LiF report 2024
A Post-Pandemic Celebration of Improvisation
The Liverpool Improvisation Festival (LiF) emerged in 2022 to reignite the city's love for improvisation in a post-pandemic landscape. This report details the festival's second year, LiF 2024, held April 19th-21st at the Unity Theatre and LJMU Drama Department.
It highlights key successes, areas for improvement, and future plans for the festival.
Festival Highlights:
Engaging Program: LiF 2024 presented 13 shows, featuring a mix of established and emerging artists with 5 brand-new works. A dedicated workshop day offered expanded audience participation.
Diversity and Innovation: The festival championed inclusivity, showcasing various improvisation styles (musical, dance, drag) and anonymised programming to ensure fair selection.
Audience Engagement: Feedback mechanisms and a focus on accessibility ensured a positive audience experience. The "You Said, We Did" approach demonstrates responsiveness to suggestions.
Increased Media Coverage: LiF 2024 saw a significant rise in media coverage compared to 2023, with articles in local, regional, and national publications.
Tim Miles award: First time employment opportunity.
Financial Stability: Despite a slight dip in attendance, the festival achieved a small income increase due to strategic pricing adjustments. Founder support remains crucial, but alternative funding models are needed.
Areas for Improvement:
Friday Attendance: LiF experienced lower ticket sales for Friday afternoon and evening shows. Investigating reasons and implementing solutions like reduced programming or targeted marketing are essential.
Limited Regional Development: Efforts to engage local and regional artists need further development.
Social Media Strategy: While follower numbers grew, a deeper analysis of engagement and reach is needed to optimise social media strategies.
Founder Dependence: The festival relies heavily on founder Mark Smith's financial support. Diversifying funding sources is crucial for long-term sustainability.
Future Options:
The report proposes four potential paths for LiF 2025:
Consolidation & Refinement: Focuses on solidifying the core festival and addressing Friday attendance challenges.
Expanding Reach & Impact: Aims for wider audience and artist participation through workshops, international focus, and educational programs.
Hybrid Model (Proposed): Combines consolidation and expansion with initiatives like a Friday night headliner, workshop expansion, and local outreach.
Pause & Biennial Model: Proposes a break in 2025 to re-evaluate goals and resources for a stronger return in 2026.
The Proposed Hybrid Model:
This model balances growth with refinement, aiming to:
Boost Friday Attendance: Introduce new shows and partner with a youth theatre for engaging Friday performances.
Enhance Value: Offer discounted weekend tickets to increase participation.
Streamline Programming: Reduce show lengths and workshop duration for a better audience experience.
Invest in Growth: Seek grants, sponsorships, and hold fundraising workshops.
Develop Local Talent: Prioritise outreach to local artists and audiences.
Strengthen Community: Emphasise artist-led workshops and foster networking opportunities.
Looking Forward:
Overall, the LiF 2024 report offers a clear picture of the festival's progress and future challenges. The proposed hybrid model demonstrates a commitment to audience engagement, artist development, and a thriving Liverpool improvisation scene.
This report concludes by emphasising LiF's commitment to fostering a vibrant and accessible improvisation scene in Liverpool and beyond. The full report will be shared via our website and social media platforms, emphasising our policy of transparency.
Contents:
1) LiF: A Post-Pandemic Initiative:……………………………………………………………4
Why a Festival?
Festival vision
2) In preparation for LiF 2024:……………………………………………………………………5-7
Artistic policy
Aims
Process of application
Process leading to festival launch
Process of application Tim Miles award
3) LiF 2024:…………………………………………………………………………………………….7-9
Quantitative data
Analyse of quantitative data
Response to quantitative data
Funding – Tim Miles award
Financial Sustainability
Net sales
4) New Initiatives:…………………………………………………………………………………9-11
Analysis
Response
5) Feedback LiF 2024:……………………………………………………………………………11-15
Raw data
Analysis
Response
6) Digital and media engagement with LiF 2024:…………………………………………15-16
Social media
Media coverage
Online viewing figures as of time of writing
7) Advance planning:…………………………………………………………………………….16-23
SWOT analysis
Options
Moving forward to LiF 2025
8) Appendices:……………………………………………………………………………………..23-27
Appendix one – Tim Miles application (Job advert & roles)
Appendix two - LIF website
Appendix three – Financial breakdown (Tim Miles award)
Appendix three – Written feedback
Appendix four – Written feedback
LiF: A Post-Pandemic Initiative
Established in 2022, LiF (Liverpool Improvisation Festival) held its inaugural event in April 2023. We emerged in a post-pandemic landscape aiming to reignite the love for improvisation within the Liverpool community and the wider region. The pandemic undoubtedly impacted the local improvisation scene. While some companies and troupes sadly disbanded, it's important to acknowledge the positive aspects that arose. Online spaces fostered the creation of new groups, and access to international teachers became readily available – a silver lining during a challenging time.
