Role Play: An Organisation

##Innovation Grant Your organisation has the opportunity to apply for a £35,000 innovation grant from an independent charitable foundation. The funding must support experimentation and cannot be used for core running costs. Following several planning meetings and board feedback, your team has developed two proposals. Which proposal do you choose? [[A. Open Artist Development->Open Artist Development]] Support 3 innovative freelance theatre-makers with £10,000 development bursaries, mentoring and organisational support. Open to artists beyond your organisation's own programme, the initiative aims to strengthen the wider creative ecology. This means artists receive meaningful paid time to develop new work. However, the impact may be difficult to evidence, with few immediate benefits for your organisation or audiences. [[B. Audience Innovation->Audience Innovation]] Develop a new performance model that makes your work more accessible to audiences. Combining live and digital experiences, the project aims to reach people who face barriers to attending theatre while testing new ways of creating and sharing work. This means more people can access your work, creating a clear public benefit and a model that could shape future productions. However, fewer artists receive direct development opportunities, and some may question whether innovation funding should prioritise audience engagement over artist development.

##Success! Your latest production is warmly received by audiences and critics. The process has been collaborative, with staff, freelancers and artists reporting a positive experience. The production sells out its run, and discussions begin about a remount, creating the potential for additional income and a renewed sense of confidence across the organisation. [[Continue ->HR Nightmare]]

##Success! Community Impact Your community engagement project has had a meaningful impact. Staff, freelancers and artists describe it as one of the most rewarding experiences of the year. As a result, participants are beginning to attend productions through your subsidised audience scheme. [[Continue ->Donation Doom]]

##HR Risk Your organisation has just announced the cast for an ambitious new production that has been in development for three years. It has been a labour of love, requiring years of fundraising, artistic development and audience building. Rehearsals begin in two weeks. The following day, you receive an email from someone claiming to be the former partner of the lead actor. They allege harassment and domestic abuse and urge you to remove the actor from the production. The allegations are not public, have not been reported to the police, and you have no way of verifying the claims. What do you do? [[A. Remove the actor->HR Actor Sues]] Inform the Board, seek legal advice and begin recasting. This means taking a precautionary approach and prioritising the safety and confidence of the company. However, the allegations remain unverified, the production faces delays and additional costs, and the organisation may face legal challenge from the actor. [[B. Continue with the actor->HR Actor Stays]] Inform the Board, seek legal advice and continue rehearsals while reviewing the allegations. You put appropriate safeguarding measures and clear reporting pathways in place. However, if further allegations emerge, the organisation may face criticism for not acting sooner and the disruption to the production could be far greater.

##Donation Risk Last year, your organisation received a £125,000 donation from a well-known arts trust, funding one of your largest productions. Your next business plan assumes a similar donation to support future commissions and employment. It emerges that the trust's principal donor is a multinational energy company investing in new oil and gas extraction projects. Following widespread media coverage, several arts organisations return previous donations or announce they will no longer accept funding from the trust. Artists begin withdrawing from organisations linked to the fund, while climate campaigners call on the sector to reject the money entirely. Your board must decide how to respond. What do you do? [[A. End the relationship->Fundraising Policy]] Announce that you will no longer accept funding from the trust and develop a plan to replace the expected £125,000 in future income. This means your organisation takes a clear ethical position and joins others in signalling that certain sources of funding are incompatible with your values. However, replacing the income may require scaling back artistic ambition, reducing activity or canceling future projects. [[B. Continue the relationship->Pressure Grows]] Continue accepting funding from the trust while developing an ethical fundraising policy to guide future decisions. The funding has been planned to support artists, community programmes and future productions. Many sources of philanthropic funding are not free from ethical compromise and you believe the greatest public benefit comes from investing the money in people and communities rather than rejecting it. However, the decision may damage the organisation's reputation, affecting future fundraising and artistic partnerships.

##Diversity & Artistic Freedom Your organisation has committed to creating more opportunities for freelance theatre makers from underrepresented backgrounds. A renowned director proposes an ambitious production that could become one of the highlights of your season. However, they insist on working with their long-standing creative team, arguing that these collaborators are integral to the artistic vision and that trust cannot simply be replaced. Your policy commits the organisation to broadening opportunities. The director argues that requiring changes to their creative team compromises artistic integrity and creative freedom. What do you do? [[A. Make an exception->Another Request]] You allow the director to work with their preferred collaborators, believing the production's artistic quality and public impact outweigh the risks. [[B. Uphold the organisation's commitment->Diversity Ahead]] You ask the director to rethink their creative team and actively consider new collaborators. You offer support to help build new creative relationships.

##Remove the Actor Several days later, the actor publicly acknowledges that there were altercations during the relationship but strongly disputes the allegations made against them. They state that no criminal charges were ever brought and announce they are taking legal action against the organisation for breach of contract and damage to their reputation. The anonymous complainant has not come forward, and no further evidence has emerged. The story is now focused on whether the organisation acted fairly. What do you do? [[A. Defend the organisation publicly->HR Suing Result]] Stand by your decision and defend the organisation in court. This means demonstrating confidence in your safeguarding approach and reassuring staff that concerns are taken seriously. However, the legal dispute becomes increasingly costly, media attention continues, and every stage of your decision-making is scrutinised in public. [[B. Seek a confidential settlement->HR Settlement]] Attempt to resolve the legal dispute privately without admitting liability. This means reducing legal costs and allowing the organisation to move forward more quickly. However, some may see the settlement as an acknowledgement that the organisation acted unfairly, while others question why public money was used to settle the dispute.

