So you’ve created a killer video. You’ve picked a video that represents your troupe’s talent and show well. That’s great. But you still need to make an impression on the festival organizers. If you don’t know them, and particularly if you haven’t built a name for your group, you only have your submission to introduce yourself.
If the submission is done here in the NIN page, it only takes a click. Otherwise, you’ll have to fill out your information again. Either way, far too often, that information is filled out hastily to get a submission in. Taking a little time and thought to filling out the information will be a large step in standing out from the crowd.
First and foremost, read the instructions. If you’re filling out a submission form off of the NIN site, pay attention to what’s being asked for in each field. Nothing will get your submission lowered on a priority list faster than not following directions.
When you want to fill out a profile for your troupe, schedule time to do it. Talk to your troupe about it. Take the time to do it right. Here are some tips on how to fill out a troupe profile that will be read and considered.
Many of the fields will require very little thought; phone number, email address, etc. These are no-brainers, but make sure they’re accurate and formatted properly.
About our show vs. About our troupe
These are two very different things. A description of your show is purely for the sake of the festival planners to know what kind of variety you’ll bring to the festival. A little detail is welcome here, but it’s nothing to lose too much sleep over. “Harold” is a valid answer to this question. If you do have a someone unique or interesting form, please describe it – briefly. There are places for passion and flowery language in your resume; this is not one of them,
On the other hand, a description of your troupe is something to take very seriously. This is your elevator pitch — a chance to be noticed. This is a chance to let the organizers know who you are and what you’re about. Your bio will be read amongst many others that can easily blend together. There are however ways to stand apart from the crowd
Speak of yourself, not the audience — Avoid phrases like, “Audiences will be wowed by our awesomeness.” We all like to think audiences will enjoy us, but that’s an assumption and certainly not unique to your troupe. Speak instead of what is important to your troupe, why you play together, what your play is like. One group in my theatre is almost entirely composed of school teachers. Their show is not specifically academia themed, but their shows are much more likely to be filled with allusions to math, science or American history. Those details can be useful. Share an anecdote from your troupe’s history or a shared passion outside of your shows that brings you further group mind. The people you meet who you want to talk to are people who have interesting and unique things to say, not those who boast about their awesomeness. The same is true here.
Please share information about your coach and your coaching history. If you’re currently being coached by someone with a known style or talent, that helps festival organizers know more about you. And don’t underestimate your coach. Even if they aren’t famous, you might be surprised how well known they are. Even before NIN we existed in a small community. If you’re reading this, there’s a 75% chance I’ve grabbed lunch with your coach. But more importantly, it’s important to see that you are being coached at all and are looking for focus and growth. One group once submitted to a festival I ran that boasted “never been coached, never took a class”. Well, “never performed at my festival” could be added to their list.
Please be honest about your coaching. When you say “We’ve been coached by Mick Napier, Joe Bill, Craig Cackowski, David Razowsky, Jill Bernard, Miles Stroth, Dick Chudnow, Matt Besser, Keith Johnstone and Viola Spolin.”, we say “No you haven’t.” You weren’t coached by those people. Part of your team attended a two hour workshop with them… at a festival… while hungover. and you can say that, but that’s not the same. If you really did spend some time coaching with one of them, then by all means say so. But don’t say you were coached by everyone you ever met.
And you weren’t coached by Viola.
Quotes are great. They’re not only helpful for review, but if you’re accepted they can help festival organizers promote your show to their local press outlets. Press quotes are great when you get them, but never be afraid to ask for quotes of theatre owners or festival organizers.
If you’re just starting to etch out a name for yourself in the national scene, you won’t have much history. That’s fine. It won’t put you out of consideration. If you do have some history as a festival troupe, write it down. It’s a good resource to see your history and what kind of festivals you’ve done well at in the past. This is your “References” section. And if you think we’ll call other festival organizers and ask about you… you’re right. We will. Listing your history is a great chance to get someone we respect to speak on your behalf.
Photos and Logos
As mentioned in Part I of this posting. not every troupe has access to professional photographers or equipment. Professional cast photos are great when they’re available. They can help with promoting the festival. But if you don’t have the means, please include something. Please take the time to take an actual cast photo, not a picture you found on your hard drive when filling out your form of last year’s Halloween party. I don’t care how awesome your TRON outfit was. (OK I do, but not in your submission).
Some troupes have logos. Some don’t. That’s fine. Logos are helpful to producers if you have one. Keep in mind that if your logo is used, it will be most audience’s first exposure to you. If your logo is something you put together in Microsoft Paint, it might be a good idea to go without.
Create some e-Harmony
You want to travel. You want to play. I get you. I’m a festival producer, but I love to travel and perform as well. It’s the best thing in the world. That doesn’t mean every festival is the best match for you troupe. If you aren’t selected to visit a festival, that doesn’t necessarily mean your quality is not up to snuff. Sometimes your show simply doesn’t fit a certain festival. In the future, this site will have producers from many festivals talking about their festival’s and the types of shows they are looking for. But never be afraid to reach out to festival producers and talk to them a little about what they’re hoping for. Sometimes you’ll realize that your show wouldn’t compliment the festival. That’s OK. Keep looking. You’ll find the right festival for your show.
These are all useful tweaks to your presentation, but the larger overall message is this. Be honest about who you are. Everyone is vying for attention by saying how awesome they are. And no one cares. Be honest about who you are and what you enjoy. Ultimately, it’s the quality of your show that will be the final call for producers if they invite you or not, but an honest presentation will go a long time in getting their attention.
Even if you do everything in these last three posts. Sometimes you won’t get invited to festivals. There’s a lot of competition out there. It feels bad to be told no. And believe me, it is the crummiest feeling in the world to say no. But dust yourself off and try again. Don’t be afraid to reach out and thank the festival producers for their consideration and ask for feedback. They’re a fantastic resource on how to continue to grow as a troupe and how to fine tune your submission. They’re almost always happy to have that dialog with you.
Submission for the Phoenix Improv Festival open this fall. I hope to see your amazing submission packet then.