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Dear John

How do I get a spot at a festival?

First published 27th July 2006

Question:
With the festival season here I'm wondering how I can get gigs to build up my experience. There seems to be work for all kinds of performers but how do I go about getting on the programme?

Answer:
Over the past two decades of doing my 'stand-up cartooning' thing I've certainly had lots of reasons to thank the festival circuit. I'm sure I'm not the only performer it has kept afloat during what can - if you are not in summer season or on a cruise ship - be a surprisingly lean season for regular income. I'm glad you have spotted the potential for marketing your own act but the bad news is that if you are only starting to approach summer festivals now, you may find that even the events which might have been interested tend to have been booked up quite some time ago. Performers have to live in a kind of time warp, where as well as doing whatever you are doing now, you need to be thinking ahead to where your work is likely to be in six months. If you are a regular reader you'll have noticed that not only are the summer bills fully booked but most of this year's major pantos have been cast and are chasing the punters, not performers. Having said that, there are always hitches and last-minute changes - and even the next festival booking up. Here are two experts with festival experience who may be able to help.

What the experts say:

Russell Dryden

Russell Dryden is one of the forces behind Bermondsey Beat, set up in 1998 to establish an annual all-day community event in the heart of south London. One of the highlights is the music programme, which mixes performances by legendary UK bands - often reuniting specially - with up and coming local acts. Recent years have included performances by Joe Brown, Albert Lee, the Blockheads and celebrated UK doo-woppers the Darts playing their first full reunion gig in 20 years.

Bermondsey Beat has always been about encouraging up and coming acts as well as showcasing great performers so I'm very open to people approaching me and wanting to take part. Obviously we focus on talent from the London area but there are a few things acts can bear in mind which will definitely improve their chances of getting a slot and which as an experienced festival organiser, as well as playing in a band myself, I'm pretty sure apply no matter what kind of act or festival is involved.

The first thing to bear in mind is that, like a lot of festivals, we have all worked very hard and usually on a volunteer basis to build up the event's reputation over the years. That means if you want to be part of our show I'm going to need to at least hear a demo and if possible see you perform beforehand. We want to give up-and-comers a chance - so you don't have to be flawless - but you do have to demonstrate commitment and passion. It's what we get from the professionals who perform here and we don't expect any less from you. One of the things that works in your favour is when we know you really want to perform at our event. We've found that people who act like they are doing us a favour by showing up usually don't have the talent to back it up.

I like a bit of 'attitude' but that isn't the same as lack of respect. The biggest and best acts we have had here are usually the most humble - and that as much as the quality of their work is why they get asked back and recommended.

Janice Fixter

Janice Fixter is a writer and poet who has been published in the UK, USA and Europe. She has performed at festivals and venues including London's Poetry Cafe and the Troubadour. Her latest collection is to be published by Tall Lighthouse Press in 2007.

As a poet there are a number of different aspects to my work ranging from the literary side to the more performance-based and entertainment aspect. I've found this relevant to the various festivals and venues I play - each has its own style and you should get used to adapting your basic set to suit the audience you're working with.

This is just as important if you're a singer, actor or some other type of performer and you can only do this if you start visiting festivals to see what exactly goes on. The other big advantage of going to festivals - even if this year it's just as a visitor - is that you can start networking.

Festivals are one of those areas where networking is a vital means of finding out what's going on. You tell someone about a new festival you've just done and they tell you about one they know and who to contact. The variety of acts festivals use often means that it's much easier to network with performers who do different things to you as you can recommend and support each other precisely because you are not in competition for the same slots. You can also build up a bank of people who can cover for you or vice versa in the case of double bookings or when two festivals you want to do happen at different ends of the country on the same weekend.

Many festivals are staffed and run by volunteers. This doesn't necessarily mean they won't be experienced in performance but when the glitches happen, from mics not working to last minute programme changes, work with the problem rather than berating everyone around you. The stage manager you're shouting at this year could well be next year's entertainment booker for the whole festival and you want to be remembered for the right reasons.

John sums up

Festivals are a particularly potent source of 'word of mouth' work. Do your research, both on the individual flavour of festivals, so you can tailor your work to suit, and also on the practicalities - there are often different ways and periods for applying to take part. You'll usually get further with a proper marketing approach, including demos of what you do sent in time for next year's event, than with a rushed phonecall about this year's one. But if you do attend for research, have your props and whatever else you need ready just in case that lucky break does happen. If you are performing, think about books, CDs or extras you can sell to supplement your fee. Have your business cards with you - someone may want to book you for their own festival. When you have done the gig, remember a simple thank you letter can work wonders, not only in getting you asked back but also because festivals often have to apply for funding annually and testimonials from acts can help ensure there is a festival to come back to.

* For more information on Bermondsey Beat, visit www.bermondseybeat.com

* Janice Fixter may be contacted at janice@globalnet.co.uk

* A list of UK arts, literary and drama festivals can be found at www.britishcouncil.org

* Feedback/queries are welcome to dearjohn@thestage.co.uk

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