Archives For Liabilities

Everywhere I’ve gone this month, the conversation seems to be about the intersection of Entertainment and Commerce in the Festival or Theme Park world.

Permanent parks and themed environments are not entry-level venues, whether speaking of crafts, services, or food & beverage sales. Too often participants leap into an investment in a park or festival with no thought to Proof of Concept. Vendors enter the themed milieu without an appreciation for the experience that the customer is seeking by attending such a venue.

Buy-in can mean so many things … in permanent parks it can refer to the cost involved in procuring a building from which to vend. However there is also the cultural buy-in that includes the joy of wearing a costume and interacting with festival attendees in a way that enhances the escape they purchased upon entry of the park’s front gate.

To quote Ben Franklin: “Diligence is the mother of good luck” 

It is wise to work for a while in any industry before deciding one is ready to own a business there. The restaurant business is a glaringly obvious example of how wrong people can be about their own understanding of a business model when they decide to launch their dream restaurants with no prior foodservice experience. In the festival business, the mistake manifests more often with unproven crafts concepts. Lack of sales is most often blamed on a Vendor Coordinator’s influence on booth placement, or a PR team “not bringing in the right people”. The truth is often that the craft hasn’t sold remarkably in ANY venue, but due diligence was never exercised before building a business around it.

If you’ve spent years in any industry, you’ll have a better understanding of what works and what doesn’t. Themed events are such a blend of entertainment and commerce; they can be a difficult place to attempt a trial run of a product. However, if that item itself is a mixture of these elements … if there is an experience connected to the purchase … then that product has a better chance of working in that realm. But for goodness sake, take the time to make at least a rudimentary business plan.

No Evil

Proof of Concept can be worked out in real-time, inside an event. But the money invested has a higher level of risk. Also, bigger parks sometimes require proof that you’ve spent serious time researching your project. Fifteen years ago, an application to the Texas Renaissance Festival was not a form one filled out. It was a multi-page presentation, which included all of the following points:

 Legend:

Mission:

Creed:

Motto:

Theme:

 Demeanor:

 Costumes:

 Strategies:

 Heraldic Symbol:

 Income Projections:

 Festival Compensation:

 Expense Budget:

 3yr Expansion Plan:

 Details and dimensions of workspace:

 How did we get here? (Business/Personal Biography)

 Breakdown and description of items for sale:

 

In Eleanor Whitney’s book GROW, How to take your D.I.Y. project and passion to the next level & quit your job! She coaches a similar set of questions. (She has other great advice as well.)

Innovative shows are going to ask you to continue thinking about your business or businesses within their venue(s). Some recent homework I’ve completed would include reports on ongoing research in my field, and a two page paper on our company philosophy on Food and Entertainment.

As someone who is often asked for business consultations within the festival industry, I have to say that I think many missteps would be avoided if this type of esoteric questioning became more common in the festival world.

Just as writing an interesting application helps you land good summer employees, engaging in the right types of internal questions can save us from grief when we try to sell either an unproven product, or sell it in an unproven venue.

 

Those of you already in the industry, what are some of the questions you wished you had asked before starting your business? What questions do you think should be asked of show applicants? Let us know … we’re looking forward to the conversation.

If you have a lot to say on the matter … you might consider being a Guest Blogger with us.

Ok, let’s see, …..where were we? ….poker…matchsticks…20 pounds of quarters….profit/patron, cost/patron and patron/vendor ratios…big pies…..and little pieces. Remember? If not, you can refresh your memory by reading ‘playing by the numbers, part 1’

It’s a funny thing about numbers. When you ask someone the time of day, a baseball score, or the age of their children, the answers are straight forward….no qualifiers, no agenda, and no spin. “Two forty five”, Eight to Five, Cubs”, and “Little Jimmy is seven”. However, ask the same person “How much money did you make this week?” and a new dynamic kicks in and your question will be answered with a shocked look, another question “What?” or a declarative statement “That’s none of your @$##$ business!” My own answer to this question has always been “Not enough”, but I digress….

photo by AoLun1680 on Flickr

People and business concerns are guarded with their numbers not because of the numbers themselves. There are two basic reasons that we guard our actual numbers. The first is fear. If we are ‘successful’ we don’t want others to know of the level of our success for fear of inducing competition. If our day or year has been less than stellar we don’t want others to know for fear of being judged as incompetent or ‘unsuccessful’.
The second reason is…..it’s none of your @$##$ business! And yet, in all my years as an entertainer, craftsperson, and crafts coordinator, I have participated in the daily dance of trying to find out how others were doing numerically as they tried to find out the same from me.

