The
Future
of
Student
Theatre
at
Durham


A
student‐focussed,
sustainable
approach

1
An
introduction
from
the
DST
President

My
time
at
Durham
has
been
shaped
by
the
opportunities
and
challenges
that
the

University’s
drama
scene
has
had
to
offer.
As
far
as
I
know,
no
other
university
in

the
country
offers
the
chance
to
study
for
a
full‐time,
high‐quality
degree
from
a

top
 institution,
 whilst
 pursuing
 drama
 to
 the
 highest
 level.
 I
 am
 incredibly

grateful
 for
 the
 experiences
 that
 membership
 of
 Durham
 Student
 Theatre
 has

offered,
and
hugely
optimistic
about
our
plans
for
the
future.


However,
the
continued
success
of
student
theatre
at
Durham
is
contingent
on
a

properly‐funded,
 student‐focussed
 approach.
 At
 a
 time
 when
 delivering
 ‘the

Durham
 Difference’
 is
 so
 critical
 in
 an
 increasingly
 crowded
 higher
 education

market,
we
need
support
from
the
University
to
continue
to
deliver
the
level
of

service
and
success
which
is
rightly
expected
by
our
members,
the
University’s

departments
and
colleges,
and
the
wider
Durham
community.

This
 report
 argues
 the
 case
 for
 a
 fundamental
 shift
 in
 the
 governance
 and

financing
 of
 student
 theatre
 at
 Durham
 based
 on
 a
 sustainable
 model
 that
 will

drive
 up
 the
 student
 experience,
 the
 University’s
 reputation,
 and
 levels
 of

community
engagement.
I
hope
you
will
feel
able
to
lend
your
support
to
such
an

exciting
proposal.

Hugo
Soul

March
2009


2
About
Durham
Student
Theatre

 
 

DST
 is
 the
 union
 for
 drama
 at
 Durham
 University.
 With
 over
 seven
 hundred

members,
 fifty
 productions
 annually
 and
 twenty‐five
 affiliated
 theatre

companies,
the
organisation
is
one
of
the
largest
student
societies
in
Durham
and

enjoys
an
outstanding
reputation
for
facilitating
some
of
the
best
student
theatre

in
the
UK,
both
in
the
city
of
Durham,
and
further
afield
at
the
Edinburgh
Fringe,

on
national
tours
and
even
overseas.


This
 academic
 year
 has
 seen
 an
 unparalleled
 expansion
 of
 DST’s
 activities.
 Our

fundraising
 team
 has
 sourced
 £100,000
 for
 a
 refurbishment
 of
 the
 historic

Assembly
 Rooms
 Theatre
 on
 North
 Bailey,
 a
 project
 that
 has
 been
 completed

over
Easter.
Nearly
6,000
audience
members
have
enjoyed
shows
in
the
theatre

this
year
alone,
many
of
whom
booked
and
paid
online
using
our
new
website.

Our
links
with
Developing
Artists,
a
charity
run
by
a
fellow
of
St
Chad’s
College,

have
 led
 to
 DST
 members
 travelling
 to
 the
 U.S.
 to
 perform
 in
 the
 first
 off‐
Broadway
 production
 of
 Alan
 Bennett’s
 The
 History
 Boys
 and
 to
 Zimbabwe
 to

work
on
a
production
of
Oedipus
Rex.
The
Durham
Drama
Festival
saw
industry‐
leading
talent
come
to
Durham
–
including
Matt
Wolfe,
the
theatre
critic
for
the

International
 Herald
 Tribune,
 and
 Brooke
 Ciardelli,
 artistic
 director
 of
 the

Northern
Stage
in
Vermont.
DST
has
also
formed
links
with
Hassockfield
Secure

Training
 Centre
 in
 Consett
 with
 a
 view
 to
 providing
 mentoring
 and
 drama

therapy
services
to
offenders.


Our
 theatre
 companies
 have,
 with
 DST
 support,
 forged
 local,
 national
 and

international
 links
 and
 won
 significant
 praise
 for
 their
 efforts.
 Several
 shows

annually
 are
 taken
 to
 the
 Edinburgh
 Fringe
 with
 many
 receiving
 ‘sell‐out’

awards.
 A
 recent
 tour
 to
 US
 Ivy
 League
 universities
 involved
 students

independently
raising
£20,000
and
developing
links
with
Harvard,
Yale,
Brown,

Princeton
and
Cornell
universities.
Local
engagement
has
focussed
on
intensive

workshops,
such
as
a
recent
three
hour
session
hosted
by
the
production
team
of

Guys
and
Dolls,
performed
at
the
Gala
Theatre
in
January.
The
same
production

won
outstanding
media
coverage
with
a
slot
on
BBC
TV’s
Look
North.