##HR Conclusion The organisation defends its decision in court, arguing it acted proportionately to protect its staff and production. After months of legal proceedings, the court finds that the organisation acted within its contractual and safeguarding responsibilities. Although damages are not awarded, the legal costs, staff time and prolonged public scrutiny place significant pressure on the organisation and prompt a review of its safeguarding and crisis response policies. [[Continue->Innovation]]

##HR Conclusion The organisation reaches a confidential settlement without admitting liability, bringing the legal dispute to an end. Although the immediate crisis subsides, the settlement becomes public, prompting criticism over transparency and the use of public funds. The board commissions an independent review of its safeguarding and crisis response procedures. [[Continue->Innovation]]

##Continue With Actor You're in week 2 of rehearsals. Word spreads within the company that the organisation received an anonymous allegation but chose to continue rehearsals. The anonymous allegation has divided the company. While there is still no formal investigation or legal finding, several cast members say they no longer feel able to continue working alongside the actor. Others argue that cancelling the production would unfairly punish everyone involved and undermine years of artistic work. The production has been three years in development, employs dozens of freelancers and has tickets have already been sold. What do you do? [[A. Stop the production->HR Cancel Production]] This means prioritising the wellbeing and confidence of the company, recognising that the production can no longer continue safely or cohesively. However, years of artistic work are lost, freelancers lose income, audiences are disappointed, and the organisation faces significant financial costs. [[B. Continue the production ->HR Production goes on]] This means protecting the work, the livelihoods of the wider company and the investment already made. However, some artists may choose to withdraw, increasing production costs and damaging confidence in the organisation both internally and publicly.

##The Production Does Not Go Ahead. Your organisation absorbs significant financial losses from costs already committed, including artist fees, production costs and other contractual obligations. Cancelling may also have implications for funding agreements and require the organisation to explain the decision to funders and other stakeholders. Artists lose the opportunity to share years of creative work, while audiences are disappointed. Some stakeholders commend the organisation's response, while others argue the decision unfairly impacted the wider company. The experience prompts a review of organisational policies, governance and crisis planning. [[Continue->Innovation]]

##The Production Opens As Planned... But under intense public scrutiny. Media coverage focuses as much on the organisation's handling of the allegations as on the work itself. Cast changes and additional rehearsal costs place pressure on the budget, while some audience members and artists question the organisation's decision. Although the production reaches the stage, its artistic achievements are overshadowed by the wider controversy. [[Continue->Innovation]]

##Open Artist Development The Open Artist Development programme has concluded successfully, and the foundation invites your organisation to apply for another round of funding. Evaluation shows the bursaries gave artists valuable time to develop new work, but many struggled to continue once the programme ended. Some hoped for ongoing support from your organisation, but this was never part of the programme. Trustees now question whether supporting more artists for a shorter period creates enough lasting impact. Your team develops two proposals. Which do you choose? [[A. Continue the Current Model->Continue The Model]] Continue supporting three artists each year through bursaries, mentoring and organisational support. This means six artists receive meaningful development opportunities over two funding rounds.However, support remains short-term, and artists may struggle to sustain momentum once the programme ends. [[B. Sustained Artist Development->Sustained Artist Development]] Support one freelance theatre-maker through an 18-month development programme, combining a bursary with mentoring, industry introductions and long-term organisational support. This means the artist has a stronger chance of turning their development into a sustainable career and future opportunities. However, significantly fewer artists benefit from the funding.

##Continue The Model Over the next two years, six artists receive development bursaries. None of the projects are programmed by your organisation, but lasting relationships are built with the artists. The board questions whether future funding should prioritise artists the organisation is more likely to commission or programme, even if that means moving away from an open programme. [[Continue->Act 3 - Next Priorities]]

##Sustained Artist Development Over the next two years, one artist receives sustained support, resulting in a long-term creative relationship with your organisation and a new production. The programme is recognised as a success, but the board questions whether investing so deeply in one artist is the best use of limited resources. [[Continue->Act 3 - Next Priorities]]

##Audience Innovation The audience innovation project has come to an end. Through research and experimentation, your organisation has uncovered new possibilities for combining live and digital performance, expanding access and reaching new audiences. Impressed by the results, the funder invites you to apply for a second £35,000 innovation grant. However, you know a second grant alone will not be enough to scale the work. Embedding it into your organisation would require years of strategic planning and significant future investment. What do you do? [[A. Continue the project->Continue The Project]] Use the second £35,000 grant to refine the model and pilot it in one production, sharing the findings with the wider sector. This means audiences experience the work in a live production, providing stronger evidence before deciding whether to scale the model. However, without long-term investment, the experience may not continue beyond the pilot, leaving new audiences without future opportunities to engage in this way. [[B. Conclude the project->Conclude The Project]] End the programme after a successful research phase. This avoids committing further resources to work that may not be financially sustainable, allowing the organisation to use its funding and capacity elsewhere and create opportunities for other applicants. However, the project ends before its full potential is realised.

##Continue The Project The second grant funds a pilot production, which is well received by audiences and shared as a case study across the sector. However, the pilot runs over budget. As the organisation has already committed to its next three-year business plan, the work is put on hold until the next strategic review. Whether the project still has momentum by then remains uncertain. [[Continue->Act 3 - Next Priorities]]

##Conclude The Project The research programme concludes, with findings shared across the sector. As your organisation focuses on other priorities, another theatre company secures the next round of innovation funding, taking forward a very different idea. [[Continue->Act 3 - Next Priorities]]

##End Relationship Following your decision to reject future funding from the trust, your organisation is unable to replace the expected income. To avoid running a deficit, you pause one area of your programme while you review your long-term fundraising strategy. The board agrees it is time to introduce an ethical fundraising policy. [[A. Adopt strict exclusion criteria->Strict Policy]] Exclude funding from industries such as fossil fuels, arms and gambling. You believe clear boundaries will strengthen trust with artists, audiences and partners, ensuring future funding reflects the organisation's values. However, the pool of potential funders becomes smaller, making it more difficult to replace lost income and restart the paused programme. [[B. Adopt principles rather than exclusions->Case-By-Case]] Assess each funding opportunity on a case-by-case basis against a set of ethical principles. You believe decisions should consider both the source of funding and the public benefit it enables, allowing the organisation to remain financially resilient while responding to ethical concerns. However, individual decisions may continue to be challenged, requiring the organisation to justify where it draws the line.

##Strict Policy Your future plans reflect a smaller organisation, with fewer productions and commissions than before. While your organisation's public profile changes little, its ethical stance strengthens its reputation among many artists and peers across the sector. [[Continue->Culture Setting VS Artistic Freedom]]

##Case-By-Case Your organisation replaces the lost income through a wider range of funding sources. The immediate controversy fades and financial stability returns, but assessing each opportunity on a case-by-case basis means every new partnership prompts fresh debate about where the organisation draws the line. [[Continue->Culture Setting VS Artistic Freedom]]

##The Pressure Grows Artists withdraw from upcoming productions and an open letter signed by freelance workers calls on your organisation to end its relationship with the trust. Media coverage grows and trustees are divided over the response. [[A. Stand by the decision->Stand By Decision]] Continue accepting funding while explaining why the board believes the public benefit outweighs the ethical concerns. You believe ending the relationship would reduce opportunities for artists and communities without addressing the wider issue of ethical philanthropy. However, criticism continues and relationships with some artists deteriorate. [[B. Reverse the decision->Reverse Decision]] End the relationship with the trust and begin rebuilding your fundraising strategy. You believe maintaining trust with artists and demonstrating ethical leadership outweigh the financial cost.However, replacing the lost income requires difficult reductions to your programme.

