Strategic plan

2019-2021 PLAN WEST AUSTRALIAN OPERA DOCUMENT

THREE YEAR STRATEGIC PLAN (2019-2021)

DATED

6 JULY 2018

CONFIDENTIAL

CONFIDENTIAL TO RECIPIENTS

Contents WEST AUSTRALIAN OPERA

3

WAO STRATEGIC PLAN

4

OUR DREAM

5

OUR WHY

6

OUR STRATEGIC ISSUES

7

OUR CULTURE

8

OUR STRATEGIC PILLARS

9

OUR SUCCESS

10

OUR PLAN FORWARD

12

APPENDIX

17

Methodology ......................................................................................................................................... 18 Stakeholder Engagement...................................................................................................................... 19 Stakeholder Engagement Documentation ............................................................................................ 19 SWOT.................................................................................................................................................... 20 Organisational Chart ............................................................................................................................. 21 Our Innovation ....................................................................................................................................... 22 Policy Log .............................................................................................................................................. 23

Date: 6/07/2018 Version: 1 Prepared by: Glenn Bergsma Evolve Leadership Pty Ltd Phone: 1300 730 225 Email: info@evolveleadership.com.au Web: www.evolveleadership.com.au 1

“The more uncertain and shifting the environment becomes the more important it is for arts organisations to have a clear sense of purpose: to think and act strategically… That does not mean detailed and inflexible long-term plans. Nor should it be a licence for navel gazing… an organisation that lacks an animating sense of purpose risks being pushed and pulled in many directions Arts organisations operate in increasingly crowded and competitive markets, with multiple partners, with different goals and performance measures, mixing commerce and cultural creativity. In such a fluid environment, stability does not come from structure but from having an enduring sense of purpose.”

Arts organisations in the 21st century: ten challenges Charles Leadbeater, Arts Council of England 2005

2

West Australian Opera OUR CONTEXT For over 50 years, West Australian Opera (WAO) has told stories through the power of the human voice. We celebrated our golden 50th anniversary in 2017 (1967-2017), making us the oldest opera company in Australia. Growing audiences for opera and encouraging the love of opera is a key priority as we continue to strengthen our offerings including the education program, reach out to audiences around the state through presenting opera in the regions, presenting new work and traditional repertoire on the mainstage in the beautiful historic theatre that is the home of opera in WA, His Majesty’s Theatre. We are proud to be WA’s state opera company, and we are committed to taking the opera experience throughout the state. We continually appreciate the support of donors and partners, particularly Principal Partner Wesfarmers Arts, and we value the investment by all levels of government in Australia; federal, state and local.

We have staged traditional operas, we have premiered new works, we have employed local artists and we have mentored talented young singers who have gone on to successful international careers. We have inspired young minds and touched the hearts of community members. We have been your state opera company for half a century, we take pride in presenting opera to you, and our commitment is to continue to do that both now and into the future.

As well as presenting popular opera, we want to venture into lesser known works and new works. We are laying the groundwork for a new work by Tim Finn OBE in a partnership that includes New Zealand Opera and Victorian Opera. This ongoing pursuit of collaboration between Australian and international opera companies enables us to present new and exciting works to our audiences. We acknowledge the past work of Richard Mills AM with his own operas, Batavia and The Love of the Nightingale, as well as presenting major 20th century works in Elektra, Peter Grimes, and The Flowering Tree, which we were proud to collaborate and present with the Festival of Perth. The new work presented most recently was The Riders

by West Australian composer Iain Grandage in 2016.

This Plan has been formed by listening to the views of stakeholders and the general public.

We are grateful for the insights offered by those who participated in focus groups, planning sessions, surveys and market research (see appendices). We acknowledge there are challenges on the next stage of this journey into the future.

We will be challenged by all the changes happening in the world, new technology, new ways of working, the changing expectations of our audiences, different expectations from our funders and partners. There will be new competitors and we face new and increasing costs to be able to do all we want to do in the years covered by this plan. We recognise that this will demand patience and initiative while maintaining the ability to be nimble, responsive, and adaptable. We know we need courage to be creative and collaborative.

This three-year plan cannot answer every challenge nor is it designed to be a final blueprint; rather it is a beginning to a new stage in the lifecycle of a mature company. Much of the work that we need to undertake will be in flexing our creative muscle to explore and deliver in practical ways our new ideas. It will require close attention to further thinking and planning through a number of specific feasibility studies for different aspects of this plan.