3
Function
and
Role

DST
 is
 not
 simply
 a
 student
 theatre
 group:
 unlike
 other
 universities
 where
 a

single
drama
society
chooses
and
produces
shows,
plays
in
Durham
are
selected

and
 performed
 by
 our
 affiliated
 theatre
 companies.
 DST
 provides
 the

administrative
 and
 material
 support
 to
 facilitate
 the
 huge
 range
 of
 theatrical

activity
 at
 the
 University:
 services
 such
 as
 box
 office,
 marketing,
 properties,

costumes,
set,
technical
hire
equipment,
advocacy
and
advice.
We
work
with
the

Estates
and
Buildings
department
in
managing
the
University’s
Assembly
Rooms

Theatre,
 offer
 a
 wide
 range
 of
 workshops
 (led
 by
 groups
 such
 as
 the
 National

Student
 Drama
 Festival),
 and
 offer
 support
 to
 students
 applying
 for
 grants
 and

funding.
The
services
that
DST
offers
are
unrivalled
at
any
other
UK
university.


Governance

DST
 is
 managed
 by
 a
 nine‐strong
 student
 executive
 committee,
 composed
 of
 a

President,
 Secretary,
 Treasurer,
 Press
 &
 Sponsorship
 Secretary,
 Festivals

Secretary,
 Technical
 Secretary,
 Social
 Secretary,
 Hire
 Manager
 and
 Publications

Editor.
A
Staff
Treasurer
–
an
academic
member
of
staff
–
maintains


oversight
of

accounts
and
financial
affairs.
In
2008/09
the
society’s
turnover
was
£152,802.


4
Rationale



As
 our
 range
 of
 activities
 expands,
 so
 too
 do
 the
 demands
 on
 the
 time
 of
 the

society’s
 executive
 committee,
 and
 on
 our
 limited
 resources.
 We
 desperately

want
 to
 continue
 with
 our
 exciting
 programme
 of
 enhancing
 the
 student

experience
 whilst
 raising
 the
 University’s
 profile
 and
 reaching
 out
 to
 the

community,
but
are
limited
by
our
time
and
access
to
funds.



In
addition,
as
our
relationship
with
Durham
Students’
Union
outgrows
that
of
a

normal
society,
there
is
an
urgent
need
for
DST
to
develop
a
strong,
secure
and

sustainable
position
in
relation
to
the
University.


Development
 of,
 and
 engagement
 with,
 student
 cultural
 activities
 has
 been

identified
 as
 a
 priority
 by
 the
 University,
 as
 specified
 in
 the
 Cultural
 Strategy1.

DST
is
keen
to
be
a
part
of
this
exciting
strategy
and
to
drive
a
student‐focussed

step
change
in
the
University’s
cultural
approach
that
will
enhance
opportunities

for
prospective
applicants,
current
students,
the
University’s
staff
and
the
wider

community.

With
 this
 in
 mind,
 we
 have
 prepared
 a
 report
 that
 we
 hope
 will
 demonstrate
 a

compelling
 case
 for
 a
 fundamental
 transformation
 of
 DST’s
 structure
 and

relationship
 with
 the
 University.
 Set
 across
 a
 number
 of
 key
 proposals,
 the

report
 argues
 for
 a
 better‐managed,
 better‐funded
 society
 that
 will
 deliver

outstanding
 services
 and
 opportunities
 to
 current
 and
 prospective
 students,

whilst
 enhancing
 the
 University’s
 reputation
 both
 in
 the
 local
 community
 and

further
afield.



1
‘Durham
University
Cultural
Strategy
Report’,


<http://www.dur.ac.uk/resources/about/policies/DurhamUniversityCulturalStr
ategy‐FinalVersion.pdf>

5
Key
Outcomes

 

The
 intended
 outcomes
 of
 the
 proposals
 in
 this
 document
 span
 three
 strands

which
directly
correspond
with
the
University’s
cultural
strategy:


• Enhancing
 the
 student
 experience.
 A
 stronger,
 better‐managed
 DST


will
 allow
 the
 society
 to
 focus
 on
 doing
 what
 it
 does
 best:
 facilitating

fantastic
 student
 theatre
 and
 providing
 the
 University
 with
 a
 unique

competitive
advantage.
Few
other
universities
offer
prospective
students

the
opportunity
to
pursue
drama
to
such
a
high
level
alongside
study
for
a

highly
sought‐after
degree
from
a
top
institution.