Because we are all aware of the sanctity of our numbers we couch our inquiries into others’ numbers in non-specifics. Instead of “how much did you make?” we ask “How was your day?” The answers (both gotten and given) can range from “Grim” to “Great!” but usually are given in relative terms as well “Half of what we did yesterday” or “Not as well as we should have for the number of people”. Which is fine because, truth be known, it isn’t the actual number that is important, it is the relationship of that number to past numbers.

Was today up or down relative to last week? Was this year up or down from last year? Without these numbers I couldn’t effectively do my job as a crafts coordinator. How can a festival know how many potters is too many potters? You can’t ask the potters. As far as they’re concerned there are already too many potters unless, of course, they are the only potter, in which case the festival has the perfect number of potters.

Without these relative numbers, I, as a craftsperson, would have nothing outside of my own previous numbers by which to judge my current performance. Do I need to change my display? Develop a new product line? Change my prices? Have they juried in too many shops in my medium? It’s all guess work without having an idea if my fiscal variance is at odds with what others at the show are experiencing. Therefore on any given day you will hear amongst crafters, entertainers and management the veiled repartee of fiscal exploration “How was your day?” in an attempt to figure out if their own day was on track.

The fact that no numbers are discussed is, in most cases fine. It really isn’t any of my business how many turkey legs a festival sells. If they are kind enough to give me a relational statement great, if not no harm done, because, again, it’s none of my @#$# business. This holds true with all of the numbers a festival has save one….the actual gate count.

It is my business to know the accurate gate count of a festival if I’m going to invest in a booth on their grounds. It is also my business as a vendor of crafts or food to know how many people came through the gate on any given day, week, or year. A vendor cannot run their business efficiently without actual gate numbers. The more accurate the numbers supplied, the better they can carry on business, the more successful they will be, and the more they will invest in their booth and their business at that festival.

The need for past gate counts is especially true for food vendors and live flower businesses, who deal in perishable products. With past gate counts, a weather forecast, and current gate counts for preceding weeks, it becomes easier to place your order for the upcoming weekend, with less of a chance for having to throw part of your profits in the garbage on Sunday night. Imagine, if you are a potter, that at the end of the weekend you had to throw away all the pots that you didn’t sell……welcome to the world of food.

However, even though a craftsperson doesn’t have to throw away product, without an idea of the gate, there is no reference point to determine how well they are doing with price points, display, and the overall demand curve for their product, nor the necessary data for an accurate supply curve for that festival. In addition, not only do vendors pay a fee (or in some cases several fees) to be at a show, but they also invest a large chunk of their capital in the show once they’ve decided to do it. To ask a vendor to do this without supplying them with data that would improve their business (and therefore increase their investment) is contrary not only to their best interest, but also to the festivals best interest.

So, assuming that festivals want the best for their vendors so they will further invest and expand, how can you as a current vendor or potential investor get these numbers? The first step would be to ask them. But be forewarned that there is a good chance that they won’t give them to you, or, worse, will give you the attendance numbers. “But why would they do that? And what’s the difference between the gate and the attendance?” That will have to wait until next time, even though that’s what I said last time.

Let me know, via a comment below, your thoughts or own experiences with gathering or sharing your numbers…..or anything else that might generate more comments! (Yes….I’m fishing for more comments.)

Next time—How to guesstimate what the actual gate count is so you can find the patron/vendor ratio….

really…no kidding…

I meant to do it this time, but it was too wordy.…

Editor’s note: This is the first installment in Al’s series that uses metrics to determine the financial relationship between vendors and festivals.Following articles will end up with internal links here (Part 2). It’s high-season in the outdoor festival business, but we’ll get them to you eventually.

I love to play poker.  When I was a kid, we would play for matchsticks. After the game was over, we would put our matchsticks back in the box, go outside, and play something else.  In poker for matchsticks there was no winner or loser, nothing ventured, and nothing gained.  We played for the fun of it, and a good time was had by all.

photo by Ibrahim Sariahmetoglu

In High School, and then College, we played for cash.  Usually nickel, dime, quarter games with a three raise limit.  It doesn’t seem like much, but after five or six hours and twice as many beers, you could win or lose a months’ rent.  Suddenly the good time was no longer guaranteed.  It was great when you could go home with 20 pounds of quarters in your pockets, but not so much when your solvency had dissolved in a brew of bad luck, bad beer, and bad play.  Poker had become what poker is…..a gamble.

Not being much of a gambler, I sought to improve my odds and remove as much of the ‘gamble’ as I could.  Or, to put it another way, to treat it like a business. Or, to put it yet another way, to understand and then manage the risk of playing poker to improve my profit.  Big surprise…..it all came down to numbers.

I’m assuming for the sake of this article that you are no longer playing for matchsticks.  You know the numbers that one must know to exist and survive as a private business in the 21st century.  You know the numbers of operating your business.  The numbers that I will offer are those relating to the environment in which you do your business, i.e. the relationship between your business and the festival itself.  These numbers are a key metric for you as a craftsperson in determining the return from festivals that you are considering, or in which you are already invested. They also are essential to a festival should it be concerned or curious about the health of the internal economy that it has created.