The dream of a new journey for a fifty-year old state opera company has commenced and we look forward to creating the space and resources for further innovative thinking and planning over the next three years.

3

WAO Strategic Plan The strategic plan is made of the following components:

Our Dream

The long-term vision of our future.

Our Why

The overarching purpose statement for WAO.

Our Strategic Issues

The key external factors that we need to consider and respond to in our planning to ensure our long-term success.

Our Culture

The core values of WAO that impact everything we do1.

Our Strategic Pillars

The priorities of the organisation around which we will be planning.

Our Success

The key performance indicators that will help measure our success.

Our Plan Forward

The strategic approach that we will implement to achieve our success.

Appendices

The supporting information that has helped us get to this point.

1 It has been recommended that we further develop these values to include behaviours within the work place that reflect each of these values (IE: We want to make these more than words and aspirational statements).

4

Our Dream THE LONG-TERM VISION OF OUR FUTURE

We want to present opera that moves you, enchants you and makes you think about the magic of being alive in the world today.

West Australian Opera seeks to speak to the heart through the human voice. We want to share the joy of music through opera and the powerful stories opera tells. It is magic.

It is beautiful. It touches souls and minds and we have a dream for its future.

We want to be part of your journey by being with you throughout your life in schools, communities, regions and the theatre.

We want to carry the four hundred year old operatic flame into the next era and never let it go out. Instead we will fuel it and stoke it, we will build it with you and spread it around for all to know and experience. We will preserve and respect what our existing audiences love about opera and we will strive to make opera more accessible to a wider audience.

We will be custodians of the tradition of opera and we will be visionaries for the future.

We will foster innovation, collaboration, sustainability, and the further development of the art form. We take our responsibility to you very seriously. Whether you are in the audience, an artist, one of our partners or within the wider WA community, we consider it a privilege to serve you through the advancement of opera.

As we have striven to build opera in our state for the past 50 years, so we will for the next. Our art form will be woven into the Western Australian social tapestry and we will be known for deeply engaging the hearts and minds of our audience throughout the State.

5

Our Why THE OVERARCHING PURPOSE STATEMENT FOR WAO

Bringing people together and making them feel alive through igniting emotions and imaginations with the power of sung stories.

6

Our Strategic Issues THE KEY EXTERNAL FACTORS THAT WE NEED TO CONSIDER AND RESPOND TO IN OUR PLANNING TO ENSURE OUR LONG-TERM SUCCESS

The following six areas have emerged as strategic issues that pose as avenues for growth and improvement for our future: 1. Communications: Increasing our community presence, awareness and engagement, building on momentum that has been created in the past few years and trying new and exciting things.

2. Audiences: We must to grow our audience in both numbers and diversity by collaborating with other groups and targeting new audiences. For our regular Attendees, their love of opera was triggered by a memorable experience as a young child. By leveraging the youth and young adult audience better, we can set them up for a lifetime of opera appreciation and regenerate our audience for years to come. We need to innovate in all aspects of the content and delivery of opera to make it more appealing and accessible to a broader audience 3. Content: It will definitely involve some risk, but we need to innovate in terms of what we offer. From our repertoire and productions to locations and sets, there’s a broad scope for branching out.

4. Experience: By offering attractive ‘trimmings’ to our core offering, we can provide more value and engagement to our attendees to drive acquisition and retention.

5. Financial Sustainability: We need to think creatively about increasing our revenue streams to innovate and explore new opera experiences and new markets.

6. Innovation: We need to be intentional about our future and the changing environment in which we. We need to not only think about the world as it is but the world as it will be and be consistently and continually adapting to the changes around us.

This plan has considered these issues and attempts to map out a response to each.

Please refer to the Painted Dog WAO Strategic Direction Research – Qualitative and Quantitative Report for further insight into these issues.

7

Our Culture THE CORE VALUES OF WAO THAT IMPACT EVERYTHING WE DO

WE VALUE PEOPLE People are at the centre of all we do. We value all those with whom we connect; members of the company, artists with whom we work, our audiences and our partners.

From their artistry, talent, knowledge, resources and expertise to their hopes, dreams and diversity, people matter and are the greatest asset we have. We must provide a safe, respectful and vibrant place for our people to engage with opera.

WE VALUE COLLABORATION We are stronger and smarter when we work together; we consider collaboration and coproduction essential to the elevation and advancement of opera.

WE VALUE SUSTAINABILITY We are in this for the long haul. We are committed to ensuring that in all our plans and in all the decisions we make, we are securing our dream for the future.

