How It Worked
BOOST YOUR ARTISTIC PRACTICE
Who was it for?
Professional artists and theatre makers at any stage of their career.
When did it happen?
It varied from year to year, but usually split between autumn and spring.
How much did it cost?
We paid the artists a fee to be mentored, and a contribution towards travel and accommodation expenses if based outside Sheffield.
BOOST YOUR PRODUCING
What was it?
A free 2-day workshop, led by Third Angel’s Exec Producer Hilary Foster, aimed at artists and companies who produced their own work.
Who was it for?
Professional artists and companies at any stage of their career.
When did it happen?
Usually October.
How much did it cost?
Just travel expenses.
The BOOST scheme (originally known as TAMS) ran from 2015 - 2020. We offered a week’s rehearsal space in Sheffield Theatres, a fee, and mentoring support from our Artistic Directors Alexander Kelly and/or Rachael Walton, for up to four artists or companies each year. The scheme was one of the first to offer mentees a fee for their time whilst being mentored, and was influential in the industry. We had mentored other artists since early on in the company, but we were aware we were mainly working with artists/companies who had the capacity to raise the money to pay us. BOOST was our way of opening the door a little wider. (You can read more about our other Mentoring here.)
The BOOST scheme offered two strands:
BOOST Your Artistic Practice
Time to experiment, reflect and develop your ideas and work.
> 21 hours of support from one, or a combination, of Third Angel Artistic Directors Alexander Kelly and Rachael Walton.
> A week’s rehearsal & mentoring space at Sheffield Theatres, in The Crucible or Lyceum Theatre rehearsal rooms
> A fee (In 2019/20 this was £470 for the week’s residency)
BOOST Your Producing
When we launched our mentoring scheme we discovered many artists wanted production, business and career-focused mentoring as well as artistic support. So we created this free, two-day workshop in which we covered as many areas of interest we could fit in. Led by Third Angel’s Exec Producer Hilary Foster, it was shaped to support artists producing their own work, with input from visiting specialists (such as programmers or funders) to suit the needs of that year’s participants.
We actively encouraged applications from artists or companies from marginalised backgrounds, who identify as D/deaf or disabled, who felt their practice was restricted by a low income or who have never received grant funding before.