##Stand By Decision Public attention gradually shifts elsewhere and the protests become less frequent. Your organisation continues its programme while quietly developing a plan to phase out funding from the trust. Existing commitments are honoured as alternative funding is secured, allowing the relationship to come to an end without further reductions to the programme. [[Continue->Culture Setting VS Artistic Freedom]]

##Reverse Decision Your organisation plans for a smaller future while rebuilding its finances. Although delivering fewer productions and commissions, it develops a stronger reputation among many artists for acting decisively on its values. [[Continue->Culture Setting VS Artistic Freedom]]

##The Production Is A Success. Another established artist requests the same flexibility. This sparks debate within your organisation. Some staff believe making repeated exceptions risks undermining your commitment to creating opportunities for underrepresented freelancers. Others argue that forcing artists to change their collaborators risks compromising artistic excellence and damaging relationships with leading creatives. You agree the organisation needs a clearer approach. What do you do? [[A. Introduce clearer organisational expectations->Tokenism?]] Develop policy that encourages productions to create opportunities for new collaborators and underrepresented freelance artists, while allowing exceptions where there is a clear artistic rationale. Artists may feel the organisation is influencing creative decisions and become less willing to collaborate. [[B. Protect artistic autonomy->Performative Values]] Leave decisions with the lead artist, while investing in mentoring, talent development and pathways to widen future opportunities. However this risks organisational commitments may be seen as aspirations rather than embedded in practice.

##The Director Agrees To Rethink Their Creative Team. New collaborations bring fresh perspectives, but they also require time to build trust and develop a shared way of working. As the rehearsal process unfolds, differing creative approaches, communication styles and working rhythms create pressure within the team. Combined with additional rehearsal time, this places strain on the budget and schedule, raising questions about how organisations can support new collaborations while maintaining artistic ambition. [[A. Invest in the production->Strengthen Collaboration]] Provide additional resources, such as an extra tech day or contingency funding, to support the creative process and reduce pressure on a newly formed team. this means the production exceeds its budget, reducing resources available elsewhere. [[B. Expect productions to work within existing resources->Review Approach]] Maintain the current budget and schedule, expecting artists to build new relationships within the normal production process. However, creative teams may feel they are being asked to deliver more with less, affecting artistic ambition and working conditions.

##Summary Over the next two seasons, more first-time collaborators and underrepresented freelance artists join creative teams across the organisation. Some artists welcome the opportunity to build new relationships, while others feel pressure to justify long-standing collaborations. Despite these changes, staff notice that the same small group of underrepresented artists are repeatedly being approached, raising questions about tokenism and whether the organisation has invested enough in developing a broader pipeline of talent. [[Continue->Act 3 - Next Priorities]]

##Summary Artists continue to work with trusted collaborators, and many productions benefit from established creative relationships. The organisation invests in mentoring, paid development opportunities and pathways for emerging freelancers. However, progress is slow. Staff and freelancers begin questioning whether long-term investment alone is enough, or whether the organisation is relying on future change while avoiding difficult decisions in the present. Some argue the organisation's public commitments risk being viewed as performative if they are not reflected in who is commissioned today. [[Continue->Act 3 - Next Priorities]]

##Summary The additional investment gives the creative team the space to build trust, navigate different ways of working and realise the production's artistic ambition. The production is a success, but the increased costs place pressure on the wider programme. You begin to question whether this level of investment can be sustained across every production, or whether established working relationships are essential to delivering ambitious work within limited resources. [[Continue->Act 3 - Next Priorities]]

##Summary The production is delivered within budget, but the creative team experiences increased pressure as they navigate unfamiliar ways of working. You are left wondering whether there is a better balance between financial sustainability, artistic ambition and the wellbeing of those making the work. [[Continue->Act 3 - Next Priorities]]

#Act 3: Shaping the Future Your organisation has reached a new stage in its development. You have built a sustainable way of making and producing work, and the organisation has the capacity to look beyond the next production. With greater stability comes new responsibility. The senior management team meets to decide the organisation's next strategic priorities. Where will you focus your attention first? [[A. Responsibility to the Sector->The Sector]] As your organisation becomes more established, its influence extends beyond its own programme. Strengthening the wider theatre sector may involve advocating for freelancers, contributing to national conversations, sharing resources and knowledge, or collaborating to address sector-wide challenges. [[B. Responsibility to the Organisation->The Organisation]] A healthy organisation requires continual investment. Prioritising the organisation may involve developing staff, improving infrastructure, strengthening governance, investing in environmental sustainability, or building long-term resilience. [[C. Responsibility to the Future->The Future]] The theatre sector continues to evolve. Looking to the future may involve embracing new technologies, responding to changing ways of working, supporting new artistic practices, and preparing the organisation for emerging opportunities and challenges.

##The Sector Over recent years, public investment in theatre has failed to keep pace with inflation and rising production costs. Organisations across the sector are under increasing financial pressure, resulting in fewer productions, reduced opportunities for freelancers and growing concern about the long-term sustainability of the theatre ecology. In response, a coalition of theatre organisations has formed to strengthen the case for increased public investment. Your organisation has been invited to help shape the sector's approach. The Board has agreed that your organisation should play an active role in representing the sector. How will you use your influence? [[A. Influence Decision-Makers->Coalition & Freelancers?]] Develop relationships with government, public funders and policy-makers. Use meetings, evidence and dialogue to strengthen the case for increased public investment. This progress is slower and less visible, and some may feel the sector's concerns are not being represented strongly enough. However, you hope to build trusted relationships and increase opportunities to influence future funding decisions. [[B. Build Public Support->Public Vs Private Campaign]] Lead a public campaign demonstrating theatre's value and the impact of stagnating public investment. Through public events, media engagement and advocacy, you aim to build public support and increase pressure on government to invest in the sector. However, taking a more public position may strain relationships with government and public funders, reducing opportunities for private dialogue and future influence.