WE VALUE INNOVATION We embrace change and constantly look for ways to improve what we do and how we do it. When we take risks, they are informed and educated. When we do something again, we do it better. We are continuously improving by design and excited about how we will carry opera into the future.

WE VALUE INTEGRITY We do what we say we are going to do and we do it in a way that is humble, respectful and right. We avoid taking shortcuts and strive to be a company that is held in the highest regard.

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Our Strategic Pillars THE PRIORITIES OF THE ORGANISATION AROUND WHICH WE WILL BE PLANNING

1. CONTENT & EXPERIENCE a. Core productions b. Co-productions c. Commissioning new work d. Increasing our footprint 2. AUDIENCE & ACCESS a. Retain and Grow existing relationships b. Reactivate lapsed patrons c. Acquire new audiences d. Growing our younger audience e. Measuring satisfaction of our audiences f. Communication and marketing 3. OPERA ARTFORM DEVELOPMENT a. Young Artist Program b. Opera Studio c. Education d. Artistic development e. Chorus development f. Tertiary partnership/s g. Engaging and developing the local opera ecosystem 4. SUSTAINABILITY a. Financial sustainability b. Partnership with corporate partners c. Governance / Compliance 5. INNOVATION a. Implementing the Lean Innovation Model (LIM) b. Develop new delivery channels and experiences c. Use of technology in opera production d. Innovation in the workplace e. Opera in the broader WA community and Asia

9

Our Success THE KEY PERFORMANCE INDICATORS THAT WILL HELP MEASURE OUR SUCCESS OVER THE NEXT 3 YEARS

1. CONTENT & EXPERIENCE a. We will present at least two highly popular opera (Top 20) per year. b. We will present at least two popular opera (Top 50) per year. c. We will present at least one innovative work (Top 100, new work, rare work) by 2021. d. We will present at least one co-production per year e. We will present at least four non-mainstage initiatives per year. f. We will deliver one new work. g. We will commission one new work by 2021 and, subject to securing required funding, commence development.

2. AUDIENCE & ACCESS a. b. c. d.

e. f. g. h. i. j. k. l.

We will retain 70% of subscribers annually.

We will reactivate 10% of lapsed patrons annually.

We will have a 25% increase in the number of new members.

We will develop and implement a specific engagement strategy for younger audience members.We will develop at least one new way of engaging younger audiences in attending Opera performances per year.

We will achieve an increase in diversity in attendance of patrons who fit culture segments outside WAO core We will maintain a Culture Counts Net Promoter Score of at least 9 out of 10.

We will commence measuring attendee satisfaction of all events through our own measurement tool.

We will develop a segment tool that is completely integrated and in full use to drive marketing and communication decisions.

We will grow our social media presence to 10,000 Facebook and 5,000 Instagram followers by 2021.

We will increase Newsletter subscribers to 12,000.

We will review, refine and implement our Communication & Marketing Plan in the context of this strategic plan.

We will undertake a review of the WA Opera brand and developed style and photographic guidelines which reflect our brand values in all our visual and written communication.

3. OPERA ARTFORM DEVELOPMENT a. We will identify at least one young artist per year. b. We will provide at least three opportunities for local singers and choristers per year. c. We will develop strong collaborations with the Music Conservatorium at the University of Western Australia and with the Western Australian Academy of Performing Arts d. We will present workshops and performances in at least 30 schools per year. e. We will have conducted a feasibility into the establishment of an Opera Studio in WA and nationally and if feasible, commence development.

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4. SUSTAINABILITY a. We will secure core partnership funding for 2022-2025 b. We will establish a sustainable source of revenue that will deliver an annual return of 100K per year for growth strategies by 2021. c. We will increase our revenue streams. d. We will maintain cash reserves of 40% of annual turnover. e. We will maintain Major Company Status with our main funding bodies each year.

5. INNOVATION a. We will embed innovative thinking and behaviour into the life of WAO. b. We will develop and commenced implementing a strategy for new delivery channels of opera. c. We will present multiple livestreamed events each year. d. We will conduct a feasibility study into utilising innovative technology within opera productions and determined a pathway forward for use of technology for the future. Additional KPI’s to be determined post feasibility. e. We will detail out a plan of how we will apply innovative approaches to the workplace. f. We will conduct a feasibility on furthering our reach and influence into the broader Western Australian community and in Asia. Additional KPI’s to be determined post feasibility.

