1. Where next for the Supporters Trust?
Its achievements, challenges and future opportunities

2. Original impetus for the Trust
1. Social activity - building on the group feeling of being part of the 2012
2. New developments or study of Mystery Plays:
a. Desire to support new productions whoever was staging them
b. Educational or similar activities related to the plays.
3. Desire to ensure the continuation of large-scale productions into the future.

3. Our achievements
Fund raised for the Plays and sponsored the Minster wrap party
Produced our own Waggon Play courtesy of the Festival Trust
Established regular communications via newsletters, leaflets and the web
Put on members’ social events
Provided information and advice to enquirers, the Minster team
Regular liaison with artistic groups staging the Plays
Liaised with the University of York re lectures/courses

4. Our challenges
Membership numbers: from 129 in 2013 to 85, of whom about 60% are original members
Dwindling attendance at events
Lack of interest in taking on Committee roles
In 2013, Committee of 12 – now 7 of whom 4 are from original Committee
Succession planning for the Committee

5. Do we still need YMPST?
Community drama fulfils the need for active engagement and seems to have a secure future: from 2012 to Suffragettes and beyond
Mystery Plays may continue to happen:
Festival Trust Waggon Cycle four-yearly
2012, Minster 2016, possibly 2020 community drama – thereafter?
How does the Trust add value to this?

6. Issues affecting future productions: Strengths
Expertise and commitment: stakeholders and community
Festival Trust for the Waggon Plays
Cultural and financial benefits: local and tourism
Potential for youth involvement
Potential for joint working across city organisations
National and international awareness of the York Plays

7. Issues affecting future productions: Challenges
Sustainable levels of finance – short and long term
No central organisation commissioning the staged Plays
Ageing audiences
Danger of over exposure: how many productions are too many?
Venue for the staged play
Costs: e.g. Minster 2016
City Council: no significant evidence of
commitment

8. Where does YMPST fit into this?
Stakeholder view: The Trust hosted a meeting in October 16 to look at the future of the Plays and the role of the Trust.
Who was at this meeting?
The Theatre Royal, Riding Lights, the Festival Trust, the Minster, Make it York, Media Arts, NCEM
Key point: the Plays belong to the people of York – not one organisation

9. Stakeholder meeting: key points
Individual artistic groups should be responsible for the artistic direction and financial liability
There is opportunity for joint working between organisations
A planning cycle is required: 4/8/12 yearly framework
New funding models for production are needed
Youth engagement needs to be one of the priorities
YMPST could be the commissioner and co-ordinator of the planning cycle – representing the community of York.

10. The Trust as commissioner – what does this mean?
Member endorsement of the change of the Trust’s role
A proactive role in seeking out organisations prepared to put on the Plays
Clear definitions regarding liability and financial commitments
Active member involvement: such a role goes beyond the capacity of the current Committee

11. If the Trust took on this role, we would need:
An increase in active membership;
A development plan to build the skills over the longer term;
An active fundraising strategy;
Promotion: to source expertise, develop and maintain contemporary website and communications;
Subgroups to take on responsibilities, working to the central Committee;
Mentorship: from city stakeholders.

12. A look at the future
If the Trust took on this role – we could develop a planning cycle for productions by (for example):
Joint working with Festival Trust and York theatres
Establishing a timetable for productions by
* Linking to Medieval Festival: every 4 years pageant production
* A large-scale community theatre production every 8 years.
* A Minster production in year 16
* Scoping for new artistic producers beyond York.

13. Open to the floor What do people think of this proposal?
Is this a role we should take on?
What would we need to do to move from where we are to where we would need to be?
If we do not take up this challenge, what is the future role of YMPST?