Interview: Andy George, Director of VAULT Festival, on Tackling Challenges, Taking Risks and the Joy of Escapism

The new year has arrived, which means that it's time for the return of the VAULT Festival. This year, the festival runs from 24 January to 19 March and consists of over 500 different performances over the two months, spread throughout The Vault's different venues.

BroadwayWorld had the chance to sit down and chat with Andy George, the VAULT Festival director and co-founder, about the festival and what it is like to create such an inclusive event with a programme of over 500 performances!

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You're a co-founder of the VAULT Festival. How did it come about?

It started in 2012. We had loads of artists that we knew at the time who really wanted to put on work that was a bit different and they were struggling to find places to put it on in London, especially as emerging artists. And we came up with the idea, "What if we put everyone in one space and did it collectively?" We didn't have any money individually, but collectively, we could make it happen. And so it started from a position of trying to give people an opportunity you just couldn't get elsewhere, especially for shows that are a bit riskier, maybe a bit more immersive or a bit more promenade or a bit more stylistically risky that other venues weren't as keen to programme, especially new artists. So that was the basis of it and the same principle still applies.

We still are a place where people can try out new work. We take risks on new work and new artists who don't have a massive track record, but there'll be something in the work that they're doing that's interesting and innovative. We're giving them a playground to try out new work where they can do it without breaking the bank, they can build their skills and reputation and start to create great careers for themselves in the industry.

How can someone bring their work to the VAULT Festival?

Most of our programming is done through open applications and it's a deliberate choice to do that. One of the barriers a lot of artists have in the industry is an almost-requirement to have a really personal relationship with the artistic director in order to get programmed anywhere. We want to make sure that we are being fair to everyone and that everyone has an equal chance of making it into the programme.

So open applications run from about June to July and then we assess those applications on five criteria. We look at the concept and the idea - Is it exciting? Is it new? Is it something that we're interested in? Is there evidence it's going to be good? Is it going to be quality? We look at representation; is it artists telling authentic stories that are unique to them? Is there an audience for it? Do we believe that there's a way we could get this artist a good audience? And finally, is it a good opportunity for them?

We have a certain degree of power within the industry to help platform artists, so we want it to be the artists who are going to get the most out of it. It'll actually be a transformative experience for them. Not just someone who's applying because they couldn't be bothered to apply to other places. Every application's read multiple times. We bring in associate readers with specific experiences and skillsets to identify shows that are exciting in areas we're not experts on ourselves. We get hundreds more applications than we have space to programme. But it's a joyful challenge trying to fit as many of these shows as possible in the places and spaces and times they want. It's a wonderful challenge. A lot of people end up disappointed because we have more applications than we do slots, but that's kind of a good thing - it means that people want to be there!

What does your role as the director of the VAULT Festival entail?

On a blank piece of paper, it's about setting the trajectory of the festival as well as creating the vision for it and what we're trying to achieve. But on a day-to-day basis that comes down to more producing and everyday management of the process of producing the festival. It's quite complicated to put together, and there are lots of moving parts. That's before you even begin to bring in 500 different artists and 120 different freelancers!

My experience of over 10 years helps to glue the moving parts into something that works collectively. A lot of my time is spent keeping things on the right pathway in order to deliver, deliver at the right time, at the right budget, and in the right way. Ultimately, it's also just dealing with the shit that comes up! [Laughs] I have to remind myself, especially this time of year, that as frustrating as the hurdles are, I'm here to help us to face the problems and get to the other side.

How did your background in production and management prepare you for the role of director?

I first got into production because I wanted to know more about how I could make my shows better and more ambitious. So my background has been from a creative perspective. With production and management experience, it helps me to have empathy and understanding of different sides of the point. When we're putting together the festival, we're thinking, "What's it going to be like for the artists? What's it going to be like for the audiences? What's it going to be for our staff?" Thinking creatively, practically, and in terms of deliverability.

It's very much about binding the artistic and creative with the practical - The logistics and operations. It's also about creating a blueprint from the beginning that allows all those things to be successful in their own way. I think where my background specifically helps and I think it's one of the reasons I've been able to grow - that understanding of how those things need to work in harmony in order to create a successful event.

