We would like the successful candidate to have got their feet under the table, have a clear artistic vision for the company and have embedded themselves within the team. We would like the team to feel galvanized and excited by the new programme and the new leader. 

We don’t really know… ACE have proposed that timelines for the new application should be shifted but we are yet to have a definite answer on this, we remain in close contact with our Relationship Manager. . It is likely that the current NPO funding will be extended to 2028, but uncertainty still remains given a government spending and Arts Council review. We applied for the NPO 26/27 extension year and will hear in May if this was successful. 

We don’t feel that this is hugely important, we think that experience managing a team would be useful for the role, but not integral. However the candidate does need to show leadership and have an appetite to step into a leadership role. 

The unpredictability of Arts Council funding timelines and the wider landscape of Trusts and Foundations is very challenging for all arts organisations at the moment. Punchdrunk Enrichment has previously received the majority of their income from royalties from a show that closed in January. So the company is going through a period of change whilst we navigate and explore new income streams. 

Very closely… whilst the Executive Director focuses on the organisational, financial and business aspects of running the company, decisions are made together. The Artistic Director should have an understanding of the finances of the company and whilst we aren’t looking for someone with in depth experience of this, a willingness to understand the importance of it as part of the wider artistic strategy is important. The main responsibilities that lie within the Artistic Director role are listed in the job pack. 

The Executive Director line manages the senior team in Development and Communications and the Artistic Director line manages the Senior Producer and Associate Director. 

Both roles answer to the Chair of the Board of Trustees and are present at all board meetings to discuss the programme, company and finances of the organisation. 

Yes, as the lead partner in a recent successful Arts Council Place Partnership bid for Brent we are continuing to embed ourselves in the borough. We hope to have a commitment to the borough long past this three year project.

The two companies are based separately and no longer formally work together, however we continue to share many of the same freelancers as our practice remains closely aligned. 

We are having a lot of exciting conversations about the future of The Lost Lending Library internationally. After our Immersive Learning Festival last year we continue to have exciting conversations with schools and educators around how our practice can aid and galvanise teaching. There is no end of interest, developing strategy and continuing to a proactive mindset to targeted partner collaboration continues to be a focus.  In the wider context of Immersive Theatre we look forward to seeing how technology can continue to embed itself in the work and make experiences even more magical. 

No – knowledge of the Arts Council and the National Portfolio is obviously incredibly important for the role but we don’t expect the successful candidate to have necessarily run an NPO before. 

We are focusing our attention on building strong working relationships with Brent schools and youth organisations. We held stakeholder events to bring them into the planning for our work in the borough during the early stages. We also have a fantastic producing department who maintain these relationships. We are closely aligned with the development of the Brent LCEP alongside our leadership of the Vi-Brent programme which aims to create a step change in youth provision in the borough. We have a pool of schools from across London who have engaged with the company throughout its history.  As ever the challenges are school budgets and teacher’s capacity to engage with work that is outside of the core curriculum, we rely heavily on individual teachers who believe in the work and are able to advocate for it internally. 

At the moment our focus is on primary education but we are definitely being provoked by our partners to think about how our work can reach even bigger audiences with a broader age range. 

This is such a hard question, however we are trying to streamline all of our different strands of work: Talent Development, Community, Schools and Family to combine into one core programme of work - whereas they have historically sat quite separately. We are also trying to hold space in the programme for new opportunities so there’s no set number of projects. But we always have multiple projects running at the same time (mostly in schools) - even if from an external point of view we are only delivering one family show a year.

We are looking to build on this area of our work but historically haven’t done much commercial work. 

Peter will always be the founding Artistic Director of Punchdrunk Enrichment and remains artistically linked as a key creative to a number of active and historic projects.  We will look at how this sits formally with the company moving forward. He will definitely be on hand to offer a thorough handover and support to the incoming Artistic Director. 

That’s not been where our focus or strategy has been. We have started doing ‘adults only’ performances of The Lost Lending Library as part of the family tour, which have been received well. In the past we have created work with community groups and organisations. 

That will be up to the incoming Artistic Director but it is definitely seen as an area of exploration as it allows us to reach a wider audience nationally and internationally.

We don’t have any advisors but our projects are always created alongside schools and teachers - some of which take part in formal pilot stages of the project so that we can receive feedback and make changes before it is launched. We regularly work with academics who offer expertise and hold regular space to consult with educational professionals eg The Immersive Learning Collective. We have an experienced ex-head teacher and a trustee with experience working in the Brent youth sector on our board of trustees who both provide expertise and guidance.  

We think the ethos and integrity of Punchdrunk Enrichment needs to remain true to the company but we are excited to see the directions being proposed by candidates during the recruitment process. We understand that the company’s practice must meet the skills, interests and passions of the incoming Artistic Director.