parliament would have looked if the Progressive Alliance had happened (and how it would look if it happened again)

So, I’ve been managing my anxiety about the world with some therapeutic spreadsheeting, and, in the apparent absence of anyone else having attempted this particular “what if?” yet, I thought I’d have a go my self. Here’s what I came up with.

 

Some caveats:

  1. This is based on every single vote from Labour, Lib Dems, SNP, Plaid Cymru and Greens going to the most popular candidate from that group in each constituency.
  2. “2015 Rules” is what would happen if the choice of who would stand aside in each constituency was based on which party ranked first in the 2015 General Election results.
  3. “2017 Rules” is what would happen if the same decisions to stand aside were made based on the 2017 election results, in some hypothetical near-future election where neither side gained or lost votes.
  4. “Left Alliance” excludes the Lib Dems, in line with Farron’s most recent “No Deals” tweet and debates over whether they would be eligible as “Progressive”.
  5. I have used the Britain Elects data, so Northern Ireland is ignored for the purposes of the calculation but added to the total. I have done the same with the Speaker’s seat in Buckingham.
  6. I have excluded UKIP for simplicity, since (to my knowledge), there is nowhere where their vote would exceed the Conservative, Alliance and Lib Dem one.
  7. I have no specialist expertise in this and may have made many glaring mistakes. You can see the spreadsheet I used here. If anyone wants to use / improve / make a cool map out of or inspired by my work then please do, just ping me a credit.Initial thoughts: this is quite astonishing in terms of the opportunity that’s been missed, and could be taken again in the event of another election. The Progressive Alliance would have left the tories with 50 less seats than they have now, and Labour WOULD STILL HAVE GAINED EVEN MORE SEATS. Going forward, the “Left Alliance” could form a working majority even without a single Lib Dem vote. Any votes lost due to voter dissatisfaction or rogue local parties standing would surely be massively outweighed by combined campaigning, resources, etc, and likely extra downward slide in vote share for the tories.

Let’s make this happen – if you’re a Labour / Lib Dem member, talk to your MPs / local branch and show your support for this. Never has there been a clearer case for working together.

 

 

Millennials deemed “the worst generation” by 10th Century people

[Pictured: a group of Millennials engaged in the popular activity of “Feast Hall and Chill”]

New research from Ramsey Abbey has shown that attitudes to the generation born between 980 and 1000 AD, often dubbed “Millennials” or “Generation ð” are perceived to be the worst generation yet in popular opinion. Common conceptions of the age group include narcissism, sexual infidelity and a woeful inability to repel Viking raids along the Devon and Sussex coastlines.

“I just can’t understand them” said Thane Simon of Sinek, speaking in last week’s Witenaġemot “they just spent all day looking at their tapestries. How are you supposed to get on with real work, like aiding the parsnip harvest and digging holes to shit in, with an attitude like that?”

Others point to a strong sense of entitlement, set up by poor parenting. The Venerable Stein wrote in Time Chronicle, “a lot of these kids grew up expecting to live in walled towns, and won’t even sleep in a pile with their entire family on top of a pig for warmth. They’ve gotten used to abacuses doing maths for them, so can’t even calculate their share of the Danegeld levy in their head.”

Statistically, Millennials are 10% less likely to take up their father’s profession (not counting slaves), 20% less likely to know how to yoke an ox, and 3% more likely to contract leprosy.

There is also concern about a lack of commitment among Millennials. “My 18-year-old son still hasn’t taken a wife, and wants to travel to the next town over to look for one”, says Ælfheah, a churl from Old Sarum. “Who’s going to pay for that? There’s Wyrms and Giants out there!”

The Abbot of Ramsey was unavailable for comment, possibly due to dysentery.

 

 

 

Globe Theatre Seeks to Fire William Shakespeare In Row Over Staging

The governing trustees of Southwark’s Globe Theatre have demanded the resignation of their Artistic Director, William Shakespeare, after disagreements over his unconventional artistic choices. In an official statement nailed outside its door today, the Globe said that, while they were impressed by Shakespeare’s innovative staging, including the integration of characterisation into the plot, the reinvention of soliloquy and the pioneering of the romantic tragedy genre, they felt the Globe should return to what Elizabethan Theatre has always been about: staging endless waffle written by posh twatt mates of the King.

