Ruth Staple from South West Arts Marketing interviews Tamsin Loudon (pictured), Marketing Officer at Bridport Arts Centre, about the issues facing a rural venue which has to adopt a community focus for its artistic vision. 
Bridport Arts Centre in Dorset was formed 30 years ago when the Wesleyan Chapel and a school building were redeveloped into the lively performing space, galleries and café you find today. It boasts annual audiences of over 20,000 and offers almost 100 performances and 20 exhibitions every year. It continues to attract high quality performers (companies often complain when they outgrow the venue as they miss its atmosphere) and maintains an excellent regional profile from Cornwall to Bristol. Dorset itself is a county of stark contrasts, containing both an affluent elderly population and pockets of deprivation. The wages are below the national average and the population is widely dispersed. Only a mile inland, Bridport?s catchment area is effectively limited to 180 degrees. Community focus In the light of these difficulties how does Bridport Arts Centre stay so effectively on the map, and what challenges does it face in the 21st century? One of its greatest strengths is that it is genuinely part of the life of the community. As well as having an excellent central location within the town and a lively café, staff actively participate in ?Market Town? initiatives which help retain the unique quality of Bridport and contribute to its economy and heritage. In addition to the range of quality arts on offer, the centre turns itself chameleon-like into a welcoming venue for the weekly farmers? market, local amateur thespians, and an alcohol-free performing arts nightclub for 13-18 year olds. The centre is pleased to boast it has ?no typical audience member?, and people wander happily from street to gallery without fear or any perceptible barriers to entry. ?We often find people who have recently moved here use us to establish a social life,? says Tamsin. ?It is a bridging point between locals and those new to the area?. Flexible approach The adaptability of the venue is further enhanced by the flexible seating, changed according to the event type or number of tickets sold. With a skilful movement of chairs no event need ever appear thin-on-the-ground, and the atmosphere slips deftly from jazz in a cabaret setting, to a dance floor at a folk gig. Of course, this has its downsides. Just ask the caretaker at 6am on a Saturday morning as he changes the furniture from ?live music? to ?craft fair?, and there are times when regular patrons find their favourite seats don?t exist for a particular performance. The staff also acknowledge they cannot be everything to everyone and maintain their integrity and vision as an arts centre. ?It?s about knowing when to say no to the events which don?t make sense to us as a venue? explains Tamsin. Price ceiling Another important consideration in a rural area such as Bridport is money. Wages are well below the national average, which makes spending £8 for two hours entertainment a considerable commitment. There is also a lack of major industries or employers to approach for sponsoring events or initiatives. Pricing has to be kept in line with what the locals are prepared to pay, and although the centre receives some grants and funding to assist with its programming, there is a definite level above which its prices cannot go. Better booking The Arts Centre installed its first computerised box office system five months ago, before which it used the time-honoured technique of seating plan, phone number and Tippex. Currently the Centre has one laptop and a ticket printer so although the financial investment was not enormous it was still significant. On the positive side the new system has immediately simplified accounts procedures, allowed staff to keep an eye on unpaid reservations and encouraged patrons to book in advance. As Tamsin points out, ?People would call and reserve seats then forget to turn up, or not bother because it was raining. Now we have educated them to pay up front, and it has saved us many lost seats. The system is also invaluable for our marketing and audience development functions, and research questionnaires can be simplified as the computer already holds much of the required information?. Nurturing relationships However it has not been all plain sailing. Most of the box office staff are volunteers, and training sessions are ongoing. The centre has carefully managed this process of change to ensure that a patrons? trust is not lost. ?Although we have a new professional system in place we still encourage patrons to have a chat when they make a booking, and people know they will see a friendly face whenever they come to visit. There is a lot of trust in rural areas ? people will still leave a key under a pot for the local plumber, and although we have changed our processes we are keen to ensure we have maintained the personality of the Arts Centre?. The community also has a sense of ownership about the centre, as many locals helped it get off the ground thirty years ago. Once again any process of change has to be carefully managed as rural communities have long memories and the Centre is highly visible due to the place it holds in so many people?s lives. Staff are fully aware that any changes, whether physical or ideological, will be widely discussed, and strong opinions voiced. In fact last month the Arts Centre was chastised for not being able to ?hire someone a trestle table as it had done 20 years ago?. I rest my case. Tamsin Loudon is Marketing Officer at Bridport Arts Centre e: tamsin@bridport-arts.com; and Ruth Staple is the Marketing Officer at South West Arts Marketing e: ruth.staple@swam.org.uk In the next issue Ruud Breteler explains his unique approach to culturally diverse programming at Theater Zuidplein in Rotterdam
Published: 24-03-2003