There are 3 ratios that serve as the main indicators of the potential economic success or failure of a single business and, if left unattended over time, of the entire internal craft economy. These are the cost/patron ratio, the profit/patron ratio, and the patron/vendor ratio.  

For the purpose of this article, I will address the patron/vendor ratio.  It is the leading indicator on which all others are dependent.  It is the numeric expression of the two primary concerns that you, as a craftsperson should have about a show that is asking for your investment.  

The first number, the number of patrons, is an indication of how successful the festival is in bringing money through the gates.  The second number, the number of crafts people who have been juried into the show, is an indicator of the festivals level of understanding or concern for the financial health and wellbeing of those who have invested in their show.  In short, the patron/vendor ratio simply put is; “How big a pie did they bake, and how many pieces did they cut it into.”  To determine the patron/vendor ratio you simply divide the number of patrons by the number of vendors.

A festival is obviously going to be concerned with the size of the pie.  It is the metric which, from their point of view, is the primary gauge of their success.  It is from this number that all others judged.  It is only natural, therefore, that they assume that the same would hold true for the individual businesses inside the gates.  “If we’re doing well, then the vendors also must be doing well.”  This is true only if the festival has either frozen the number of vendors or juried in a smaller percentage of new vendors than the percentage increase of the gate.

 For a vendor at a show it’s not so much the size of the pie as it is the size of the piece.  A show that has 200,000 patrons coming through the gate sounds like a great place to build a booth, right?   It would be a great show to invest in if there were only 100 vendors.  It would be if there were 150 vendors.  It would be ok even if there were 200 vendors…..but that would be the cut-off point for me.

  Over the thirty-some years of observing festivals and businesses I’ve come to a rule of thumb which has held true over the years.  A patron/vendor ratio of 1,000 patrons per vendor for an eight weekend Renaissance festival, or 125 patrons per vendor per day is the minimum amount to justify doing a show with the expectations of an acceptable return on investment.  When the ratio falls below this, money becomes tighter for each business and they have a tendency to start trying to extract what they need for the return on their investment in a more aggressive manner.  They also have a tendency to increase the size and display of lower dollar, bread and butter items in an effort to insure that they can meet the payroll and cover the booth fee.  

This is not a healthy financial environment for you nor is it healthy for the festival.  The patrons will start to withdraw, they will walk down the middle of the lane to avoid the shops.  Some shops, in turn, hire lane hawkers.  Soon there is nowhere for a patron to feel safe from the continuous pressure of being sold something. The experience is akin to paying twenty bucks to spend a day hearing life insurance salesmen and telemarketers trying to sell you their product.

If you are a vendor and you find that, at certain shows, you are having to compete harder for fewer returns, check the patron/vendor ratio.

 If you work at a festival and can’t understand why the lack of investment in booths and landscaping, why the lack of concern from the crafts community for the patron experience, check your patron/vendor ratio. 

If you are a patron and you find at the end of the day, on the way home in the car, or through conversations with friends,  the feeling that you’ve invested your weekend and your money in an experience that was tainted by aggressive sales techniques and low quality crafted products, check the patron/vendor ratio.

Next time—How to guesstimate what the actual gate count is so you can find the patron/vendor ratio….

AKA, The Harsh Conversation I had with a Young Carpenter.

A building I designed for a corset maker.

The dynamics of the Vendor/Builder/Festival Management matrix are complex, and there are many places where the deal can go wrong for one or more of the parties. All three legs must be considered for this table to stand. On the one hand, talented carpenters get to design and build whimsical structures. I’ve met architects who have many more years of study, be insanely jealous that my imaginative designs have actually been built, rather than collecting dust in a pile of drawings. Vendors, be they artists or service providers, need to have Builders who understand the Renaissance Faire aesthetic, comprehend traffic flow patterns necessary for sales, and can build to meet local codes. Festival Management needs for the dealings between the Vendor and the Builder to proceed smoothly, and on a time frame that ensures that the shop will be completed to code, and open, with an approved Vendor in place, when the festival is open to the public.

I think it will just be easier if I list some of the things that can go wrong here.

1) Builder runs out of money. This is often because of a misquote or mistake on the bid, but sometimes a permitting process throws extra expenses into a project. It is the Builder’s responsibility to draft a contract that allows for alterations in the price when governmental agencies are involved. Requiring complete drawings lowers this risk tremendously. With a complete set of drawings, a Builder can count every board necessary in the construction of the building prior to bidding the job. Also, by reviewing the drawings, a knowledgeable person, whether a Vendor or a Building Coordinator, or a Building Inspector, can tell quickly whether or not the Builder knows what he is doing.