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Our Plan Forward 3-YEAR STRATEGIC PLAN

STRATEGIES

WHO

WHEN

AD/ED

Ongoing

AD/ED

Ongoing

ISSUE # LINK

KPI’S

CONTENT & EXPERIENCE

West Australian Opera seeks to speak to the heart through the human voice. We want to share the joy of music through opera and the powerful stories opera tells. It is magic. It is beautiful. It touches souls and minds and we have a dream for its future.

1. CORE PRODUCTIONS  We will present highly popular opera each year o 1 Opera in the Park o At least 1 main stage opera  We will present at least 2 popular opera (Top 50) o Macbeth - 2019 o Sweeney Todd – 2019 o 2020 – 2021 - TBC  We will present at least 1 innovative work o Star Navigator – 2020

3,4,5

2. CO-PRODUCTION  Continue to coproduce and present work through Opera Conference  Engage with Opera Conference more effectively to access the productions that our audiences want 3. INCREASING OUR FOOTPRINT  Opera in the Regions o Opera in the Pinnacles o Opera in the Valley of the Giants o Identify further opportunities  Opera Outside His Majesty’s Theatre o Opera in the Quarry o Identify further opportunities  Opera in the Community o Wesfarmers Arts Singing Classes o Shopping Centre activations o Identify further opportunities  Opera in the Park o Explore additional opportunities to grow and invigorate this event o Explore the opportunity to present this event other venues (EG: WACA) 4. COMMISSIONING NEW WORK  Take commissioned new work to fruition o Seek and confirm co-producers (Star Navigator 2019) o Seek and confirm festival interest (Star Navigator 2019) o Present in WA (Star Navigator 2020)  Investigate potential commissioning of new work o Explore the topic, composer, collaborators o Seek and confirm funding for new commission

12

AD/ED

2020

AD/ED ED/AD

Ongoing Ongoing

ED

Ongoing

ED

Ongoing

ED/EM

Ongoing

ED/AD

Ongoing

ED/AD

2020

ED/AD

2020

 We will present at least 2 highly popular opera (Top 20) per year.  We will present at least 2 popular opera (Top 50) per year.  We will present at least 1 innovative work (Top 100, new work, rare work) by 2021.

 We will present at least 1 co-production per year.

3,4,5  We will present at least 4 non-mainstage initiatives per year.

3,4,5

 We will deliver 1 new work.  We will commission 1 new work by 2021 and, subject to securing required funding, commence development.

3,4,5,6

STRATEGIES

WHO

WHEN

MMM

Ongoing

M/MM

Ongoing

ISSUE # LINK

KPI’S

AUDIENCE & ACCESS

We want to be part of your journey by being with you throughout your life in schools, communities, regions and the theatre.

1. RETAIN AND GROW EXISTING RELATIONSHIPS  Sustain attendance at regional concerts annually. Currently concerts are at capacity, success is measured by: o Sustained attendance numbers or o Opportunity to grow capacity based on demand  Sustain accessible pricing to Opera in the Quarry (Keep as affordable ticket price with low barrier to entry)  Consider strategies to cross convert patrons between opera performances  Convert 10% subscribers to donors (current 7%)  Successfully implement subscriber ticketing scheme to encouraging most engaged patrons to bring new opera goers to performances

2. REACTIVATE LAPSED PATRONS  Reactive 10% of lapsed patrons annually (lapsed defined subscriber who has not renewed in calendar year, or single ticket patron who hasn’t engaged via ticket sale in over 12 months)

3. ACQUIRE NEW AUDIENCES  Refer to the development and implementation of the WAO Marketing & Communication Plan  Acquire 15% new patrons annually to Quarry (defined as not attend an Opera at the Quarry previously)  Acquire 10% new patrons annually to the mainstage (defined as not attend an Opera at His Majesty’s Theatre previously)  Achieve 90% Box Office target annually

4. GROWING OUR YOUNGER AUDIENCE  Develop and implement a specific engagement strategy for younger audience members o Essence segment currently accounts 40% of audience – measured by tickets sales data & direct integration of cultural segments tool with Tessitura.

 We will retain 70% of subscribers annually.

1,2 MMM M/MM

Ongoing Ongoing

ED/MM

2019

 We will reactivate 10% of lapsed patrons annually.

1,2

MM

Ongoing

MM MM

Ongoing Ongoing

 We will lower We will have a 25% increase in the number of new members.