##The Organiation Your organisation has committed to achieving the next Theatre Green Book level (the theatre industry's sustainability framework), seeing it as an important step towards embedding sustainable practice across its work. The Board agrees with the ambition. The discussion is whether Theatre Green Book should be driven primarily through productions or embedded first through organisation-wide systems and culture. How do you implement this change? [[A. Prioritise Productions->Green Book Productions]] Support each production to meet Theatre Green Book standards by giving creative teams the flexibility to develop sustainable solutions within their own process. Provide guidance and share learning between productions while allowing each team to respond to the specific needs of their project. [[B. Embed Organisational Change->Green Org]] Develop organisation-wide sustainability policies, training and shared systems so staff and freelancers have a consistent framework for delivering Theatre Green Book. Build sustainability into planning, procurement and decision-making across every production.

##The Future Your organisation has invested in exploring emerging technologies and artistic practice. As more artists and staff begin using artificial intelligence in creative development and day-to-day work, questions emerge around copyright, intellectual property, transparency and the future role of creative and administrative jobs. While some see AI as an opportunity to increase organisational capacity, reduce repetitive tasks and support innovation, others worry it could replace creative and administrative work, weaken opportunities for freelancers and staff, and outpace clear ethical guidance. [[A. Lead the Change->Leading Change- AI]] Adopt artificial intelligence across artistic and organisational practice while developing policies alongside artists, freelancers and staff. The organisation hopes to shape emerging practice and influence wider sector standards. However, moving ahead without established legal, ethical or sector-wide guidance carries significant risks and may damage trust if decisions are challenged. [[B. Wait and See->Waiting Response]] Take a cautious approach until legal, ethical and sector-wide guidance becomes clearer before adopting AI more widely. The organisation hopes to learn from others' experiences and avoid unnecessary risks. However, without clear organisational direction, staff and freelancers may adopt AI independently, creating inconsistent practice, ethical uncertainty and increased public scrutiny.

##Building Influence Over the past year, your organisation has built strong relationships with government and public funders. As a result, the coalition is invited to help shape the next phase of public investment in theatre. Early discussions suggest government is most receptive to a major programme of capital investment, helping organisations improve buildings, reduce energy costs and strengthen the long-term sustainability of the sector. While many organisations welcome this opportunity, freelance theatre workers argue that the sector continues to be shaped largely by organisations, despite freelancers making up over 70% of its workforce. They question whether the sector's priorities can truly represent the workforce when those most affected have little influence over the decisions being made. How do you respond? [[A. Prioritise Achievable Change]] Continue leading the campaign for capital investment, believing organisations must focus on the policy most likely to secure government support. However, some freelance artists may feel their immediate concerns continue to be postponed. [[B. Resource Freelance Representation]] Pause the next stage of the campaign until the coalition can resource paid freelance participation, ensuring freelancers have genuine influence over the ideas and priorities shaping future sector advocacy. However, creating a more representative process will require additional resources and may slow progress with government.

##Public Campaign Over the past year, your public campaign has gained momentum. Audiences, artists and partner organisations have rallied behind calls for increased public investment, helping to keep theatre in the public conversation. As pressure grows, government invites the coalition to begin private negotiations. They make it clear that productive discussions will be difficult if organisations continue publicly criticising government during the talks. Your Board agrees this is an opportunity to influence decision-makers directly. However, some campaign supporters argue that reducing public pressure now risks losing momentum and weakening the campaign. How do you respond? [[A. Maintain Public Pressure]] Continue the public campaign and publish an open letter calling on government to increase investment in theatre. However, taking a more confrontational approach may damage relationships with decision-makers and reduce opportunities to influence future policy. [[B. Enter Private Negotiations]] Accept the invitation to negotiate with government and pause public criticism while discussions take place. However, some artists and campaign supporters may question whether the coalition has become too close to those in power.

##Prioritise Productions Your organisation has successfully achieved the next Theatre Green Book level. However, freelance designers, production managers and makers begin raising concerns about how the standards are being delivered. They report that meeting Theatre Green Book standards requires additional research, longer lead times to source sustainable materials and more coordination between creative and production teams. Because productions are often commissioned with short lead-in periods, many say there is simply not enough time to meet the standards without compromising creative ideas or taking on significant unpaid work. Production teams also warn that these pressures increase risks to delivery, budgets and production schedules. How do you respond? [[A. Resource Sustainable Working]] Recognise the additional labour required to deliver Theatre Green Book by increasing production budgets to support the extra research, sourcing and coordination involved. This improves working conditions for creative teams but means the organisation can programme fewer productions each year. [[B. Plan Earlier]] Review how productions are commissioned so key artistic, design and production decisions are made earlier. Building sustainability into projects from the outset reduces late redesigns and production pressures but requires committing to creative decisions earlier in the process, reducing flexibility as ideas develop.

##Leading Change Your organisation has become recognised for embracing emerging technologies and new artistic practice. As more artists, freelancers and staff begin experimenting with artificial intelligence, different approaches emerge across productions and departments. Some freelancers argue organisations are making decisions about AI without enough input from the artists and creative workers most affected by changes to intellectual property, employment and artistic practice. Others believe organisations need to respond quickly as technology evolves and cannot wait for sector-wide agreement. The Board agrees the organisation needs a clearer approach. The discussion is who should help shape it. How do you respond? [[A. Co-Design the Future]] Invest in a paid working group of freelancers, artists, staff and specialist advisors to develop the organisation's AI approach together. This builds trust and draws on a wider range of perspectives, but requires significant time, funding and coordination before decisions can be implemented. [[B. Lead the Organisation's Response]] Develop the organisation's AI approach through leadership and specialist expertise, with targeted consultation from artists and freelancers before the policy is finalised. This enables quicker decision-making and recognises the organisation's responsibility for legal and reputational risk, but some may feel participation has been limited to consultation rather than genuine influence.