Why a Festival?
The region boasts a vibrant live performance scene with music, theatre, dance, opera, stand-up comedy, and more. To rise above this crowded space, we recognised the power of a festival format. Strength in numbers allows us to make a bigger impact.
Improvisation thrives in live settings across the UK, yet it rarely finds a home in traditional theatres. This project directly addresses that gap. By bringing improvised performances to a theatre environment, we provide artists and companies with additional resources they might not have access to in their usual non theatre venues.
Festival Vision
Inclusivity: We aim to showcase the full spectrum of the improvisation community, featuring both established artists/companies and exciting newcomers.
Global Reach: The festival will celebrate the diverse world of improvisation, highlighting local, regional, national, and even international talent.
Broadening Horizons: We welcome artists and companies that push the boundaries of what improvisation can be, even those that don't fit the traditional mould.
Interactive Learning: Workshops will provide a platform for artists to share their expertise and for participants to experience current improvisation practices.
Preserving the Legacy: We will document the festival's performances and make them freely accessible, creating a valuable resource for researchers and future generations of improvisers.
In preparation for LiF 2024:
In advance of submissions opening in July 2023 we published our artistic policy and aims of the festival. These initiatives aim to make the festival's identity and our approach to improvisation more engaging and understandable for everyone.
Artistic policy
The festival encourages innovation, risk taking and are inspired by those that do. The festival aims to create opportunity for those who create and teach improvised live performance at whatever stage of their career and across multiple art forms. In doing so we aim to educate, inspire and develop future audiences and performers of improvisation.
Aims
· To educate, inspire and develop future audiences, performers and teachers of improvisation
· To create opportunity for those who produce or teach improvised live performance (multiple art forms)
· To document and archive the festival for the future benefit of researchers and the wider improv community
· To grow the festival in a sustainable and ethical manner
Process of application
The application period for the festival ran from July to late September 2023, attracting 79 submissions from around the world. In October, we implemented an anonymised selection process, where key applicant identifiers were removed. A team of three independent assessors considered proposals solely based on the idea, proposed form, and artist availability. After individual selections were submitted, the identified commonalities were grouped and then facilitated a meeting led to the finalised programme.
Process leading to festival launch
Successful applicants were notified and offered participation in early November. This early notification (6 months) enables artists / companies and workshop leaders advanced planning thus ensuring best value for travel and accommodation. Upon acceptance, they received a form for marketing information and an embargo on public announcements. All applicants, regardless of selection, received a thank you letter, with unsuccessful applicants encouraged to apply again.
Website development began in November alongside the creation of a dedicated Google Drive for sharing information with our host partner, the Unity Theatre. This ensured a smooth handover of individual show files, marketing information and press releases. The festival launch took place in February 2024, a strategic 13 weeks before the April 2024 opening.
During this period, all applicants received a package of forms to complete, including applications for PRS (Performing Right Society) licensing, technical requirements for their performances, logos, marketing plans, press release templates, and travel and accommodation information. To better support our participants, we'll be sending travel and accommodation information upon acceptance in the future. This will give companies more time to secure cost-effective options.
We successfully applied to the Tim Miles award (£2500) with the specific aim of creating access to employment in theatre-based jobs. These roles were ring fenced for current / former LJMU students as per the award. The emphasis for all roles was that you did not need to have previous experience in the area candidates were applying for. The candidate did need to indicate how it would benefit their longer-term career aspirations. Each role was costed and reflected the industry day rate as advised by Arts Council England.