• Building
 on
 the
 University’s
 reputation.
 The
 quality
 of
 theatre

produced
 at
 Durham
 is
 unrivalled.
 With
 better
 resources
 and
 stronger

management,
DST
can
develop
an
outstanding
media
presence
to
coincide

with
 Durham’s
 bid
 for
 Capital
 of
 Culture
 in
 2011,
 driving
 up
 the

University’s
 reputation
 as
 a
 centre
 for
 excellence
 in
 the
 performing
 arts

alongside
its
already‐outstanding
academic
credentials.

• Developing
links
with
the
local
community.
Building
and
maintaining

strong
links
with
the
community
is
an
essential
part
of
a
wider
strategy
to

engage
the
city,
county
and
region
in
our
activities,
and
create
a
sense
that

the
 student
 body
 is
 a
 part
 of
 the
 local
 community
 rather
 than
 separate

from
it.
By
building
links
with
schools
and
other
community
organisations

we
will
lead
student
organisations
in
their
approach
to
local
engagement.


All
 three
 strands
 are
 derived
 from
 a
 central
 element
 of
 Durham’s
 cultural

strategy:
 ‘enhancing
 the
 profile
 and
 quality
 of
 University
 cultural
 experiences

and
activities
to
increase
participation’.2



2
‘Durham
University
Cultural
Strategy
Report’,


<http://www.dur.ac.uk/resources/about/policies/DurhamUniversityCulturalStr
ategy‐FinalVersion.pdf>,
p3

6
Proposal
 1:
 The
 establishment
 of
 the
 student‐filled

sabbatical
role
of
DST
Manager

Background

The
current
role
of
DST
President
can
only
be
effectively
discharged
by
a
student

with
significant
experience
of
Durham’s
theatre
scene.
Inevitably
this
means
that

the
role
is
filled
annually
by
a
final‐year
student.
The
role
is
extremely
complex

and
demanding,
involving
time‐heavy
tasks
such
as:

a. Setting
the
strategic
direction
for
the
society

b. Liaising
with
E&B
over
the
management
of
the
Assembly
Rooms

c. Liaising
 with
 the
 University
 on
 a
 functional
 and
 representative
 basis,

particularly
groups
such
as:

i. Estates
and
Buildings

ii. Arts
Management
(DUAMG)

iii. Attractions
Group

iv. Cultural
Strategy
Group

d. Liaising
with
theatre
companies:

i. Providing
 support
 to
 DST‐affiliated
 theatre
 companies
 across
 the

full
spectrum
of
their
operation

ii. Acting
as
a
point
of
contact
for
external
theatre
companies
wishing

to
use
Durham
facilities

e. Assisting
with
productions
in
the
theatre

f. Providing
 a
 first
 point
 of
 contact
 for
 enquiries
 regarding
 theatre
 at

Durham

g. Oversight
of
all
events,
such
as:

i. Freshers’
Play

ii. Durham
Drama
Festival

iii. Workshops


h. Providing
box
office
functions
in
the
Assembly
Rooms

This
 list
 of
 responsibilities
 by
 its
 nature
 is
 limitless
 and
 the
 President’s
 role
 is

constantly
 expanding
 as
 the
 theatre
 scene
 in
 Durham
 becomes
 increasingly

7
active.
At
present
the
society
is
hindered
in
its
efforts
to
provide
better
services,

improve
the
reputation
of
the
University
and
enhance
the
student
experience
by

a
 lack
 of
 resources
 and
 time
 on
 the
 part
 of
 the
 President
 and
 the
 executive

committee.



As
 the
 University
 establishes
 its
 commitment
 to
 culture,
 and
 specifically
 to

drama,
 through
 initiatives
 such
 as
 the
 Performing
 Arts
 Scholarships
 and
 the

promotion
 of
 DST
 activities
 to
 prospective
 students
 via
 the
 University
 website

and
 prospectus,
 the
 need
 for
 more
 significant
 involvement
 from
 DST
 becomes

increasingly
 pressing.
 However,
 the
 commitments
 of
 final
 year
 studies
 make

headway
in
this
respect
particularly
challenging.
The
society
and
University
risk

losing
 outstanding
 opportunities
 as
 a
 result
 of
 the
 lack
 of
 time
 and
 resources

available
at
present.