1,2,6

MM Ongoing

MM

2019

1,2,6

5. MEASURING SATISFACTION OF ATTENDEES  Administer the Culture Count survey tool twice per year; gather, collate and report findings; and respond to feedback as required.  Create our own online opera engagement, participation and satisfaction assessment tool that can be used at all WAO events.

13

MM

Ongoing

MM

2019

1,2,3,4

 We will develop and implement a specific engagement strategy for younger audience members.  We will develop at least one new way of engaging younger audiences in attending Opera performances per year.  We will achieve an increase in diversity in attendance of patrons who fit culture segments outside WAO core

 We will maintain a Culture Counts Net Promoter Score of at least 9 out of 10.  We will commence measuring attendee satisfaction of all events through our own measurement tool.

STRATEGIES

WHO

WHEN

MM ED MM

2020 2019

ISSUE # LINK

KPI’S

AUDIENCE & ACCESS CONT…

We want to be part of your journey by being with you throughout your life in schools, communities, regions and the theatre.

6. COMMUNICATION & MARKETING  Review our brand, photographic style, and overall marketing plan  Allocate human, financial and physical resources to the marketing, communications and publicity functions of the company  Allocate marketing resources (HR & Budget) to social media in line with the outcome of the review of marketing plan  Schedule and post social media content based on the frequency suggested by the best marketing intelligence we can identify.  Utilize Culture Segments Tag tool (new tool WAO are adopting) to identify audiences and apply segmented communications o Culture Segment tool has direct integration with WAO CRM Tessitura for reporting and measurement on campaigns o Success will be when this segmentation tool is completely integrated and in full use to drive Marketing Communication decisions  Database Management – Continue investment in Tessitura CRM platform to utilise full capabilities for data management, reporting, sales tracking and culture tag segmentation as means to communication with audiences  Website – Ongoing development of the WAO website to remain innovative, relevant and with greater depth of content patrons to consume  PR – Increased presence via PR to new markets  Activations – Minimum 1 activation per annum, to create accessible opportunity to engage with opera in unique ways (example include pop up events, costume exhibitions, workshops in public forum)

2019 MM 2019 MM Ongoing

1,2,4

MM Ongoing

 We will develop a segment tool that is completely integrated and in full use to drive marketing and communication decisions.  We will grow our social media presence to 10,000 Facebook and 5,000 Instagram followers by 2021.  We will increase Newsletter subscribers to 12,000.  We will review, refine and implement our Communication & Marketing Plan in the context of this strategic plan.  We will undertake a review of the WA Opera brand and developed style and photographic guidelines which reflect our brand values in all our visual and written communication.

MM Ongoing MM MM

Ongoing Annually

OPERA ARTFORM DEVELOPMENT 1. YOUNG ARTIST PROGRAM  Develop and implement the Wesfarmers Young Artists Program

We want to carry the 400-year-old operatic flame into the next era and never let it go out.

Instead we will fuel it and stoke it, we will build it with you and spread it around for all to know and experience.

2. OPERA STUDIO  Conduct a feasibility study into establishing an opera studio in Western Australia  Conduct feasibility to explore a tertiary partner/s  Conduct feasibility to explore national studio 3. EDUCATION  We will further develop and implement the education plan for greater engagement with primary and secondary schools  We will develop grater link with VET programs for students to engage with WAP 4. ARTIST DEVELOPMENT  Maintain the policy of recruiting local first, then interstate, then Australians living abroad, and then international artists  Review and refine our current strategy into Artist Development and implement changes 5. CHORUS DEVELOPMENT  Review and refine our current strategy into Chorus Development and implement changes 14

AD

2019

ED/AD ED/AD ED/AD

2019 2019 2021

EM

2019

EM

2020

AD/ED

Ongoing

AD/ED

2019

AD/ED

2019

 We will identify at least 2 young artists per year.  We will have conducted a feasibility into the establishment of an Opera Studio in WA and nationally and if feasible, commence development.  We will provide at least 3 opportunities for local singers and choristers per year.  We will present workshops and performances in at least 30 schools per year.

2,3,4

STRATEGIES

WHO

WHEN

ISSUE # LINK

KPI’S

OPERA ARTFORM DEVELOPMENT CONT… 6. TERTIARY PARTNERSHIPS  Continue to develop tertiary relationships with the Conservatorium of Music UWA , WAAPA

 We will develop strong collaborations with the Music Conservatorium at the University of Western Australia and with the Western Australian Academy of Performing Arts

Ongoing AD/ED 2019

7. ENGAGING & DEVELOPING THE LOCAL OPERA ECOSYSTEM  Identify potential new collaborations with some of the smaller opera companies in WA such as Freeze Frame Opera, Lost & Found and with dance companies such as Strut.

