What should a patron be able to offer an arts organisation? Louise Coles suggests that expectations need to be clear from the outset.
According to Wikipedia the word patron derives from the Latin ‘patronus’, one who gives benefits to his clients. Why have the benefits for me not always been obvious? It has often been quite exhausting and time-consuming to get our patrons to commit to attend events, undertake interviews and use their personal connections for fundraising purposes. My expectations of what a patron should be or do is possibly too high. Indeed, I have often questioned the need and value of patrons as I have seen many other organisations saying yes to anyone with some kind of profile or fame, and deeming that to be enough without really considering what value they might bring and what the expectations might be for both parties. Indeed the question of expectation is fundamental in my view to making a patron partnership work for full benefit.
When I first arrived at the Actors Centre I was asked to rethink the value of having a patron as one of my first tasks was to assist the board in finding some new patrons. I was determined to ensure that our organisation’s expectations should be clearly outlined in any approaches. An official letter of invitation highlighted why they were chosen and what time commitment would be needed, and asked what they might be prepared to do with regards to press content and whether they would be expected to undertake fundraising and so forth.
It has also been obvious to me that fundamentally the fit has to be right: there needs to be a genuine connection and personal interest for a patron wanting to take on the role. It has to be a two-way relationship or what is the point? If they have been cajoled into it through a favour to a friend or feeling of obligation, you might as well add Donald Duck to your letterhead for what it is worth. However, if the right fit can be found then the benefits can be considerable.
The Actors Centre has had an impressive patron list over the years including Sir Lawrence Olivier and Sir Alan Bates. Their work has always been hugely beneficial as it has been deemed important for our member actors to see our patrons as role models and advocates of what we do. There has also been the need to maintain a profile in the industry and be seen as an organisation which is connected to professionalism and the working actor. The recent choice of three new patrons, David Harewood, Joely Richardson and Rafe Spall, has continued to embody these aims. As we meet the diverse needs facing actors in an ever-evolving industry, the type of patron we appoint has needed to reflect this change. Aware of time limitations on high-profile actors and the breadth of our diverse membership base, we have deliberately selected three new patrons who work in different media and have entered the profession through different journeys: Rafe Spall did not undertake the formal drama training route. It has been great to see Rafe already attend two events and Joely Richardson is keen for her daughter to take up membership. I am actually now enjoying a relationship with patrons who are taking a personal interest in the organisation. So there is meaning to having a patron after all.