##Embed Organisational Change Your organisation has successfully embedded Theatre Green Book (the theatre industry's sustainability framework) through organisation-wide policies and training. As the next stage of implementation begins, the organisation has some funds set aside for investment. Updated accessibility requirements and a building condition survey identify significant upgrades needed to the venue. The improvements will help future-proof the organisation, but delivering them alongside your sustainability plans will require careful long-term planning. The Board agrees both are essential. The discussion is how to move forward. How do you respond? [[A. Deliver One Major Project]] Combine the accessibility upgrades, sustainability improvements and building works into a single capital project (long-term investment in buildings and infrastructure). Although more disruptive in the short term, it reduces repeated closures and may be more cost-effective over time. [[B. Phase the Improvements]] Prioritise the most urgent building and accessibility work first, introducing sustainability improvements over time. This reduces short-term disruption but delays progress towards your environmental ambitions and may increase overall costs.

##Wait & Learn The organisation has taken a cautious approach to AI and has not developed a formal policy. Over time, staff, freelancers and creative teams begin using AI in different ways across productions. A freelance artist discovers AI-generated content has been used during a project without their knowledge. Questions are raised about consent, intellectual property and how AI should be used within the organisation. Journalists and funders ask what safeguards are in place. What do you do? [[A. Implement an AI policy immediately ->AI Policy]] Develop and introduce an organisation-wide AI policy based on existing legal guidance, sector examples and best practice from other organisations. This provides immediate clarity and demonstrates decisive leadership, but the policy is introduced without consultation and may overlook the experiences and concerns of freelancers and artists. [[B. Pause AI use while developing a policy ->AI Pause]] Temporarily suspend AI use across the organisation while staff, freelancers and specialist advisors develop a shared approach. This builds greater trust and allows the policy to reflect a wider range of experiences, but delays projects, requires additional investment and may frustrate teams already using AI.

# Act 2: People & Practice The organisation enters a new financial year. Some decisions have strengthened the organisation; others have created new challenges. Whether through careful decisions, unexpected opportunities or a combination of both, the immediate financial crisis has passed. To strengthen the organisation's financial resilience, you explore different programming models for the seasons ahead. What do you do? [[A. Commercial Programme->Commercial]] Develop a programme of established titles and popular productions to generate reliable income and broaden audience appeal. [[B. New Work->New Work]] Invest in new writing, emerging artists and original productions to develop audiences and build artistic reputation. [[C. Co-productions->Co-Pro]] Develop productions with partner organisations, sharing costs, resources and expertise while expanding reach and reducing financial risk.

##Commerical To recover from financial pressures, you shifted your programming towards more commercially successful productions. The strategy has paid off. The organisation is financially stable again, but artists criticise you for commissioning fewer new works and reducing investment in the wider theatre ecology. [[A. Stay the course->Production Success]] Adapt your long-term business plan around this programming model. You believe the financial climate is unlikely to improve, and building a sustainable organisation must come before supporting the wider ecology of the sector. [[B. Reinvest the surplus->Community Impact]] Use the expected profits from commercially successful productions to commission new writing, support emerging artists and rebuild artist development over future seasons. This strengthens the wider theatre ecology and creates opportunities for future talent, but reduces your financial buffer if commercial productions underperform.

##New Work Over the next two seasons, the organisation develops several new productions with emerging artists and writers. The work receives strong reviews, building the organisation's reputation for ambitious new theatre and attracting new artists and creative partnerships. However, audience growth has been slower than hoped, while community teams report increasing demand for local engagement and participation. The organisation cannot invest equally in both areas and must decide where to prioritise its resources. What do you do? [[A. Protect Artistic Ambition->Production Success]] Continue prioritising ambitious new work and build on the organisation's growing artistic reputation. However, this means fewer resources are available for community engagement and participation. [[B. Build Community Impact ->Community Impact]] Prioritise community engagement, participation and access, responding to local demand and building longer-term relationships. However, this means fewer resources are available for developing new work and could weaken the organisation's reputation for artistic innovation.

##Co-Productions To recover from financial pressures, you developed part of your programme through co-productions with other organisations. The strategy has paid off. By sharing costs, resources and expertise, the organisation has delivered ambitious work while reducing financial risk. Although profits are shared, the partnerships have strengthened your reputation and expanded your reach. What do you do next? [[A. Expand partnerships ->Co-Pro Win]] Develop more of your future programme through co-productions. You believe long-term partnerships create greater resilience, reduce financial risk and enable work that would not be possible independently. However, co-productions generate less income for your organisation, and you're aware that they create fewer working opportunities for freelancers. [[B. Produce more independently ->Community Impact]] Use the financial stability gained through co-productions to increase the proportion of work you produce independently. This gives the organisation greater creative control and the opportunity to retain future profits, but also increases financial exposure.

##Partnership Success! Your network of partnerships continues to grow. The organisation becomes known for ambitious collaborations, attracts new opportunities and reaches wider audiences while maintaining a sustainable financial model. [[Continue->HR Nightmare]]

#Role Play: Organisation. [[Begin]]

#''Act 1: Finance & Funding'' You are a performance organisation with new leadership. You have charity status and alongside staff have a board of directors (voluntary trustees responsible for the organisation's strategy, finances and legal responsibilities). Around one-third of your income comes from public funding; the rest must be earned through ticket sales, fundraising and other income. Your programme has already been announced, but rising costs mean you are projected to end the year with a significant budget deficit (costs exceed income). Public funding has remained largely unchanged while inflation has eroded its value. Despite careful budgeting, you must now make difficult decisions to balance the budget. What do you do? [[A. Reduce production costs->Reduce Costs]] Balance the budget by reducing production budgets, scaling back casts or creative teams, cutting participation activity, or planning fewer productions in future seasons. [[B. Increase fundraising targets->Increase Funraising]] Ask your development team to generate additional income through philanthropy, trusts and foundations, corporate sponsorship and individual giving, while keeping the artistic programme unchanged.

##Reduced Costs Your reduced programme is being delivered, but the pressure on those remaining has increased. Staff and freelancers report burnout, while cuts to technical roles and other support reduce the capacity to provide access provisions, wellbeing support and other wraparound support. An emergency exposes further gaps in the workforce when no understudy is available, highlighting the wider costs and lost value of reducing organisational capacity. As you begin planning next season's programme, what do you do? [[A. Reduce the programme further ->Freelance Open Letter]] Cut one production from next year's programme to reduce pressure on staff and balance the budget. The production most likely to be cancelled is a smaller-scale work by a newer artist. [[B. Use financial reserves (emergency savings) -> Use Reserves]] Draw on the organisation's financial reserves to deliver next season's programme as planned. This reduces pressure on staff and protects artists and audiences, but leaves the organisation more exposed if another financial shock occurs.