ED/AD

SUSTAINABILITY As we have striven to build opera in our state for the past 50 years, so we will into the future. Our art form will be woven into the Western Australian social tapestry and we will be known for deeply engaging the hearts and minds of our audience.

1. FINANCIAL SUSTAINABILITY  Research the best way to develop a sustainable income stream of $100k per annum o This could include the option of the establishment of a capital fund. If this proves feasible, determine the appropriate vehicle and governance structure for a capital fund (EG: separate account in the finances of WA Opera, or a separate Trust.)  Research and develop new revenue streams that are adjacent to the WAO brand. o Example: Fee-for-service opportunities, merchandising, opera music sales, VET training partnerships, etc.  Design and implement a Bequests campaign 2. PARTNERSHIPS WITH CORPORATE PARTNERS  Develop and implement a strategy to further develop our partnership relationships with corporate partners.

3. GOVERNANCE / COMPLIANCE  Adhere to industry standards and regulations  Maintain adherence to Corporate Governance Charter, Constitution and Policies and procedures

ED/DM

2020

ED/DM

2019

ED/DM

2021

ED/DM

2019

ED/A ED/A

Ongoing Ongoing

ED

2019

ED ED ED ED

2019 2020 2020 2019

ED/MM

2019

ED/MM

2020

4,5

 We will secure core partnership funding for 2022-2025  We will establish a sustainable source of revenue that will deliver an annual return of 100K per year for growth strategies by 2021.  We will increase our revenue streams.  We will maintain cash reserves of 40% of annual turnover.  We will maintain Major Company Status with our main funding bodies each year.

INNOVATION We will be custodians of the tradition of opera and we will be visionaries for the future. We will foster innovation, collaboration, sustainability, and the further development of the art form. We take our responsibility to you very seriously. Whether you are in the audience, an artist, one of our partners or within the wider WA community, we consider it a privilege to serve you through the advancement of opera.

1. IMPLEMENTING THE LEAN INNOVATION MODEL (LIM)  The board to determine its appetite for innovation that can be captured in policy if appropriate  Run PD for board and staff in the Lean Innovation Model (LIM)  Establish a LIM team to oversee the implementation of the model  Work with the board and staff to develop an Innovation Plan for WAO  Create space in the board calendar for review and refinement of the strategic plan and consideration in innovative ideas 2. DEVELOP NEW DELIVERY CHANNELS & EXPERIENCES OF OPERA  Develop our livestreaming capability of opera and livestream Opera in the Park in 2019  Develop and implement a strategy for creating new delivery channels of opera  Consider new experiences and partnerships for opera including venues, ticket prices, product offering, and collaborations.

15

 We will embed innovative thinking and behaviour into the life of WAO. 1,2,3, 4,5,6

2,3,4,6

 We will develop and commenced implementing a strategy for new delivery channels of opera.  We will present multiple livestreamed events each year.

STRATEGIES

WHO

WHEN

ED/PM

2019

ED/PM ED/PM ED/PM

2019 2020 2020

ED

2019

ED

2020

ED ED ED

2019 Ongoing Ongoing

ED/EM

2019

ED

2020

ED

2021

ISSUE # LINK

KPI’S

INNOVATION 3. USE OF TECHNOLOGY IN OPERA PRODUCTION  Identify resource to assist conduct the feasibility study into use of technology within productions  Conduct feasibility study  If required, map out a pathway to implement the study recommendations  If required, Implement pathway, review and monitor

4. INNOVATION IN THE WORKPLACE  Develop and implement an innovative approach to “Way of Work” including flexible work arrangements  Review the our work spaces including style of desks/chairs, meeting rooms, studio facilities, coaching rooms and hot desks as required,  Develop our Company Culture & Core Values Charter  Undertake an Employment Engagement Survey tool (EES) annually  Recommendations from findings to be implemented in a timely manner (as required by priority and resources) 5. OPERA IN THE BROADER WA COMMUNITY AND IN ASIA  Develop and implement a strategy for deeper and wider engagement of the WA community  Conduct a feasibility in consultation with the board into entering the Asian opera market  If there is an opportunity to be realised in Asia, develop and implement a strategy for entry

2,3,4,6

 We will conduct a feasibility study into utilising innovative technology within opera productions and determined a pathway forward for use of the technology for the future.  Additional KPI’s TBD.