1. Press support x 1
2. Social media content makers x 1
3. Marketing support x 1
4. Lighting technician x 1
5. Documentary film maker x 2
6. Assistant producer x 1
7. Artist / audience liaisons x 2
In early February 2024 an advert (appendix one) for the above roles was disseminated to LJMU students and former graduates via alumni groups, in total we had 18 applications all of whom were invited for interview. Mark Smith undertook the interviews, these were recorded and subsequently shared with an independent panel. The panel met the following day and score sheets were discussed. A finalised list was created and offers were made to candidates. The successful candidates were a mix of Level 4 – Level 6 programmes (Musical theatre, Drama and Dual honours students). There was also a mix of across undergraduate and alumni.
Upon acceptance of roles candidates were sent through role specs and a timeline of activity leading up to the festival. They also asked to provide biographies and photographs which were used on the LIF website (appendix two). The unsuccessful candidates were offered written feedback should they request it.
The successful candidates either worked with the festival team or the Unity Theatre.
The list of roles subsequently adjusted to reflect the applications received.
1. Press support x 1
2. Social media content makers x 2
3. Lighting technician x 1
4. Documentary film maker x 2
5. Photographer x 1
6. Assistant producer x 1
7. Artist / audience liaisons x 2
Post the festival each person was written to and thanked for their respective contributions. We also offered to act as referees for each person should they wish to use us, at present two people have taken this offer up. An invoice template was also sent as none at the time had invoiced before. Each person was paid following receipt of an invoice, please see the full financial breakdown (appendix 3).
The work undertaken was complimentary and supported the needs of the festival. The technical and marketing manager at the Unity theatre both commented on the enthusiasm and the work of folk who they supervised; the festival team also echo these thoughts. Overall, it was a wholly positive experience. Without the Tim Miles award this would not have been possible for which we are very grateful. This is something we would like to continue and we will be looking to fundraise for this in the future.
LiF 2024:
LiF took place at the Unity theatre and LJMU drama dept. from the 19th- 21st of April 2024. The festival programmed 13 shows of which 5 were brand new pieces of work. This year we extended the festival to also included a dedicated day for the sharing of workshop practice. In total 4 workshops took place.
LiF 2024 – quantitative data
Dates: April 19th-21st, 2024
Number of Shows: 13 total, with 5 being brand new works
Number of workshops: 4 total
Participation: 69 performers/teachers and 785 audience/workshop members
Analysis of quantitative data
In total 785 people either experienced shows or took part in workshops. This equates to a slight drop of approximately 5% in comparison to 2023.
The data reveals the following and part of this drop can be attributed to:
· Decreasing workshop class sizes from 20 to 15 people across four workshops = 20 less participants
· Less Friday day tickets were sold in comparison to 2023 (13 sold 2024 / 18 sold 2023) this equates to 5 x 6 shows = 30 less audience
· Less individual Friday sales for shows between 1:15pm to 5:30pm compared to 2023 (3 shows)
· Walk up sales (on the day) for each show was between 5 - 15%. Marginally down (2%) in comparison to 2023.
Response
We experienced a slight shortfall in attendance this year. However, the 5% drop falls within our estimated margin and was signalled in advance with pre-sales marginally down compared to 2023. We had planned for this due to less local programming.
Looking ahead to 2025, we'll investigate factors potentially impacting Friday attendance before 5:30 PM. This could include the type of work programmed or external factors like work schedules. While we lack concrete feedback, these areas warrant further exploration to optimise future programming.
Funding:
Our current funding model (in-kind and some fundraising) limits our ability to grow sustainably. While applying to grant bodies like ACE offers potential benefits, concerns exist about losing control over the festival's direction and potential conflicts with external agendas. Additionally, the competitive application process requires significant time and effort.
Exploring alternative fundraising options like sponsorships could be beneficial.
One successful example was the Tim Miles memorial fund grant (£2,500). This grant funded industry experience roles (social media, videographer, etc.) to address the post-pandemic decline in arts careers. While the experience was wholly positive for participants and the festival it did lead to an increased workload for the festival producer.
Moving forward, we need to carefully weigh the pros and cons of applying for grants versus exploring alternative fundraising models that ensure we can maintain control over our artistic vision and values.
Financial Sustainability:
Founder Reliance: Currently, founder Mark Smith personally covers the festival's ongoing expenses. While the festival has operated at break-even for two years, this model isn't sustainable long-term.
Commission Support: Despite break-even operations, the festival has financially and materially supported artistic commissions for the past two years.