Richard Burbage, one of the main shareholders in the theatre, said “Forsooth, this fellow cannotte be allowed to keepe on symply makeing up wordes all the tyme. The Englyshe Language is perfecte as it standes, with a hey nonny no and a fiddle-di-sirrah!”

While Shakespeare’s plays have brought increased audiences to the Globe, many feel that his use of artificial lighting, most likely imported from the more experimental Blackfriars Theatre where he briefly worked, is too dynamic, and would like to see the novel usage of torches in the evening to be replaced with the more traditional approach of running away home whenever it gets dark so that witches can’t get you.

John Heminges, another trustee, wrote an excoriating letter to the Southwark Poste today, declaring. “We must honour the hallowed traditions that this building stands on. I mean, sure, we made it by stealing a whole theatre whose landlord had evicted us, rebuilding it piece by piece in a random field, and putting on plays as a side hustle to its main function as a brothel-cum-bear-fight-arena, but…yeah, traditions.”

When approached for comment, Shakespeare said “Fuck’em, I own 12.5% of this mutha and I’m not going anywhere. I spent seven years on the run for poaching, they can come at me.”

King James was too busy burning Catholics for comment.

Nuke town Villages #10: “Derbados”

[These blogs describe and document the villages made by audiences as part of my new project Nuketown.]

Name: “Derbados”

Made by: Audience at performance at Derby Theatre 14  people)

When: 30/09/2016

Buildings featured:  the Death Cage, the Glass House, the Castle, the Minarets, the Train House, the Communal Staircase , the Euphoric Emporium, the Beehive

Jack’s Thoughts: This build shows the full range of people’s responses to the building challenge: the artistic types who semi-ignore the brief and  build based on the lego thats available (the Train House), the socially conscious who go with the brief and build something community spirited  (Euphoric Emporium, Beehive) and the guys who couldn’t care less about the brief and just try and build the most fuckoff massive thing they can in 30 minutes (the Castle). But at the end of the day, that’s kind of the point of the show. People are rad, even when they don’t do what you want, and they should be free to make whatever world they want to be in. And the people I’ve worked with over this show, by and large, have proved my point. Score 1 for Jack. And for people.

Quote of the build: “I am supporting your creativity. I did not just break it!”

 

Nuketown Villages #9: “Twocastles”

[These blogs describe and document the villages made by audiences as part of my new project Nuketown.]

Name: “Twocastles”

Made by: Audience at performance at ARC, Stockton (24  people)

When: 28/09/2016

Buildings featured (from left to right, ):  Castle 1, Castle 2, the Communal Kitchen, the Chill Supermarket, the House Catamaran, the House, the Art Deco Building, the Mortuary, the House of Escher.

Jack’s Thoughts: This was the most competitive build so far, with an intense rivalry between Castle 1 and Castle 2’s builders. But all were ambitious in their own way. One of my favourite parts of the show is when I tell people they have 15 minutes left and there’s a collective groan of despair.

Quote of the build: “You could live in my castle. You couldn’t live in theirs”

Nuketown Villages #8: “Stockton Garden City”

 

[These blogs describe and document the villages made by audiences as part of my new project Nuketown.]

Name: “Stockton Garden City” (Again my own, forgot to ask audience due to extensive cold-brain)

Made by: Audience at performance at ARC, Stockton (14  people)

When: 27/09/2016

Buildings featured (from left to right, ): The House, The Other House, The Eco-House, The Ice Rink, The Garden, The Government Building, the Portable Lido.

Themes discussed: Housing, Public Spaces, Lidos

Jack’s Thoughts: A humble but pleasant village from this build. Why do portable swimming pools keep coming up?

Quote of the build: “He didn’t say what type of government goes on there, just government. It could be shady”

Nuke town Villages #7: “Kidderminster”

[These blogs describe and document the villages made by audiences as part of my new project Nuketown.]

Name: “Kidderminster”

Made by: Audience at performance at Bike Shed Theatre, Exeter (35 people)

When: 24/09/2016

Buildings featured: The Skyscraper, the Slide, The Theatre, The Trolley Station.

Jack’s Thoughts: A hasty pack-down at the end of the show means a lot of details of this town are lost to time (and I guess the people who built it). Why the tall thin spires in the building on the far right? What’s that one guy doing on the roof? Is a skyscraper with no doors still a skyscraper? The name is by far my favourite so far though.

Quote of the build: “I have to build the tallest thing!”