##Freelance Open Letter A group of current and former freelancers publish an open letter describing late payments, excessive workloads and poor communication. The letter is widely shared across the sector, and journalists begin asking whether the organisation has failed its workforce. Several funders and partners contact the organisation seeking reassurance about how it intends to respond. What do you do? [[A. Commit to sector dialogue -> Organisational Change]] Issue a public statement acknowledging the concerns and invite freelancers to take part in a series of paid discussions to review working practices. This demonstrates a commitment to change, but requires staff time and additional funding that will need to come from elsewhere in the organisation. [[B. Make no public statement ->Fallow Year]] Decide not to respond publicly and continue focusing on delivering the organisation's programme. This avoids additional costs and protects limited resources, but risks damaging trust with freelancers, funders and the wider sector.

##Use Financial Reserves The organisation has delivered next season's programme by drawing on its financial reserves (emergency savings). While the immediate crisis has been avoided, reserves have now fallen below the level set out in the organisation's reserves policy (the minimum level of emergency funds the board aims to maintain). Concerned about the increased financial risk, the board asks the senior leadership team to present a plan for the next season. What do you do? [[A. Reduce staffing costs ->Org Restructure]] Reduce staffing costs by making redundancies or restructuring the organisation. This lowers long-term expenditure and helps rebuild financial resilience, but increases pressure on the remaining team and reduces the organisation's capacity. [[B. Request funding in advance -> Advance Funding]] Ask key funders whether part of next year's grant can be paid early to improve cashflow. This protects jobs and maintains organisational capacity, but effectively brings future income forward, reducing the funding available for next season's programme.

##Income Raised, But Your Development Manager Leaves. Your fundraising campaign has successfully secured the funding needed to deliver this season. However, midway through the season your Development Manager (responsible for fundraising) resigns after accepting a role elsewhere, citing burnout and low pay compared with the wider charity sector. With a new Development Manager soon to join the organisation, the senior leadership team decides to review its income strategy before planning for next season. Having relied heavily on existing donor relationships, the organisation now needs to develop new sources of income. What do you do? [[A. Diversify income -> Corporate Sponsorship]] Reduce reliance on a small number of funders by developing new income streams through corporate sponsorship, individual giving and philanthropic partnerships. This could create a more resilient funding model, but building new relationships takes time and success is not guaranteed. [[B. Develop commercial partnerships -> Commercial Opportunity]] Explore commercial partnerships, transfers and licensing opportunities that could generate additional income from your productions. This could strengthen the organisation's finances, but commercial opportunities are unpredictable and not every production will generate additional income.

##Corporate Sponsorship You have secured corporate sponsorship for one of your productions. After reading the script, your sponsor raises concerns about the amount of swearing. They explain they regularly invite clients and partners to performances and ask whether the language could be softened. They make it clear that, if no changes are made, they may withdraw their funding. What do you do? [[A. Amend the script ->Commercial Transfer]] Agree to reduce the swearing to retain the sponsorship. The production keeps its funding and the partnership continues, but the writer and creative team may feel their artistic vision has been compromised. [[B. Keep the script unchanged -> Reserves]] Explain that the script will remain as written and thank the sponsor for their support. You protect the artistic integrity of the work, but lose the sponsorship and need to identify another source of income or reduce expenditure.

##Commercial Opportunity Following your new commercial strategy, a West End producer approaches the organisation about developing one of your productions beyond its original run. They believe it has strong commercial potential and are willing to invest in a larger production. The opportunity could generate a significant financial surplus and strengthen the organisation's long-term finances. However, it requires a substantial upfront investment and there is no guarantee audiences will buy tickets. If the production underperforms, the organisation could face a significant financial loss. What do you do? [[A. Invest in the production -> West End Transfer]] Proceed with the commercial production. If successful, the organisation could generate a significant surplus and create greater financial stability. However, if ticket sales fall short, the financial loss could be considerable. [[B. Decline the opportunity -> Financial Stability]] Decide the financial risk is too great and continue with your existing programme. This protects the organisation from a potentially costly failure, but forgoes the opportunity to generate additional income.

##Commercial Opportunity As part of your new income strategy, the organisation is offered the opportunity to develop a new commercial production. If successful, it could generate a significant financial surplus, strengthen the organisation's reserves and support future artistic work. However, commercial productions require substantial upfront investment and there is no guarantee audiences will buy tickets. If the production underperforms, the organisation could face a significant financial loss. What do you do? [[A. Invest in the production ->Commercial Experience]] Proceed with the commercial production. You believe the potential reward outweighs the financial risk. [[B. Decline the opportunity->Financial Stability]] Decide the financial risk is too great and continue with your existing programme. This protects the organisation from a potentially costly failure but forgoes the opportunity to generate additional income.

##Commercial Experience The commercial production receives strong reviews and reaches new audiences. However, changing audience booking habits and higher production costs mean ticket sales are lower than forecast. The production breaks even rather than generating the financial surplus anticipated, but the organisation gains valuable commercial experience, strengthens its reputation and builds new industry relationships as planning begins for the next season. [[Continue->Act 2: Next Financial Year]]

##Funding Gap The sponsor withdraws their funding from the production. While you have protected the artistic integrity of the work, the organisation must now cover the unexpected shortfall. To keep the production and wider programme on track, the organisation draws on its financial reserves (emergency savings). The immediate problem is resolved, but reserves are now lower than planned. [[continue->Short Fall]]

##Reserves Used The board agrees to use the organisation's financial reserves (emergency savings) to cover the funding shortfall, allowing the production and wider programme to continue as planned. The production receives strong reviews, but ticket sales are slower than expected. Changing audience booking habits make income increasingly difficult to predict, and the organisation generates less income than forecast. Although the immediate crisis has passed, reserves are now below the board's preferred level. As planning begins for the next season, the organisation must think beyond short-term survival and consider how it will operate in an increasingly uncertain environment. [[Continue->Act 2: Next Financial Year]]

##Commercial Investment The commercial producer asks how much the organisation is prepared to invest in the transfer. What do you do? [[A. Make a significant investment ->Commercial Success]] Invest a substantial amount in return for a larger share of any future profits. This increases the potential financial reward but also exposes the organisation to greater losses if the production underperforms. [[B. A. License the production->Commercial Return]] Receive a guaranteed fee and ongoing royalties while the commercial producer takes the financial risk. The organisation gains profile and valuable experience, but any major profits will largely go to the producer.