Do you have a favourite aspect of your role as director?

When the big hurdles come along, especially right now, they feel like you've hit a brick wall and there's no way out of it. One of the things that I get pleasure from is finding solutions and figuring the way out of it, that cognitive process that happens where you're able to step away from the wall and figure out the way over it. As much as I hate hitting the wall in the first place, the actual troubleshooting and problem-solving is where my strengths are and there's some satisfaction in overcoming those barriers that can feel so brutal!

Do you have any advice for those looking to get into directing festivals?

Surround yourself with people who are good at what they do. With festivals, people are the biggest resource you have. You need lots of different people with different skillsets. Festivals are an ecosystem you're building from scratch - you're creating cultures, laws, regulations, all of these things. It's too much for one person to do all of those things and to do them well. So I think finding people that complement your idea and your vision is number one. Don't be an island.

On a conceptual level, I think it'd be about finding why your festival exists. What is your USP? What's unique about your festival? What purpose is serving? Why is it a festival and not something else? You should be clear on that vision and that backbone because that's ultimately what's gonna get other people interested and on board. If you don't have a really clear vision of it, then you're not gonna get anywhere. To start festivals is entrepreneurial by nature because you're creating a startup every time.

On a more practical level, just go out and enjoy festivals! Go out and see different types like music festivals and art festivals. There's so much that can be learned and picked up from what people are doing, but also what they're not doing; how could it be better? Edinburgh Festival Fringe is over 60 years old and it's gone down a certain route. There are criticisms of that route in terms of its size and its profitability, so we looked at it, and we went, "This is an opportunity for us to do something different, to not make that same mistake. How could we do it slightly differently?" So looking at the things that are around you, experiencing them, seeing what works, seeing what doesn't work, and trying to do it slightly differently, doing it the right way.

What makes the VAULT Festival special?

I think there are a number of things. For artists, we provide space in central London that is financially accessible. We don't charge deposits upfront, we don't ask artists to pay things in advance, and they get a 70-30 split of the box office. So from a financial perspective, artists can come in and do a show without breaking the bank, which means that they can focus more on delivering the show instead of only worrying about the finance covering the show. So that's one.

Our location is pretty special both in terms of being central London and between Waterloo and the Southbank. We're not out in the sticks - it's easy for audiences to come and find your work. It's easier for artists, audiences, programmers, and reviewers to come and see stuff. From an experience basis, being in a space that's so vibrant and full of people that are sharing ideas, thoughts, and conversations . . . it's a place to really meet people and connect and just disappear from London. Your phone signal might not work, which is probably a great thing - forget about it! Be present, be in space, talk to people, have a drink, have some food, watch some great shows . . . that is the escapism that you can get. I don't know anywhere else in London where you can escape as much as you do for those three hours, four hours, six hours or longer. The world outside disappears and that's beautiful.

Do you have any shows in particular at the festival that you're looking forward to seeing?

I do, yeah! I'm really looking forward to seeing The Long Run, which is by Katie Arnstein. Katie did her first show with us around five years ago now. She's a returning artist, one that's really flourished and found her voice within VAULT Festival.

I'm also looking forward to You Are Going to Die by Adam Scott-Rowley. It's a sequel to This Is Not Culturally Significant, which we had around four years ago, a stunning show performed entirely nude. It was really captivating so I'm excited to see sort of the "sequel."

High Steaks by Eloina, again, the performer is nude, but it's around the themes of labiaplasty and mixing that with a performance art basis. I saw her do a work in progress of it previously and I think it'll be really interesting to see how it comes to life.

And then within the comedy program, we've got some really wonderful new acts along with some established names. We've got Sikisa, Jordan Brookes, John Robertson . . . I'm really looking forward to seeing some comedies. There's some wonderful theatre, but there's also some equally wonderful comedy that juxtaposes the themes and content that we're looking at.

And finally, how would you describe the VAULT Festival in one word?

Joyful. VAULT Festival is about joy. It's about celebration. It's about celebrating people, creativity, and connection. Festivals at their heart are about joy, so that's what I want.

The VAULT Festival will run from 24 January to 19 March.

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