Future Funding Needs: To continue supporting commissions and ensure long-term financial health, the festival needs to develop new funding streams. These could come from within the festival (e.g., merchandise sales) or through alternative fundraising activities (e.g., sponsorships, grants etc.).
Financial Transparency: All festival finances are held in a dedicated bank account. Mark Smith distributes all financial returns to artists, companies, placements (Tim Miles award) and workshop leaders.
Net sales:
Despite a decrease in overall sales, the festival income rose slightly in 2024 compared to 2023. This increase is due to adjustments in concessionary ticket prices (from £5 to £6) to align with the Unity Theatre's offerings (creative pool members) and a regional increase in workshop pricing. Importantly, full-priced tickets remained unchanged (£10/£7). Each company had a ‘walk up’ on the day sales of between 5-15%.
New Initiatives:
We developed new initiatives based on two key factors: feedback received after the 2023 event, and a focus on improving both the festival's programming and accessibility for a global audience. This was enhanced by the inclusion of additional financial support from the Tim Miles award *.
· Dedicated workshop day,
· Smaller workshop groups,
· Traffic light system (enables audience to select their own interaction) *
· Audience support *
· Bigger gaps between shows,
· Anonymous programming,
· Access consultant,
· Film Competition,
Analysis:
The anecdotal feedback has been positive regarding a dedicated day for workshops and the reduction in class sizes. This is something we look to retain, perhaps book ending the festival with workshops at the beginning of the festival and at the end. But this would require further research as to the viability of this venture.
The audience support and traffic light system initiative were made possible through the Tim Miles award. This allowed additional support to be offered to audiences who had contacted us indicating a disability. This designated role / s was to act as a point of reference for folk across the performance days at the Unity theatre.
The traffic light system allows audiences to decide how they interact with shows and within the bar areas. Audiences were offered a sticker to indicate how they wish to engage during the festival.
Green = Happy to engage in conversation
Amber = Happy to engage in conversation, but if I don’t respond please respect my decision
Red = I don’t which to engage
This initiative was successful and was made clear from the numbers who utilised the system across the two days, and this is something that we will retain for the future.
The festival was made aware of audience fatigue in 2023 – this stemmed from the number of shows and the lack of downtime in between. This year we created longer breaks in between shows – increasing the down time between 5-6pm to enable folk to go eat and drink. This worked, but there were a number of instances with shows overrunning and this had a knock-on effect especially across the Saturday. Several artists said that they wanted a clock in the space to track time. In future Unity 2 shows will be limited to 40 mins max and a countdown clock purchased to ensure that shows stick to agreed timings.
Anonymised programming as explained previously was introduced this year to ensure that all show submissions were assessed in a fair manner without bias. This led to a diverse but representative reflection of the entire improvisation community – this led to the inclusion for the first time of musical improv, dance and drag. The festival would still like to retain this, and we have four new volunteer assessors in place for 2025 reflecting a local, regional, national and international perspective.
We are wholly committed to access and as such we employed an access consultant to observe across the two days and all communications (email, social media, application process, website etc.) to ensure that we are accessible to the entire community. We welcome the report which is due in late July. We will consider all recommendations upon receipt and will act where possible to develop our practices should areas for improvement be identified.
The film competition is something we will need to consider moving forward as we only had one submission. Having discussed this with a number of trusted peers this element will require some further finessing to encourage folk to submit in the future. We believe that this idea is worth pursuing for another year and will reflect upon this again post the 2025 festival.
Qualitative and Quantitative Feedback LiF 2024:
We received 18 feedback forms from audience and participant surveys conducted online and at the festival (April 19th-22nd, May). The response rate was only 2.29% of the overall audience (modest) but was in line with the previous year. The data and information recorded although extremely helpful does not offer a full picture and thus this must be taken into consideration. As in 2023, this feedback will help inform the development of new initiatives (as outlined previously).
The anonymous electronic feedback questionnaire was shared across all social media platforms and was live for one month post the festival. We also targeted in person audiences across both days of the festival at the Unity theatre. This was initiated to increase the overall feedback we derived from audiences. This initiative produced 40% of the final total of submissions. Without this the overall feedback would have been significantly down on the previous year. It is unclear why audiences are reluctant to undertake surveys of this type, this is something we will have to develop for the future and something we will actively look to improve.