Proposed

That
DST
amends
its
constitution
to
create
a
new
sabbatical
role
of
Manager.

That
 the
 University
 establishes
 a
 sabbatical
 position,
 DST
 Manager,
 paid
 at
 the

current
 sabbatical
 rate
 and
 including
 accommodation
 on‐site
 at
 the
 Assembly

Rooms.


Outcome

Creating
 a
 sabbatical
 role
 would
 enable
 the
 Manager
 to
 work
 closely
 with
 the

remainder
 of
 the
 executive
 (including
 the
 President,
 whose
 role
 would
 be

maintained
 but
 in
 an
 oversight
 rather
 than
 management
 capacity)
 to
 deliver

enhanced
services
such
as:

• Year‐round,
 effective,
 student‐driven
 management
 of
 the
 Assembly

Rooms
with
a
focus
on
encouraging
outside
companies
to
use
the
theatre

during
vacations
to
drive
up
funding.

• Building
on
DST’s
role
as
an
advisory
and
stakeholders’
group
that
offers

theatre
companies
resources
that
are
otherwise
out
of
reach.


8
• Improved,
 consistent
 contact
 with
 the
 University
 (most
 notably
 the

Cultural
Strategy
Committee)
and
academic
departments
in
particular
to

drive
up
awareness
of
the
facilities
and
opportunities
that
DST
provides.

• Drive
 up
 the
 reputation
 of
 Durham
 as
 a
 centre
 for
 excellence
 in
 the

performing
arts
with
media
relations,
school
visits
and
publications.

• Develop
and
maintain
a
strong,
successful
presence
in
local
and
national

media
that
highlights
our
community
relations
and
theatrical
successes.

• Engage
directly
with
the
local
community,
building
on
existing
projects
to

transform
 DST
 into
 a
 community‐focused
 organisation
 that
 enriches
 the

cultural
life
of
the
city
and
county
by
developing
further
links
with
local

schools
and
organisations
such
as
Hassockfield
STC.

• Work
 with
 charities
 such
 as
 Developing
 Artists
 to
 provide
 further

opportunities
 for
 DST
 members
 to
 reach
 out
 to
 communities
 in
 the

developing
world
through
drama.

• Provide
opportunities
for
alumni
to
continue
their
connections
with
DST,

encouraging
 their
 return
 to
 Durham
 with
 regular
 contact
 and
 special

events.

• Engage
 with
 local,
 regional
 and
 national
 arts
 bodies
 including
 local

government,
 regional
 development
 agencies,
 the
 Arts
 Council,
 the

National
 Youth
 Theatre,
 the
 National
 Student
 Drama
 Festival
 and
 the

Department
 for
 Media,
 Culture
 and
 Sport
 to
 drive
 in
 expertise,
 funding

and
resources
to
DST
and
Durham.

• Improve
 the
 student
 experience
 by
 providing
 a
 wider
 range
 of

opportunities
for
involvement
in
the
performing
arts.


9
Proposal
 2:
 Transfer
 in
 status
 to
 department‐level
 student

organisation

Background

At
 present
 DST
 provides
 a
 wide
 range
 of
 services
 to
 the
 University,
 many
 of

which
 are
 similar
 to
 those
 that
 a
 support
 or
 service
 department
 might
 be

expected
 to
 provide.
 A
 primary
 focus
 is
 our
 role
 in
 the
 management
 of
 the

Assembly
 Rooms:
 DST
 is
 the
 only
 student
 society
 which
 plays
 a
 part
 in
 the

management
 of
 its
 own
 building.
 This
 service
 includes
 box
 office
 provision,

technical
 assistance,
 advice
 to
 users,
 booking
 systems,
 ticketing,
 and
 out‐of‐
hours
 security
 through
 DST
 executive
 members
 living
 on‐site.
 The
 society
 has

also,
 independently
 of
 the
 University,
 secured
 funding
 for
 a
 £100,000

refurbishment
 of
 the
 auditorium
 and
 foyer
 of
 the
 Assembly
 Rooms
 and
 has

overseen
 the
 implementation
 of
 this
 project.
 DST
 makes
 no
 charge
 to
 the

University
for
any
of
these
services.


In
 addition,
 DST
 promotes
 and
 carries
 the
 Durham
 University
 name
 at

performances
 by
 our
 affiliated
 production
 companies
 both
 across
 the
 city
 of

Durham
 and
 further
 afield,
 in
 Edinburgh,
 London,
 and
 internationally
 on
 tours

such
as
the
recent
visit
to
Ivy
League
universities
in
America.
We
provide
a
key

point
of
contact
for
prospective
students
wishing
to
learn
more
about
the
theatre

scene
at
the
University.