##Commercial Success The production transfers successfully and reaches new audiences. The organisation gains national recognition, builds valuable commercial relationships and learns how to navigate the commercial theatre sector. However, delivering the commercial production places considerable pressure on staff and the creative team, and the financial return is modest. Overall, the experience strengthens the organisation's reputation and creates opportunities for future partnerships. [[Continue->Act 2: Next Financial Year]]

##Commercial Return The transfer is a commercial success. The organisation's investment generates a significant financial return, rebuilding reserves and creating greater flexibility for future work. However, delivering the commercial production places considerable pressure on staff and the creative team. Deadlines are tight, workloads increase and other projects are delayed as resources are redirected towards the transfer. The organisation enters the next season in a stronger financial position, but the demands of commercial success have left the team stretched. [[Continue->Act 2: Next Financial Year]]

##Mission First The organisation continues to invest in its planned programme, prioritising new writing, artist development and work that reflects its artistic mission. The season receives strong reviews and audiences respond positively, but without additional commercial income the organisation's financial position changes little. What do you do? [[ A. Continue investing in your Organisation Core Mission->Artistic Impact]] Continue prioritising artistic ambition and audience development, accepting slower financial growth in order to stay true to the organisation's purpose. [['B. Build financial resilience gradually->Sustainable Growth]] Maintain the organisation's artistic mission while focusing on steady audience growth, operational improvements and modest annual surpluses to strengthen finances over time.

##Artistic Impact The organisation becomes recognised for producing distinctive new work and supporting emerging artists. Audience loyalty grows and the organisation develops a strong artistic identity. Although financial pressures remain, the team has maintained a sustainable workload and delivered work that reflects the organisation's mission. [[Continue->Act 2: Next Financial Year]]

##Sustainable Growth The organisation balances artistic ambition with careful financial planning. Audience numbers grow steadily, finances remain stable and the team avoids the pressures associated with rapid commercial expansion. The organisation enters the next season in a resilient position, ready to respond to new opportunities and challenges. [[Continue->Act 2: Next Financial Year]]

##Financial Stability The organisation decides not to pursue the commercial production and delivers its planned programme as intended. By avoiding a high-risk investment, it protects its financial reserves and organisational capacity. Although the organisation does not generate additional income, it also avoids the possibility of a significant financial loss. The team enters the next season with a sustainable workload, but rising costs and changing audience behaviour mean financial pressures remain. [[Continue->Act 2: Next Financial Year]]

##Organisational Restructure The board approves a restructuring programme to reduce long-term expenditure. Several roles are removed, leaving the organisation with reduced capacity. As planning begins for the next season, the senior leadership team must decide how the organisation will operate with a smaller workforce. What do you do? [[A. Prioritise core activity -> Org Summary-Core]] Focus resources on producing and presenting work by reducing artist development, outreach and participation programmes. This creates a more sustainable workload for the remaining team, but limits opportunities for emerging artists and community engagement. [[B. Maintain the organisation's full mission -> Org Summary-Ambition]] Continue delivering productions alongside artist development, outreach and participation work despite having fewer staff. This protects the organisation's wider mission, but increases workloads and the risk of burnout across the remaining team.

##Advance Funding Key funders agree to bring forward part of next year's grant, improving cashflow and allowing the organisation to avoid immediate job losses. However, because part of next year's funding has already been committed, the organisation must reduce its ambitions for the following season. What do you do? [[A. Delay ambitious projects -> Stable Programme]] Postpone larger-scale productions, commissions and artist development until the organisation's financial position improves. This protects the organisation's long-term stability, but disappoints artists waiting to develop new work. [[B. Reduce activity across all programmes -> Shared Reductions]] Maintain the full range of activity, but reduce budgets across productions, artist development and participation programmes. This spreads the impact more evenly, but every area of the organisation delivers less.

##Organisational Summary The organisation stabilises financially and the remaining staff work at a more sustainable pace. However, artist development, participation and community programmes are reduced, narrowing the organisation's impact beyond its main productions. [[Continue->Act 2: Next Financial Year]]

##Summary The organisation continues to deliver its full programme despite operating with fewer staff. Artists and communities continue to benefit from a broad range of activity, but increased workloads lead to low morale, staff turnover and growing concerns about long-term sustainability. [[Continue->Act 2: Next Financial Year]]

##Stable Programme The organisation maintains its workforce and delivers a realistic programme that reflects its financial position. Although ambitious projects are delayed, the organisation enters the next season with greater stability and a clearer path to rebuilding its finances. [[Continue->Act 2: Next Financial Year]]

##Shared Reductions The organisation avoids concentrating cuts in one area by reducing activity across the programme. Productions, artist development and participation continue, but at a smaller scale. While this protects the organisation's broad mission, fewer artists and audiences benefit from each strand of work. [[Continue->Act 2: Next Financial Year]]

##Organisational Change The discussions identify practical improvements, including clearer communication, better contracting practices and fairer workloads. Freelancers welcome the organisation's willingness to listen, but implementing the recommendations will require time and money. What do you do? [[A. Invest in organisational change -> Org Change Invest]] Allocate funding to implement the recommendations, including paid freelancer engagement, staff training and improvements to working practices. This demonstrates a long-term commitment to change, but reduces the budget available for artistic activity. [[B. Introduce changes gradually -> Org Change Longterm]] Commit to the recommendations but implement them over several years as funding allows. This protects the organisation's artistic programme in the short term, but progress is slower and some freelancers remain sceptical.

##Fallow Year Over the following months, one of the organisation's long-standing philanthropic supporters explains they are taking a fallow year (a planned pause in charitable giving while they review their funding priorities). They also note the recent public criticism and ask to see evidence of improvements before considering future support. The organisation must now respond to a significant funding gap. What do you do? [[A. Use financial reserves ->Reserves Summary]] Draw on the organisation's financial reserves to protect the programme while rebuilding relationships with freelancers and funders. This avoids immediate cuts, but leaves the organisation with less protection against future financial shocks. [[B. Reduce the next season's programme ->Reduce Summary]] Reduce the scale of the next season's programme to absorb the loss of income. This protects the organisation's financial position, but creates fewer opportunities for artists and audiences.