Our "you said, we did" approach emphasises transparency and our commitment to continuous improvement based on audience / participant / artist suggestions. This community engagement is essential to maintaining a strong connection with our audience and participants.
Data
Analysis:
Age?
For the first time we have a full cross section of ages from under 18 – 65+.
1. The dominant individual age range is 35-44 = 27.8%.
2. The largest is 44 - 65+ (grouped) = 55.6%.
3. The lowest is 18 – 35 (grouped) = 22.3%.
To which gender do you most identify?
The gender split is slightly higher in the Female range. But the balance is broadly even. This is in line with the totals from 2023.
When did you attend LiF 2024?
The dominant range is the Saturday, closely followed by the Friday and 22% across all three days.
Number of events attended?
1. The dominant range is the 4-6 events category = 38.9%
2. Followed (grouped) by the 1-4 events combined = 50%
3. Interestingly 11% in the 7-9 events category*.
*This potentially suggests that folk are engaged with the offer and are keen to experience as much as possible. This indicates a dedicated group of enthusiasts.
How did you hear about LiF 2024?
The majority indicated that they knew about LiF via social media, followed closely by friends and then both the Unity and LiF websites. The suggests that audiences are connected in both an online and offline community. The websites both provided key content on what is happening and booking links to events.
Rate your experience of the festival?
1. The dominant range was the Excellent category (72%)
2. Very good (16.7%)
3. Good (11.6%).
There were no selections made in the ‘Ok’ or ‘Poor’ categories. There is a small uplift in those who rated the event ‘excellent’ in comparison to 2023.
What would you like to see at future festival?
Multiple selection option: The dominant categories were to extend the festival / participant jam followed closely by additional workshops. This potentially indicates that audiences wish to be more involved in the overall festival both as participant and spectator.
Response
The above suggests several things for the festival moving forward, many of the responses are healthy and in line with our current goals. There are however areas to potentially to target and develop for 2025.
Below are the areas we have identified.
1. Broaden the age range – there are significantly less folk in the under 35 categories.
2. Increase engagement on a Friday
3. Increase attendance on a Friday
4. Increase engagement across all three days
5. Increase engagement via social media
6. Extend participatory offer – workshops / participant jam / social events / networking
Digital and media engagement:
Social media
LiF experienced an increase in followers across various social media platforms in 2024. However, a detailed analysis of engagement and reach is still ongoing.
Recommendation:
Moving forward, we recommend engaging a social media analytics expert to conduct post-event analysis. This will provide valuable insights to optimise future social media strategies and identify how to maximise and increase audience engagement.
Media coverage
LiF 2024 saw a significant increase in media coverage compared to 2023, with 29 articles in total. While the majority came from local and regional outlets, expanding our reach is a key focus for the future.
Breakdown of Coverage:
Previews: Five preview articles appeared in Arts City Liverpool, Uncover Liverpool, Creative Wire, Culture Liverpool, and The British Theatre Guide.
Interviews: Mark Smith participated in a two-part podcast interviews for Creative Wire and a live interview on BBC Radio Merseyside's Sean Styles show.
Show Reviews:
Individual shows received 13 interviews with The Phoenix Remix.
Seven show reviews were published by Northwest End and the Reviews Hub.
Festival Promotion: Mark Smith authored two articles promoting the festival in Culture Liverpool (Cultural radar) and The Reviews Hub.
This increased media attention demonstrates growing interest in LiF. Moving forward, we will focus on securing coverage in national publications to further elevate the festival's profile.
Online viewing figures as of time of writing[1]
The LiF YouTube channel features interviews with artists and festival shows. These interviews serve as trailers to promote individual works before the festival and have demonstrably led to increased ticket sales.
Content Summary LiF 2024:
Interviews: 8 videos (total views: 210)
Shows: 10 videos[2] (total views: 206)
Three shows from LiF 2024 are not currently available online:
· One artist declined permission to share their performance.
· One show features minors, and parental permissions haven't been obtained.
· The third show was already documented and shared during LiF 2023.
Key Takeaway:
The YouTube channel is a valuable promotional tool, and future efforts will focus on acquiring permissions and maintaining a complete archive of festival performances. It also acts as a repository for researchers, and the wider improv community who can access this on an ongoing basis.
Advance planning:
While final recommendations depend on partner decisions regarding LiF's continuation, proactive planning is crucial for this year-long process. The options presented address issues raised in this report and anecdotal artist / participant / audience feedback. They also reflect the festival's ambitions but will be tailored to partner input.
