If you’re a corporation or you operate a business and are looking for an new way to promote your product or service, or if you make a point of getting behind artistic projects in the local community because that’s just what you do, consider sponsoring a theatre no. 6 show.
The exposure we can offer via our audiences is generally small to modest (200 – 2,000). The exposure we can offer you via our advertising campaign will be as wide as our promotional budget allows. If getting your brand out there is the top priority for you, you may wish to consider becoming an Advertising Sponsor.
Our sponsorship levels and benefits are listed below.
Everything is negotiable. Do we expect businesses to sponsor us at the higher levels we outline? We hope you’re not too surprised to hear that we have received a donation at the $10K level before. But when a sponsor contributes at that level, our gratitude is exceeded only by our own shock and (extremely pleasant) surprise at the event.
One reason we created a table with such a far-reaching range of sponsorship levels is to demystify the cost of an independent theatre production. Each level is named to give you an idea of what that amount of money makes possible (e.g. Venue Sponsor, Performing Artist Sponsor). A brief outline further expands on that expense.
Your funds are always used exclusively to support the show. While their use is assigned at the discretion of theatre no. 6 (a Designing Artist sponsorship contribution will actually go to one of the production’s designers only in the case that all other key costs are already covered, for example), we can sometimes make exceptions, particularly in the case of an Advertising Sponsor.
Plans for production of a play can’t proceed without first securing the right to produce it.
In order to secure the rights to a play by a living playwright (or one that’s been dead for less than eighty years), a producer usually has to pay an advance royalty to that playwright, or to their estate.
The size of this advance varies depending on the playwright and the play, but in our recent experience it lands in the general neighbourhood of $500 for a professional production (it can also be lower and sometimes much higher).
Contributions at this level can catalyze a project, and benefits we offer in return for getting us off to a clean start include but are not limited to:
A nice, enabling costume budget for a independent production runs about $300 per performer (shoes are usually the most expensive items). So with a $1,000 contribution, you’ve clothed at least three of the performers.
Alternatively, $1,000 is usually enough to cover the rent and purchase of equipment and materials needed to build a set. $1,000 could also cover the wages of the stage carpenter(s) who would build that set. Or it could pay the salaries of the technicians who load the set into the theatre, hang and adjust the stage lights and other equipment before the play opens, and take everything back down again after closing night.
There’s no end of tangible things a contribution at this level can make possible, and in return for your very concrete support we would be pleased to at least make sure of the following:
The current minimum professional salaries for designers in the professional association range from about $1,400 – $1,900, depending on the element (set, costumes, lighting, sound, or projections). Keep in mind, though, that those are the minimum levels.
If a show calls for more than one set, or more than one costume per character, or is particularly involved in terms of lighting, sound or projections, the rates go up accordingly. Rates will also go up depending on the experience of the designer. $2,500 makes room for these possibilities in one or another design department.
In exchange for donations at this level, we offer benefits that include but are not limited to the following:
A donation at this level is enough to cover the salary of a performer for six weeks at the level at which many regional and Festival theatre companies start. It’s also close to the minimum professional salary for a director or a stage manager.
How important the ability to artists competitive wages to an independent project? It’s very important, to the artist, obviously. It also means the production has the power to attract the ideal performer for each role in the play. And that often means a better show.
For helping us hire our dream cast, we’re willing to do the following, and possibly more, in return:
Depending on the length of the run and the cost of the performance venue, a donation at this level will cover the rental of the theatre, including extra and incidental costs such as the rental of the venue’s special equipment, venue insurance, and possibly also the rental of a rehearsal hall.
Securing a performance venue is like an official green light for an indie production. One needs to be booked many months before rehearsal even begins, because so many things – artist availability, promotion and advertising, grant applications, fundraising – all depend on the producer being able to say confidently exactly where (and when) the show will take place.
For allowing us to seize the day, our quid pro quo includes but is not limited to:
Advertising is expensive. There’s no way around it. Most indie productions rely on posters and flyers, previews and reviews (hopefully good) in the newspapers, and word of mouth and social media. Four out of six of those are free. The other two are relatively cheap.
A contributions in this amount makes it possible for an indie production to take advantage of a number of next-level promotional avenues all at once, including hiring a professional publicist, advertising in a wide range of print media, creating and disseminating video campaigns on the internet, and even billboard and television advertising.
More than higher ticket sales for a given show, this range of coverage can help plant a company’s name firmly in the public mind, creating a ripple effect that boosts the box office for subsequent productions.
In exchange for making it possible to expand our audience and bring on the crowds, what theatre no. 6 can offer in return includes, but is not limited to:
For a small show, such as one involving two performers, a contribution at this level all but guarantees the artists involved a minimum professional salary. For a larger show, this kind of support is what gives an independent production an unambiguous green light.
Your contribution at this level is equal to a large (in some cases the largest) grant possible from one of the public funding agencies. It’s of immense help to us.
We have many ways of showing our appreciation, including the following:
A sponsorship in this amount or greater all but guarantees artists working on a modestly scaled project a minimum professional salary, as long as other existing funds already cover basic production costs such as venue rentals, materials and promotion. Even if those basic costs are not yet covered, this amount puts the artists in an excellent position to see a reasonable return from the box office.
At this level of sponsorship we’ll endeavour to do all we can do to make your contribution worth your while, including, but not limited to:
The benefits to sponsors at these three additional levels also work as perks for donors.
As with the other sponsorships listed on this page, benefits are always negotiable.
For donors, perks can be adjusted depending on the project. If there’s an active crowdfunding campaign in support of a project, we’ll include a link to it below the chart so you can consider the perks specific to it.
*If you wish to attend the show on Opening Night, please book in advance.
*If you wish to attend the show on Opening Night, please book in advance.
*If you wish to attend the show on Opening Night, please book in advance.