Despite
 the
 fact
 that
 DST
 provides
 services
 akin
 to
 those
 that
 a
 support
 or

service
department
might
do,
we
have
no
status
within
the
University
other
than

as
 a
 student
 society.
 We
 receive
 no
 central
 funding
 from
 the
 University
 (other

than
occasional
small
grants
from
Durham
University
Arts
Management
Group),

or
 from
 our
 affiliated
 theatre
 companies:
 income
 is
 fixed
 at
 that
 provided
 by

membership
fees
and
corporate
sponsorship,
as
well
as
any
profit
from
events.


DST
has
been
operating
without
any
affiliation
to
Durham
Students’
Union
since

Summer
 2008,
 when
 DSU
 took
 the
 decision
 that
 DST
 could
 not
 longer
 be

categorised
as
merely
a
student
society
and
that
ratification
as
a
society
was
no

10
longer
 appropriate.
 The
DSU
 Student
 Societies
and
 Development
 officer
has
 re‐
iterated
 the
 DSU
 position
 that
 the
 union
 cannot
 take
 on
 responsibility
 for
 a

society
of
the
size
of
DST
or
one
which
manages
a
building.

As
a
result,
DST
is

operating
 as
 an
 unincorporated
 organisation
 with
 no
 legal
 standing,
 and
 no

formalised
relationship
between
it
and
the
University.
There
is
an
urgent
need
to

address
this
situation.


Proposed

That
 DST
 is
 incorporated
 as
 a
 student
 organisation
 under
 the
 auspices
 of

Durham
 University,
 achieving
 support
 department
 status
 akin
 to
 that
 of
 Team

Durham.



Outcome

Achieving
department
status
would
give
DST
a
clearly‐defined
relationship
with

the
University
that
would
enable
the
society
to
discharge
activities
in
a
mutually

beneficial
 approach.
 Involvement
 in
 the
 University’s
 long‐term
 cultural

strategies
 would
 give
 the
 organisation
 a
 say
 in
 matters
 of
 interest,
 such
 as
 the

recent
 decision
 to
 award
 Performing
 Arts
 Bursaries
 (which
 DST
 has
 had
 no

involvement
in),
representation
at
Open
Days
for
prospective
students
or
closer

links
 with
 North
 East
 community
 projects.
 
 Durham
 Student
 Theatre
 could
 be

included
in
the
national
rankings
for
best
student
drama,
providing
a
very
useful

tool
 for
 the
 University
 to
 attract
 new
 students.
 
 It
 would
 also
 provide

opportunities
 for
 a
 more
 successful
 relationship
 with
 the
 University’s
 Estates

and
 Buildings
 department:
 as
 the
 only
 student
 society
 to
 play
 a
 part
 in
 the

management
of
a
building,
such
a
development
would
be
a
major
step
forward.


In
 addition,
 departmental
 status
 would
 give
 DST
 a
 solid
 legal
 footing
 and
 basis

that
would
offer
security,
stability
and
enable
effective
future
planning.



The
 collegiate
 side
 of
 theatre
 could
 also
 be
 improved.
 
 Whilst
 colleges
 such
 as

Hild‐Bede
 and
 University
 College
 have
 thriving
 theatrical
 societies,
 currently,

many
college
theatre
companies
dissolve
as
leading
members
graduate,
leaving
a

lull
in
their
college
theatre.
In
most
cases
new
students
are
very
keen
to
reignite


11
these
 companies
 but
 do
 not
 have
 the
 resources.
 
 Just
 as
 Team
 Durham
 run
 a

collegiate
programme,
so
too
could
DST,
ensuring
that
college
theatre
companies

have
the
funds
and
representatives
to
thrive
from
year
to
year.

Departmental
 status
 would
 offer
 enhanced
 opportunities
 to
 launch
 joint

ventures
 with
 academic
 departments.
 The
 synergies
 between
 many
 university

courses
 and
 the
 events
 which
 DST
 runs
 are
 clear
 but
 remain
 unexploited.
 As
 a

support
department,
DST
would
be
able
to
work
with,
for
example,
the
English

Department
to
run
workshops
on
the
numerous
plays
which
are
covered
on
the

syllabus.
 