## Organisational Change The organisation invests in improving how it works with freelancers, strengthening relationships and rebuilding trust across the sector. While fewer resources are available for artistic activity in the short term, the organisation enters the next season with stronger foundations and a clearer commitment to sustainable working practices. [[Continue->Act 2: Next Financial Year]]

##Organisational Change The organisation begins implementing improvements while protecting its artistic programme. Progress is slower, but financial pressure is reduced. Relationships with freelancers improve gradually, although some concerns remain unresolved as the organisation balances change with limited resources. [[Continue->Act 2: Next Financial Year]]

##Summary The organisation protects its programme by using financial reserves while beginning the work of rebuilding trust with freelancers and funders. Although relationships gradually improve, reserves remain low and financial resilience has weakened as the organisation enters the next financial year. [[Continue->Act 2: Next Financial Year]]

##Summary The organisation reduces the scale of the next season's programme to absorb the loss of funding and protect its financial position. While finances stabilise, the decision creates fewer opportunities for freelancers and artists. Combined with the organisation's lack of public response, confidence among the freelance community remains low and rebuilding those relationships becomes an ongoing challenge. [[Continue->Act 2: Next Financial Year]]

##Prioritise Achievable Change The coalition secures significant government investment in theatre infrastructure, helping organisations improve buildings, reduce running costs and strengthen long-term resilience. While many welcome these changes, questions remain about who shapes the future of the sector. For many freelancers, representation continues to be something organisations provide rather than something they genuinely share. [[Continue->Ending]]

##Resource Freelance Representation The coalition slows its campaign to build a more representative process, investing in paid freelance participation before presenting future proposals to government. Progress takes longer, but decisions are shaped by a broader range of experiences. The process demonstrates that how decisions are made can be just as important as the policies themselves. [[Continue->Ending]]

##Maintain Public Pressure The campaign keeps theatre in the public conversation and demonstrates strong support across the sector. However, as public attention shifts and media interest declines, maintaining momentum becomes increasingly challenging. Although the campaign influences the debate, long-term change depends on whether public pressure can be sustained over time. [[Continue->Ending]]

##Enter Private Negotiations Private negotiations create opportunities to influence government policy from within and build stronger relationships with decision-makers. However, progress is often slow as policy develops over months or years alongside competing political priorities. While some practical gains are achieved, campaign supporters continue to question whether enough has been done to keep public pressure on government. [[Continue->Ending]]

##Resource Sustainable Working By recognising the additional labour required to work sustainably, the organisation creates healthier production processes and fairer working conditions. Although fewer productions are presented each season, sustainability becomes something the organisation invests in rather than expecting artists and freelancers to deliver through unpaid labour. [[Continue->Ending]]

##Plan Earlier Earlier planning allows sustainability to become part of the creative process rather than an afterthought. Production teams experience fewer last-minute compromises and more realistic workloads. However, committing to artistic and production decisions much earlier reduces the organisation's ability to respond to changing cultural conversations, new artistic opportunities and evolving audience interests. [[Continue->Ending]]

##Deliver One Major Project The organisation combines its accessibility, sustainability and building improvements into a single major capital project. The venue closes temporarily while the work is carried out, reducing opportunities for artists, freelancers and audiences for a season. As the project progresses, delays and rising construction costs place additional pressure on the budget. Although the organisation reopens with more accessible and sustainable facilities, it begins its first season back with a smaller programme while rebuilding its financial position. [[Continue->Ending]]

##Phase the Improvements The organisation phases its accessibility, sustainability and building improvements over several years, allowing artistic activity to continue while spreading costs over time. However, delays, inflation and changing regulations increase the overall cost of the project. As progress slows, audiences, artists and disability and environmental advocates question whether the organisation is doing enough to meet its accessibility commitments and climate goals. Although disruption is reduced, the organisation continues to balance competing priorities while working towards long-term change. [[Continue->Ending]]

##Co-Design the Future The organisation develops its approach to AI through shared decision-making between freelancers, artists, staff and specialists. The process requires significant investment, time and coordination before decisions can be implemented. However, the resulting framework is built on trust, transparency and a wider range of expertise, leaving the organisation better equipped to navigate future technological change together. [[Continue->Ending]]

##Lead by Organisation's Response The organisation develops its AI strategy through leadership and specialist expertise, enabling decisions to be made quickly as technology evolves. Although the organisation benefits from a clear and consistent framework, limited freelance involvement means some policies fail to reflect the realities of creative practice. As AI use expands, unforeseen issues around intellectual property, attribution and freelance working conditions emerge, requiring the organisation to review and adapt its approach over time. [[Continue->Ending]]

##AI Policy The organisation quickly establishes an AI policy using existing legal guidance, sector examples and best practice from other organisations. This provides immediate clarity and reassures funders, audiences and the Board that the organisation is responding proactively. However, because the policy was developed without wider consultation, freelancers and artists identify gaps around consent, intellectual property and creative practice as it is implemented. The organisation is required to review parts of its approach, and rebuilding trust and stakeholder relationships becomes an ongoing process. [[Continue->Ending]]

##AI Pause The organisation takes longer to develop its AI framework through collaboration. While the resulting policy is more trusted and better equipped to respond to future challenges, the slower pace allows other organisations to explore AI in practice, developing new artistic approaches, operational efficiencies and audience engagement. By waiting, the organisation builds a stronger governance framework, but loses some of the innovation and learning that comes from early experimentation. [[Continue->Ending]]

#Congratulations, you have completed Role Play: Organisation! There is no perfect way to run an arts organisation. Every decision in this game involved trade-offs between people, money, artistic ambition and long-term sustainability. The choices you made reflect one possible path—but every organisation, freelancer and community will experience these tensions differently. ##Role Play: Organisation is part of Project EX/CHANGE: An independent research project exploring the relationship between freelancers and theatre organisations. Project EX/CHANGE facilitates understanding between both, recognising that meaningful advocacy and sector change begin with understanding. Through research, dialogue and play, it aims to facilitate conversations, spark debate and imagine different ways of working together.