 We will detail out a plan of how we will apply innovative approaches to the workplace.

5,6

1,2,3, 4,6

 We will conduct a feasibility on furthering our reach and influence into the broader Western Australian community and in Asia and have determined a pathway forward

ED – Executive Director AD – Artistic Director MM – Marketing Manager DM – Development Manager EM – Education Manager PM – Production Manager A - Accountant

16

Appendix

17

Methodology WAO engaged the services of Glenn Bergsma (MBL, GAICD) from Evolve Leadership Group to undertake the development of the strategic plan with a methodology that adopted aspects of the following two strategic thinking frameworks that were utilised to develop the plan:

TABLE 1.0

AUSTRALIA COUNCIL FOR THE ARTS STRATEGIC PLAN FRAMEWORK

TABLE 1.1

EVOLVE LEADERSHIP GROUP; STRATEGIC PLANNING FRAMEWORK

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Stakeholder Engagement The following groups were engaged in the development of the strategic plan either through surveys, one-on-one interviews or focus groups: Name Andrew Pascoe Catherine Ferrari Jan Stewart Mario D’Orazio Ingrid O’Brien Julian Burt Darren Lewsen Anthony Gianotti Carolyn Chard Brad Cohen Mandy Farmer Danielle Ierace Rebecca Kais Debbie Byrnes Claudia Rayne Marion O’Connor Sue Hobson Terasa Letizia Helen Carroll Alan Dodge Fiona Campbell Chris van Tuinen Thomas de Mallet Burgess Professor Kent Anderson

Emma Matthews Keith McGowan Nathan Bennett Mark Coughlan Annie Patrick Rebecca Bunn Yannis Vrodos

Representing Chairman, WAO Deputy Chairman, WAO Board Member, WAO Board Member, WAO Board Member, WAO Board Member, WAO Board Member, WAO Board Member, WAO ED, WAO AD, WAO Staff Member, WAO Staff Member, WAO Staff Member, WAO Staff Member, WAO Staff Member, WAO Staff Member, WAO Staff Member, WAO Staff Member, WAO Wesfarmers Arts Opera patron, arts board member, Singer Co-AD, Lost and Found; Musica Viva; Co-AD, Lost and Found; opera director Vice Chancellor Community and Engagement UWA

Head of Voice, WAAPA Manager WASO Executive Director, Perth Festival WASO board, arts board member, opera patron, pre-performance talks for WAO 2017/18 Wesfarmers Arts Young Artist Corporate lawyer, Herbert Smith Freehills

Engagement Interview & Focus Group Interview & Focus Group Interview & Focus Group Interview & Focus Group

Focus Group Focus Group Focus Group Focus Group Interview Interview Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Interview Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group Focus Group

Stakeholder Engagement Documentation The following documents have provided essential feedback that has been considered in the development of the Plan:  Painted Dog WAO Strategic Direction Research – Board Report  Painted Dog WAO Strategic Direction Research – Qualitative Report  Painted Dog WAO Strategic Direction Research –Quantitative Report

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SWOT The following table represents the findings of the Strengths, Weaknesses, Opportunities and Threats (SWO)T Analysis conducted with stakeholder groups.

TABLE 1.3

SWOT ANALYSIS OF WAO

  

INTERNAL

    

HELPFUL

HARMFUL

STRENGTHS

WEAKNESSES

We have artistic excellence.

We have a power and amazing product to work with.

We have strong in-house knowledge and talent of management.

Our positioning as state company and relative security of funding.

We have a loyal base of subscribers and donors.

We have a nimble, efficient and experienced team.

Opera in the Park.

We provide opportunities for young artists to develop.

  

 

OPPORTUNITIES  

EXTERNAL





We have a lack of identify, purpose and planning.

We have a muddled artistic vision.

We lack or are perceived as lacking innovation and slow to react to changing trends.

We repeat the same operas.

We have an aging customer base

THREATS

To be leaders in innovation within the arts.

To engage and educate a younger generation.

To further collaborate, co-produce and develop deeper partnerships within the state, across Australia and the world.

Leverage our dominance of voice to launch new innovative products that attract new audiences.

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    

If we lose our funding or donor support.

Growing competition for people to be entertained.

If we lose relevance and lack the support of the wider community.

If other opera companies take market share.

If we are unable to attract good people to Perth.