SWOT Analysis: A Clear Snapshot of the Festival
This SWOT analysis provides a clear overview of the festival's strengths, weaknesses, opportunities, and threats.
Strengths:
Compelling Value Proposition: The festival offers a clear and attractive program for both audiences and artists.
Innovation & Efficiency: The programming process is innovative and streamlined.
Strong Foundation: The festival is well-organised with transparent communication to all stakeholders.
Open to Feedback: The team actively seeks and incorporates feedback from audiences, artists, and partners.
Strategic Expertise: The organisers possess strong regional sector knowledge and strategic planning abilities.
Inclusive Approach: The festival also caters to children and young people, fostering a diverse audience. This is a distinct offer in comparison to other improv festivals.
Weaknesses:
Financial Dependence: The festival relies heavily on the founder's financial support.
Limited Digital Marketing: Expertise in social media marketing and data analysis is lacking.
Local Focus: The festival's development efforts for local and regional artists are underdeveloped.
Volunteer Shortage: The festival could benefit from a larger volunteer base.
Limited Network Reach: The founder's network is primarily regional, potentially hindering growth.
Opportunities:
Sector Development: The festival can expand its offerings and partnerships within the improvisation sector.
Collaboration & Networking: Building partnerships with other UK festivals and creating a national network for improvisation festivals could be highly beneficial.
Knowledge Sharing: The team can leverage their experience by writing a "how-to" guide for running a successful festival.
Funding & Growth: The festival has a strong track record, making it a good candidate for funding applications. Expanding the network beyond the regional level and hosting LiF-branded events in other cities are additional growth opportunities.
Expanded Reach: A regional tour of headliners alongside increased venue options could broaden the festival's reach.
Co-leadership: Jen Hardy's co-curatorship offers a chance for shared responsibility and fresh perspectives. There sector knowledge is much wider.
Volunteer Recruitment: A dedicated effort to expand the volunteer base would be beneficial.
Threats:
Loss of Partnerships: Key partners like Unity Theatre and LJMU could negatively impact the festival.
Founder Burnout: The founder's well-being is crucial, and measures need to be taken to prevent burnout.
Lack of Regional Variation: Limited variety in local and regional work could lead to audience fatigue.
Funding Shortfall: Insufficient funding could hinder the festival's ability to maintain its core offerings for artists.
By addressing these strengths, weaknesses, opportunities, and threats, the festival can solidify its position and achieve sustainable growth.
Four Options:
The above SWOT analysis has been considered when creating the potential options. We've outlined four potential paths forward, each with its own implications:
Option 1: Consolidation and Refinement
This option prioritises solidifying LiF's foundation. It focuses on refining successful elements from LiF 2024 and addressing areas for improvement:
Friday Afternoon Attendance: Investigate factors impacting ticket sales for this time slot and explore potential solutions like reduced programming or strategic marketing.
Expanded Marketing: Increase promotional efforts to reach new audiences.
Implications: This approach requires a smaller operational footprint and potentially lower costs. Success hinges on securing partner support.
Option 2: Expanding Reach and Impact
This option prioritises festival growth by attracting a wider audience and a more diverse artist pool. Here are the key initiatives:
Ensemble Creation Workshops: Recruit individual participants to collaborate on new improvisation works under the guidance of an experienced coach. This initiative could specifically target Friday afternoons, potentially increasing attendance during this time slot.
Enhanced International Focus: Increase outreach efforts to attract international artists and attendees, fostering a more global festival experience.
Expanded Educational Programs: Develop a wider range of workshops and masterclasses catering to various skill levels, deepening audience engagement.
Implications: Expanding the festival's scope necessitates a larger budget. Securing partner commitment and exploring grant funding opportunities will be crucial to achieve this option.
Option 3: Hybrid Model
This option combines elements of both consolidation and expansion, aiming for measured growth while refining existing offerings:
Expanded Educational Track: Integrate and expand the educational program alongside core festival activities.
Develop More Local Work: Increase outreach to specific local communities for artists and audiences.
Implications: This approach requires a moderate budget increase, potentially achievable through diversified fundraising efforts. Partner buy-in remains essential.