 A
 termly
 ‘What’s
 On
 in
 the
 North
 East
 Guide’
 could
 include
 Durham

student
 productions
 as
 well
 as
 performances
 more
 further
 afield
 which

specifically
relate
to
the
English
syllabus.

The
same
support
could
be
offered
to

other
departments
such
as
Modern
Languages
and
Classics,
both
of
which
both

include
plays
in
their
syllabuses.

One
 of
 our
 key
 aims
 as
 a
 department
 would
 be
 to
 extend
 and
 improve
 our

community
links.

After
achieving
departmental
status,
Team
Durham
introduced

a
programme
focusing
on
their
role
in
the
region,
and
internationally.

Durham

Student
 Theatre
 would
 initiate
 a
 similar
 scheme,
 aiming
 to
 work
 with
 local

schools
 to
 run
 workshops
 and
 improve
 the
 after‐school
 extra‐curricular
 drama

programme.
 
 This
 would
 also
 encourage
 more
 schools
 to
 organise
 trips
 to
 the

Durham
 student
 productions
 that
 are
 related
 to
 their
 school
 syllabuses.


Currently,
 around
half
 the
productions
in
 Durham
are
relevant
 to
 schools,
with

around
 six
 Shakespeare
 performances
 a
 year,
 and
 so
 stronger
 links
 between

schools
 and
 DST
 would
 be
 highly
 beneficial
 for
 both
 the
 Durham
 theatre

companies
and
the
school
pupils
themselves.

This
relationship
could
even
lead

to
 joint
 student
 and
 school
 productions,
 created
 from
 the
 after‐school

programme,
being
put
on
in
the
Assembly
Rooms
theatre
out
of
term
time.



12
Proposal
 3:
 Transition
 of
 full
 management
 of
 the
 Assembly

Rooms

to
DST
and
establishment
of
Theatre
Technician
post

Background

At
 present,
 the
 Assembly
 Rooms
 is
 managed
 by
 both
 DST
 and
 the
 University’s

Estates
 and
 Buildings
 (E&B)
 department.
 Whilst
 E&B’s
 facilities
 management

role
 is
 essential,
 there
 are
 a
 number
 of
 additional
 areas
 where
 E&B’s

involvement
is
anomalous,
given
the
department’s
wider
responsibilities
within

the
 University.
 These
 areas
 include
 handling
 bookings,
 the
 legal
 relationship

between
hirers
and
the
University,
and
day‐to‐day
technical
enquiries.
The
split

in
service
provision
between
E&B
and
DST
has
led
to
confusion
from
hirers
as
to

their
 point
 of
 contact
 when
 using
 the
 theatre,
 and
 raised
 questions
 as
 to
 the

responsibility
for
costs
that
arise
in
the
building’s
management.

There
is
no
formal,
contractual
agreement
between
DST
and
E&B.
This
raises
the

spectre
 of
 DST’s
 role
 in
 managing
 the
 theatre
 being
 arbitrarily
 terminated
 (as

was
 threatened
 some
 four
 years
 ago
 when
 it
 was
 proposed
 that
 the
 Assembly

Rooms
 be
 converted
 into
 teaching
 accommodation).
 The
 lack
 of
 security
 and

formalised
relationship
makes
long
term
planning
especially
difficult.


At
 present
 E&B’s
 management
 of
 the
 building
 rests
 on
 a
 part‐time
 Theatre

Domestic
 Co‐Ordinator,
 overseen
 by
 a
 Senior
 Facilities
 Manager,
 an

Administration
Support
Supervisor
working
offsite,
and
a
Licensee
(currently
the

Assistant
Director
(Facilities)
of
E&B).
The
split
in
responsibility
between
several

different
members
of
the
department
creates
additional
confusion.

Whilst
in
the

last
few
months,
positive
attempts
have
been
made
by
Estates
and
Buildings
to

establish
 monthly
 meetings
 with
 DST
 to
 improve
 communications
 between
 the

two,
the
division
of
responsibilities
between
the
two
organisations
is
ill‐defined

and
needs
urgent
attention.