Organisational Chart

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Our Innovation THE PROCESS WE USE TO MONITOR, REVIEW AND FURTHER DEVELOP THE PLAN OVER THE NEXT 3 YEARS

WAO has made a commitment within this plan to embed adaptability within the organisation. This plan is a living document and welcomes developments and improvements that will respond to WAO’s strategic issues; increase the organisation’s effectiveness and efficiency; and promote the overall advancement of opera in Western Australia.

The Plan adopts the Lean Innovation Model (LIM) that provides a coherent and integrated implementation of continuous improvement in innovation and product development. It considers both the technical aspect that should be taken into account in lean product development process itself, as well as the ‘soft’ aspect which is indispensable for successful implementation.

The model consists of four building blocks, each comprising three enablers: 1.

2.

3.

4.

Strategy and performance People and Collaboration Efficient Process and Knowledge Based Environment Continuous Improvement and Change

TABLE 1.4

THE LEAN INNOVATION MODEL (TABLE)

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Policy Log 1. RESERVES POLICY Approved by:

Board

Original Date and author:

June 2002, Carolyn Chard

Scope:

Reserves Policy

Next review:

December 2018

Last Reviewed

December 2017, Sue Hobson

Responsibility

Finance and Audit Committee

2. HEALTH POLICY Approved by:

Board

Original Date and author:

January 2009, Carolyn Chard

Scope:

Health Policy

Next review

December 2018

Last reviewed

December 2016, Terasa Letizia September 2017, Coralie Bishop (Mental Health)

Responsibility:

General Manager

3. BACKSTAGE POLICY Approved by:

General Manager

Original Date and author:

June 2010, Carolyn Chard

Scope:

Backstage

Last review:

June 2014

Next review

June 2018

Responsibility:

Production Manager

SOCIAL MEDIA POLICY Approved by:

General Manager

Original Date and author:

June 2011, Carolyn Chard

Scope:

Social Media

Last reviewed

June 2017

Next review

June 2018

Responsibility:

Marketing Manager

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4. SECURITY POLICY Approved by:

General Manager

Original Date and author:

June 2010, Carolyn Chard, Mandy Farmer

Scope:

Security Policy

Last review:

January 2016

Next review

June 2018

Responsibility:

Production Manager

5. FINANCE POLICY Approved by:

Finance and Audit Committee

Original Date and author:

June 2010, Carolyn Chard

Scope:

Finance Policy

Last reviewed:

December 2017

Next review

December 2018

Responsibility:

Accountant

6. COMMUNITY ENGAGEMENT POLICY Approved by:

General Manager

Original Date and author:

May 2013, Terasa Letizia

Scope:

Community Engagement

Last reviewed:

December 2016

Next review

December 2018

Responsibility:

Education Manager

7. RECONCILIATION PLAN Approved by:

General Manager

Original Date and author:

June 2015, Terasa Letizia

Scope:

Reconciliation Plan

Last reviewed:

June 2016

Next review

June 2018

Responsibility:

Education Manager

8. ARTISTIC POLICY Approved by:

Board

Original Date and author:

April 2002, Richard Mills

Scope:

Artistic Policy

Last review:

April 2015, Brad Cohen

Next review

June 2018

Responsibility:

Artistic Director

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9. WWC POLICY Approved by:

General Manager

Original Date and author:

31 May 2016 Terasa Letizia, Carolyn Chard

Scope:

Working with Children Policy

Last review:

March 2018

Next review

March 2019

Responsibility:

Education Manager

10. INVESTMENT POLICY Approved by:

Finance and Audit Committee

Original Date and author:

November 2017 Sue Hobson

Scope:

Investment Policy

Last review:

December 2017

Next review

December 2018

Responsibility:

Accountant

11. RISK ASSESSMENT POLICY Approved by:

Finance and Audit Committee

Original Date and author:

June 2018 Mandy Damant (external consultant)

Scope:

Risk Framework and Assessment Policy

Last review:

Under construction

Next review

June 2019

Responsibility:

Executive Director

12. CONSTITUTION Approved by:

Board

Original Date and author:

Original board of governors, 1967

Scope:

Constitution

Next review:

A/A June 2018 Under formal review by Herbert Smith Freehills to ensure compliance with current regulations

Responsibility:

Board

13. CORPORATE GOVERNANCE CHARTER Approved by:

Board

Original Date and author:

2009, Carolyn Chard, Erich Fraunschiel

Scope:

Corporate Governance Charter

Last reviewed

December 2017 For review following Constitution review (above)

Responsibility:

Executive Director

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