Option 4: Pause and Move to a Biennial Model
This option proposes taking a break and returning with a festival every other year. This allows for:
Strategic Reassessment: Time to re-evaluate the festival's vision, goals, and long-term sustainability.
Resource Renewal: A chance to replenish energy and resources for a more impactful return.
Implications: This option requires careful communication with partners and audiences to manage expectations. Maintaining momentum and community engagement during the off-year would be crucial.
Moving Forward into LiF 2025:
These options offer a starting point for future discussions. Regardless of the chosen path, the focus remains on fostering a vibrant and accessible Liverpool improvisation scene with regional, national, and international appeal.
Proposed option moving forward:
Hybrid Model
Building on valuable feedback from colleagues, industry experts and audience feedback, we're excited to announce the proposal of a hybrid model for the upcoming festival (2025). This approach balances growth with refinement, aiming to increase participation and revenue while strengthening existing offerings.
Addressing Key Areas:
The new model focuses on the concerns raised earlier, particularly issues related to Friday programming, sector development, and workshop opportunities. These three areas are also flagged from the audience feedback we have received from audience members (see page 12). We believe these changes will also combat low sales, audience fatigue, and festival administration / marketing for both LiF and partner venue (Unity Theatre).
Fresh Initiatives:
Engaging Friday Evenings: Introduce two new ensemble shows and a nationally recognised headliner to boost Friday night attendance. Partner with a local youth theatre to create another exciting Friday offer as well as developing sector.
Streamlined Programming: Reduce Unity 2's running time to 40 minutes and decrease all workshops to two hours.
Enhanced Value: Offer discounted weekend tickets (9 for the price of 10) to incentivise weekend attendance.
Investing in Growth: Apply for workshop funding, seek local sponsorships, and hold private fundraising workshops.
Strategic Scaling:
The offer of ensemble show development and workshops (from 4 to 7) will extend the festival by one day in comparison to 2024. We will strategically reduce the total number of performances from 13 to 10 (4 on Friday, 6 on Saturday). However, this replicates the same number of overall events as per 2024.
This allows for reduced staffing and marketing costs for Unity Theatre on Fridays. Importantly, we anticipate increased overall sales due to stronger programming (dedicated headliner and additional local offer) thus offsetting the loss of low-selling shows as per 2024.
Building a Community:
By prioritising workshops led by festival performers, we are aiming to create a much more collaborative atmosphere and make participation more appealing for artists. Additionally, increased social and networking opportunities will strengthen the festival community. This is informed and supported by the information received in the audience survey (page 12).
Open Communication:
We understand this model requires adjustments. Discussions with partners will ensure transparency and address any concerns.
Overall, this hybrid approach positions the festival for measured growth with a focus on audience engagement, artist development, and a vibrant community atmosphere.
Proposed structure and festival dates:
Thursday 24th – Sunday 27th April (TBC once football fixtures are released).
Unity theatre – Friday 25th, Saturday 26th April
Joe H Makin - Thursday 24th, Saturday 26th AM, Sunday 27th April AM/PM
LiF recognises its emergence as a festival, gaining acclaim for its dedication to showcasing innovative new works in improvisation. This focus sets LiF apart from other improvisation festivals. We're committed to continuous improvement and development, with a clear vision for the future beyond 2025.
Collaboration is Key
LiF prioritises collaboration with its stakeholders, including partners, audiences, and artists, as we continue to develop and grow. We believe in open communication and working together to ensure all voices are heard throughout this ongoing process.
Appendices:
Appendix one
LiF 2024 has been successful awarded money from the Tim Miles fund. LiF is an independent improvisation festival which is hosted and supported by the Unity Theatre. The festival runs from the 19th-21st of April in Liverpool – www.Liverpoolimprovfestival.com
LiF are currently recruiting for the following paid roles (set fee). The fee is based on the daily rate as advised by ITC, each role is commensurate to the specific requirements as outlined below. The condition of the award means that only current or former students of LJMU may apply.
Below is a brief overview of each role, you do not need to have experience in these roles; but you must be able to express how and why you believe you are appropriate and how it will benefit your career aspirations. These roles will be supported by mentoring / training from the LiF team and the Unity Theatre. This link takes you through to the application form https://forms.gle/1istRmb9uJDAvoH98
Please note some roles require that you are available on Friday the 19th and Saturday the 20th of April, this is indicated below. This is not negotiable.
