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The Professionals
If you require an artistic director, an orchestra leader, an opera consultant, an executive producer, or a front-of-house specialist at a time of painful cuts or a major new development, what are the options? Instead of looking to the long-term, why not treat it as a project with an estimated timescale and cost, and find an interim manager with the relevant skills?
You might think that this is perfectly normal. But what has changed is that directors, producers, marketing or financial specialists brought in for short-term assignments are no longer seen as freelance. They now rejoice under the title of interim directors, consultants or managers. In Europe, the USA and Asia, there are now several agencies specialising in the hiring of outside talent... []
On the other hand, Jack McAuliffe, vice president and chief operating officer of the American Symphony Orchestra League says: “I don't believe the concept is widespread in the US. The practice is used primarily to bridge a gap within professional management, not as a strategic move. The use of consultants is much more common, especially in marketing and development.”
In the US, the freelance culture is clearly more entrenched than elsewhere. In Europe, recessions and drastic cut backs have encouraged professionals to market themselves, or turn to specialist agencies to help them find assignments as interim managers. Organisations that have used such resources include the Royal Opera House in London and Chichester Festival Theatre in Sussex. The Oregon Symphony's recent move to appoint a leading businessman, Duane McDougall, as interim president could also be a sign of the lack of senior management talent in the performing arts, or a shortage of resources.
Redevelopment of arts venues is often a good reason for bringing in interims with the necessary specialist skills. For example, Roger Pierpoint, with 25 years experience of customer service management, was recruited by the Royal Opera House (ROH) before its reopening and became responsible for the customer service function, including box office and merchandise management, call centre operations and IT. He was on a five-month assignment in 1999, reporting to the operations and development director.
“It was a time of great uncertainty,” he recalls. His first task was to allay staff fears and install confidence. Next he visited other arts venues, such as Sadler's Wells, the Royal Festival Hall and the Barbican, to study their box office operations. His boss Mike Morris, who was the ROH's head of human resources at the time, says: “Roger took a logical approach and he gave us the confidence that it was all going to work.” Stuart Cain, now of BIE Interim Executive, a leading London-based interim management provider/agency, who originally placed him, explains: “interim managers arrive with skills that enable them to focus on specific tasks without becoming bogged down in the bureaucracy or history of the organisation. As they are only there for a limited period, they can concentrate all their energies into meeting an agreed list of objectives.”
Benedikt Fohr, the general manager of the Luxembourg Philharmonic Orchestra, provides a different example of the use of interims. “We have hired a manager for a year to establish an educational department. After a year, this project should be taken over by orchestra staff.”
In many areas, interim management is now seen as a key resource — to handle major change, reorganisation, introduction of new technology, or improve financial performance. The success of an interim assignment depends as much on the specialist provider as on the interim. Providers have to do a lot more than simply match CVs to needs. They have to know the interim manager's exact strengths and track record, help clarify objectives and terms of reference, advise on the introductory process, negotiate fees and contract terms and keep in regular contact during the assignment.
If you need an interim, the key is not to accept just a fistful of CVs. Check if the candidate has been screened and ensure they have a sound track record. That way, you can be sure you have the right person for the job.
International Arts Manager, November 2003 (by Wilf Altman)
To discuss your interim management requirements with BIE call +44(0)20 7222 1010