How to Bid for a Venue

What is a bid?

A ‘bid’ is your application to a theatre venue. As each venue is run individually, they each have their own application process and deadlines. You can find a more information on the different venues available elsewhere on this website.

To bid for every venue, you will need to have: a proposed title, confirmation that performance rights are available, a budget and an initial crew of some kind. The necessary size of your crew at bid stage varies from venue to venue, but none expect you to have a full crew by the time you put in a bid – in some cases, having only a director and producer is fine. Once you have submitted your application, you will need to attend a bid interview – this will be very informal!

The Burton Taylor Studio, The Oxford Playhouse and The North Wall all have their own individual application form. Completing that application form and including a proposed budget is all that is required in your application. Ensure you have read fully the application notes provided by each of those venues. The Pilch Studio and The Keble O’Reilly Theatre require you, alongside a proposed budget, to write a ‘bid document’. You will find guidance on how to write this further down this page.

When do you need to apply?

To perform at the Burton Taylor, Pilch and Keble O’Reilly, you need to submit a bid the term before you want to stage a production. Applications for these venues open around 5th week of every term.

To perform at The Oxford Playhouse and The North Wall, you need to submit a bid two terms before you want to stage a production. As example, applications for Trinity Term productions open in Michaelmas. Applications tend to open at the beginning of every term.

How to Write a Bid Document?

The Pilch and Keble O’Reilly ask you to write your own bespoke bid document. This document should contain all the information a venue needs about your proposed production. The process of putting this document together is mainly the job of the producer, but it needs to be the work of all crew members, representing your shared vision for the production.

Each bid document typically contains the following, but make sure to check the requirements given to you by the venue:

  • A brief synopsis

  • A budget

  • A statement from your director, outlining the creative vision for the production and how they will make this a reality.

  • A statement from your producer on the financial viability of the production and how it will be funded. This statement can break down and justify your budget.

  • Design statements from your lighting, sound and set designers describing their initial design ideas. This should also include a budget breakdown of these departments, which must be consistent with the producers’ budget.

  • Any design sketches of your set and costumes

  • Brief bios of key company members

  • If your production has been written by a member of your team and has not been performed before, you should included a brief statement by the writer describing the inspiration for the play and the benefits and challenges of putting it on in the chosen space.

The document should portray the inspiration, vision and ambition of your planned production. It shouldn’t be a plan that you will cast aside and ignore later, but a creative vision that you will aim to deliver.

Some tops tips for writing a bid document:

  • Begin with a page of key info (contact details, cast size, your ideal performance slot, break-even etc.)

  • Keep it brief and concise: a short and summative bid is better than ten pages of waffle.

  • Make sure it is readable – don’t put text over images or overly detailed backgrounds.

  • Attach your budget separately to the bid document, otherwise it won’t be readable.

  • Written content is much more important than graphic design.

  • A pdf or word document is best – make file the file type and size can be easily opened by the venue.

Tops Tips for Bidding

  • Be flexible! Most rejected bids miss out on a slot due to inflexibility – state your preferred performance week but give multiple viable alternatives.

  • Remember that everyone wants to perform between the 4th and 7th week of term – you need to be as flexible as you can. If you have viable reasons why you can’t perform in certain weeks (such as exams or coursework deadlines), then you can tell your venue.

  • Make sure you have confirmation that rights are available – if you can’t the rights to perform the script, then you’re wasting your time submitting a bid.

  • Check everything you submit is readable and all files can be opened.

  • Don’t make it up! Everything you write should express your actual vision and plan for your production.

  • Be honest about the experience you have. If this is your first time putting on a play don’t worry, be honest with the venue so that they can give you the support you need.

  • If you are turned down by a venue, check for space elsewhere. When one venue gets too many applications, it often means another might have spare slots.

  • And…If you don’t succeed, try again! Get advice and support from the University Drama Officer and OUDS, and make your next bid even stronger.