Roles:
Press support – You will develop in conjunction and assist the Unity theatre team in targeting press for the festival. You will write / distribute press releases and liaise with both artists / companies / LiF and members of the press (print, online, radio). The fee is £300.
Social media content maker – You will develop in conjunction and assist the Lif festival team in developing and creating specific festival / show content to be distributed via the various LiF social media platforms – primarily Instagram / Tik Tok. The fee is £200.
Marketing support – You will develop in conjunction and assist the LiF / Unity theatre team in marketing content across website, social media and venues. The fee is £200.
Lighting technician - You will assist and work with the Unity theatre technicians in rigging, plotting and lighting for 13 improvised shows. You must be available – 19/20th of April. The fee is £200.
Documentary film maker x 2 - You will assist and work with the LiF festival team documenting (recording) 13 shows and the audience / artist response (vox pops) to the festival. You will edit a short film which will provide a snapshot of the festival – there is an example on the website from last year. You must be available – 19/20th of April. The fee is £500 per person.
Assistant producer – You will assist the LiF lead producer and team. You will liaise with visiting artists / companies and venue (Unity theatre) ensuring clear communication (primarily via email). The fee is £200.
Artist liaisons x 1 - You will assist the LiF lead producer / team and Unity theatre tech team. You will assist visiting artists / companies ensuring that they are supported during their visit to the festival – primarily this will be during get in and get outs. You must be available – 19/20th of April. The fee is £200.
Audience liaisons x 1 - You will assist the LiF lead producer / team and Unity theatre front of house team. You will act as a LiF point of contact for audiences assisting them in any questions they may have, in addition you will also collect audience feedback. You must be available – 19/20th of April. The fee is £200.
Appendix two
Images and biograpghies – Tim Miles award
https://www.liverpoolimprovfestival.com/liverpoolimprovfestivalteam2024.html
Appendix three
Financial breakdown – Tim Miles award
1. Press support x 1
£300.00
2. Social media content makers x 2
£400.00
3. Lighting technician x 1
£200.00
4. Documentary film maker x 2
£800.00
5. Photographer x 1
£200.00
6. Assistant producer x 1
£200.00
7. Artist / audience liaisons x 2
£400.00
£2,500.00
Appendix four
The following question was not optional.
Question asked: Based on your experience rating please provide some feedback?
1) Very inclusive and welcoming. Great variety of shows on offer ticking all genre boxes.
2) All very friendly and well run.
3) I was a participant in one of the shows. Excellent organisation and a very supportive atmosphere.
4) Loved it!
5) I thought the festival was really great.
6) The atmosphere in the Unity theatre was really lovely. Having more space in between the shows worked really well and gave people a chance to chat or network. There was a fantastic range of shows, which I thought was the best thing about the festival. Musical, family shows, drama, classic improv. Something for everyone.
7) Great choice of shows. Lovely front of house staff
8) There was so much variety, that it kept watching multiple shows on the one-day exciting.
9) As performer - very well looked after.
10) The programme's variety was a big plus, breaking new ground even though last year had covered so much. Commitment to new work as well as representing local artists. The timings worked better than last year, particularly the workshops side.
11) NA
12) Brilliant performer
13) I wasn’t aware that Rowenas performance was part of a festival.
14) Wonderful talent & energy. Lots of fun! Fab family fun
15) Its special to be involved in a full day of programming. To be fully immersed in the experience. The breadth and variety of shows is fabulous - some folk I recognised other I didn’t.
16) Overall, everything has been well organised and clear. Staff are friendly and helpful. Lots of variety. Lovely atmosphere
17) Some of the shows were not to my liking, but it was a great experience.
18) Buying tickets from the Unity box office on the day was difficult.
Appendix five
The following question was optional.
Question asked: Is there anything else you would like to add?
1) I was only there for the Saturday, and I performed and watched one of the other shows. Unfortunately, I was not very well so was unable to stay and watch more, but I thought the whole vibe while I was there was excellent.
2) Thank you to the organisers! It was a brilliant day.
3) More next year please.
4) Maybe an opening and closing ceremony of fun, (for the performances).
5) Can’t wait for more.
6) Thank you for all your hard work.
7) I look forward to coming back next year.
8) Congratulations of running such a brilliant festival!
[1] 02/05/2025
[2] Shows went online on 22/04/2024.