The
Theatre
Co‐Ordinator
works
part
time,
from
7.30am
–
1pm,
Monday‐Friday,

and
is
responsible
for
domestic
matters,
health
and
safety,
and
bookings.
She
is

not
technically
trained
and
is
appointed
by,
and
responsible
to,
E&B.
The
lack
of

13
technical
 training
 means
 that
 the
 Theatre
 Domestic
 Co‐Ordinator
 is
 not
 able
 to

assist
with
technical
matters
in
the
theatre
–
both
for
internal
theatre
companies

and
 external
 groups
 –
 and
 this
 responsibility
 is
 arrogated
 to
 the
 DST
 technical

secretary.
In
addition,
the
Domestic
Co‐Ordinator’s
working
hours
do
not
match

with
 production
 schedules,
 which
 generally
 operate
 in
 the
 afternoon
 and

evening,
 and
 at
 weekends,
 again
 limiting
 the
 level
 of
 assistance
 that
 can
 be

provided.
 Comparable
 institutions
 (e.g.
 the
 ADC
 Theatre
 at
 the
 University
 of

Cambridge)
offer
one
full‐time
and
two
part‐time
qualified
theatre
technicians.3



Proposed

That
 E&B’s
 role
 in
 respect
 of
 the
 Assembly
 Rooms
 reverts
 to
 one
 of
 facilities

management
rather
than
operations
management.

That
DST
assumes
responsibility
for
day‐to‐day
theatre
management
within
the

context
 of
 a
 wider,
 formalised
 agreement
 on
 facilities
 management
 and
 the

relationship
 between
 DST
 and
 E&B,
 similar
 to
 the
 relationship
 that
 exists

between
DSU
and
E&B.

That
the
University
appoints
a
permanent
trained
theatre
technician
to
provide

assistance
to
theatre
users


Outcome

Transitioning
 E&B’s
 anomalous
 involvement
 in
 the
 day‐to‐day
 management
 of

the
theatre
would
provide
theatre
companies
and
external
groups
with
a
single

point
of
contact
defined
by
long‐term
involvement
and
expertise
in
theatres
and

theatre
 management.
 By
 transferring
 day‐to‐day
 control
 to
 a
 departmental‐
status
 DST,
 management
 of
 the
 theatre
 would
 be
 student‐focussed
 and
 led
 by

individuals
 with
 an
 in‐depth
 understanding
 of
 the
 specialist
 needs
 of
 student

productions.



3
‘University
of
Cambridge:
ADC
Theatre’
[www.adctheatre.com]


14
Such
a
transition
would
enable
a
much
stronger
focus
on
marketing
the
theatre

to
 external
 organisations
 as
 a
 venue
 for
 hire
 outside
 of
 student
 use
 –
 a
 key

element
of
the
University’s
Cultural
Strategy.
At
present
the
theatre
is
out
of
use

for
48%
of
the
year,
representing
around
£11,250
in
lost
revenue4.
With
a
full‐
time
 DST
 manager,
 supported
 by
 an
 executive
 committee
 and
 free
 to
 market

within
university
guidelines,
DST
could
potentially
generate
a
useful
and
regular

source
of
income,
in
effect
funding
the
establishment
of
a
sabbatical
post,
whilst

providing
a
valuable
resource
to
the
local
community
and
wider
region.


A
 transition
 would
 also
 allow
 income
 from
 DST‐managed
 services,
 such
 as

technical
 equipment
 hire,
 to
 be
 reinvested
 by
 DST
 into
 student
 services.
 This

source
 of
 income
 would
 enhance
 the
 financial
 sustainability
 of
 the
 proposed

model
of
DST
governance
(see
below).


The
provision
of
a
Theatre
Technician,
with
working
hours
aligned
to
production

hours
 (e.g.
 12pm
 –
 8pm,
 Tuesday‐Saturday),
 would
 dramatically
 enhance
 the

service
 provision
 offered
 to
 both
 student
 productions
 and
 external

organisations.
 This
 would
 minimise
 the
 risk
 of
 health
 and
 safety
 breaches
 and

provide
 a
 single,
 qualified
 source
 of
 information
 for
 users
 of
 the
 theatre
 over

many
years.


4
Assuming
hire
for
25
weeks
of
the
year
at
£450/week


15
Funding

A
new
funding
model
for
DST
would
be
established
via
a
sustainable
approach.

An
outline
of
the
proposed
model
is
outlined
below,
with
figures
based
in
most

cases
 on
 DST’s
 current
 financial
 year.
 The
 model
 is
 based
 on
 the
 transition
 of

income
 from
 DST‐provided
 services
 (such
 as
 hire
 of
 technical
 equipment)
 to

DST’s
own
finances.



Income
 

 weeks
 income/wk
 total


Assembly
Rooms
Hire
 Internal
 27
 £230
 £6,210.00


 External
 25
 £450
 £11,250.00

Ticket
Sales
 
 £1,511.00

Corporate
Sponsorship
 
 
 
 £2,000.00

Hire
Services
 
 
 
 £6,200.00

Retail
 
 
 
 £250.00

Membership
 
 
 
 £170.00

Total
 
 
 
 £27,591.00


 
 
 
 



 

 

 

 


Outgoings
 

 

 

 


DST
Manager
 Salary
 
 £13,500.00


 Employers'
NI
 
 £996.48

Total
 
 
 
 £14,496.48



 

 

 

 


Annual
surplus
 

 

 

 £13,094.52




These
 figures
 demonstrate
 that,
 contingent
 on
 successful
 marketing
 of
 the

Assembly
Rooms
to
external
organisations
as
a
venue
for
events
during
periods

when
 the
 theatre
 is
 out
 of
 use,
 the
 creation
 of
 the
 sabbatical
 position
 of
 DST

Manager
 would
 be
 fully
 self‐financing.
 Through
 transitioning
 income
 from
 DST

services
to
DST
finances,
a
significant
annual
surplus
to
help
fund
our
activities


is
achievable.


16
With
 an
 increase
 in
 funding,
 DST
 could
 dramatically
 enhance
 its
 service

provision
 to
 students
 and
 external
 companies.
 Opportunities
 for
 community

engagement
 could
 be
 fully‐funded,
 overseas
 tours
 could
 be
 enhanced
 and

extended,
and
the
quality
of
our
resources
in
the
theatre
–
such
as
technical
hire

equipment,
 properties,
 costumes
 and
 set
 –
 vastly
 improved
 and
 updated.
 In

addition,
 an
 allocation
 of
 resources
 could
 be
 deployed
 jointly
 with
 the

University’s
Arts
Management
Group
to
provide
much‐needed
additional
funding

for
DST‐affiliated
theatre
companies,
alongside
a
programme
of
properly‐funded

advice
and
advocacy
that
builds
on
the
service
currently
offered
by
DST.


The
sustainability
of
any
change
to
the
current
structure
is
critical
and
has
been

a
core
tenet
of
our
approach.
Indeed,
rather
than
diverting
resources
from
other

projects
within
the
University,
a
transition
to
this
model
would
represent
a
fully

funded
and
rather
more
coherent
approach
than
at
present.


17
The
New
DST
Model

Supported by Supporting

Cultural Durham Student Theatre Theatre

Strategy Companies
Committee President Manager
Arts Management Applicants &
Group Students

Estates & Executive Departments

Buildings & Colleges

Marketing Local
Community
Membership

Attractions Press &

Group Media

18
Conclusions

DST
is
one
of
the
largest
and
most
successful
student
organisations
in
Durham.
If

it
 is
 to
 continue
 to
 provide
 the
 University
 with
 a
 unique
 selling
 point
 –
 an

outstanding
opportunity
for
students
to
pursue
drama
alongside
their
degrees
–

as
well
as
extending
the
opportunities
for
engagement
with
the
local
community,

its
legal
status
and
funding
need
to
be
addressed
immediately.
Our
key
proposals

are:

• That
 DST
 amends
 its
 constitution
 to
 create
 a
 new
 sabbatical
 role,

Manager.

• That
 the
 University
 establishes
 a
 sabbatical
 position,
 DST
 Manager,
 paid

at
the
current
sabbatical
rate
and
including
accommodation
on‐site
at
the

Assembly
Rooms.

• That
DST
is
incorporated
as
a
student
organisation
under
the
auspices
of

Durham
 University,
 achieving
 departmental
 status
 akin
 to
 that
 of
 Team

Durham.


• That
 E&B’s
 role
 in
 respect
 of
 the
 Assembly
 Rooms
 reverts
 to
 one
 of

facilities
management
rather
than
operations
management.

• That
 DST
 assumes
 responsibility
 for
 day‐to‐day
 theatre
 management

within
 the
 context
 of
 a
 wider,
 formalised
 agreement
 on
 facilities

management
and
the
relationship
between
DST
and
E&B.


• That
 the
 University
 appoints
 a
 trained
 theatre
 technician
 to
 provide

assistance
to
theatre
users.

The
 creation
 of
 such
 a
 model
 will
 lead
 to
 direct
 enhancement
 of
 the
 student

experience,
a
higher
media
profile
for
the
University,
and
more
opportunities
for

community
engagement.
Above
all,
the
model
represents
a
sustainable
approach,

which
 would
 continue
 to
 deliver
 provision
 for
 student
 theatre
 at
 Durham
 for

many
years
to
come.




19