2) Vendor runs out of money. This may be due to the above-mentioned governmental agencies involvement, but unfortunately it is often due to poor planning, or an attempt to use any loopholes in the contract with the Builder to pay for the building with revenues generated in the building to be built. (Say that 5 times fast; I dare you.) Builders are quite often banking the business growth of vendors due to their own mistakes in contract design. These loopholes have been exploited by Vendors for decades, and unfortunately, due to the presentation needs of the Festival Management … it is sometimes considered business as usual. Some Builders are writing contracts specifically allowing this practice, because it is considered the industry standard.

3) Water gets into the booth after completion. This can happen either because the Builder does not have a familiarity with the specific roofing materials required at a Renaissance Festival, or more often; it is a grade elevation issue. Grade elevations are usually agreed upon between the builder and the Site Manager. Maximum Exterior dimensions are sometimes set by the Site Manager as well, to control roof run-off from one shop to another. (Builders have to remember to include this work in the bid, often with an explanation, because it is almost always an invisible cost to the Vendor/Buyer.) Some of the biggest arguments I was involved in as Building Coordinator involved water, and the fact that a Builder was in the process of wasting a great deal of a Vendor’s money building something that was not in any way able to stay dry. In one case I lost a friend; in another, I made a friend for life when he realized I was saving him at least $50,000.

4) These building designs are each 100% unique. Getting a solid estimate is impossible without an investment of time and energy into the design process. Builders with solid reputations can usually negotiate a change in costs as it is discovered during construction, but it is very difficult for new Builders to adequately cover the risks of designing original buildings in these venues. Again, extensive drawing requirements can alleviate some of this risk, or at least give a clear discussion point with the often absentee Vendor/Buyer.

5) The Builder is such an artist that he designs more than the Vendor can actually afford, and leapfrogs his cashflow from project to project to fund his own artistic expression requirements. It’s hard to see who loses here, other than the Builder/Artist himself, whose standard of living is probably taking a hit. But the festival building market gets skewed to where Builders who do charge a reasonable wage for their time are priced out of the market; and that poor artistic soul cannot afford the help he needs to finish that last job onsite. Unfortunately neither can he afford the therapy he’ll need when his customers are still not appreciative of his work.

6) The Builder and the Vendor disagree on the balance owed. This is usually when the Builder/Vendor contract is unclear on change-orders. Making alterations in a building once it has started involves time and materials, which customers rarely understand. In most cases, the structure is the first time a Vendor has hired a contractor to build them a structure from scratch, and understandably, they may not have been able to picture the structure in its reality. Moving a door or a window is never cheaper than the original bid, often to the dismay of a customer.

7) The Builder runs out of time. Now, this is a somewhat grey area. Again, the contract should state a delivery date, and 1 hour before the festival opens does not give the Vendor (who in his mind may have just spent more on his business than ever before in his career) adequate time to move his product and displays into the new structure. Some festivals avoid this by having cut-off dates for construction that are months in advance of the event opening, but other climates do not have as many months of suitable weather, and thus festivals in these locations cannot use this safeguard.

8) Festival Management does not approve of the design. Okay, hopefully this issue is dealt with before construction begins, as most festivals have to approve a building design before it can be started. However, it has happened that a builder built something other than the drawing that was turned in for approval. In the situation I speak of, the Builder was a full-time employee of the Vendor for whom he was building, and they thought Festival Management wouldn’t notice if they eliminated the two tower portions of their structure. Fortunately this issue usually manifests as a simple request to repaint a structure, because the color that was described in the drawing was not the color that ended up on the wall or the trim. (I recommend paint color chips with all building applications provided to Festival Management. It saves a lot of grief in the long run.)

9) Builder doesn’t get paid, and there is no opportunity for an actual “Contractor’s Lien”. Okay, this is one of the biggest problems to be faced in this industry. All three players must get their needs met. I don’t know of anyone who has been able to get a business loan for a Renaissance Festival structure. Banks are not too keen on loaning money for a building when no Real Estate is attached. That being said, it is not an excuse to enter a contract with a Builder for a product that the small business cannot afford. By the same token, the Builder’s inability to meet the delivery date cannot be held against him if timed payments were not met. He very well may have needed that payment to buy the next round of materials for the structure. But testosterone-laden threats of “Husqvarna Collection Agency” action on the part of the stiffed Builder will not and cannot ever be supported by Festival Management. Festival Management’s first responsibility is to the event itself. Management has to ensure the paying guest has a complete experience of a finished and perfect park. While some festivals have been known to place a label of “Plague House” on a closed up structure due to incompletion or contested ownership; it is a last-ditch resort. Festival Management also has to balance the needs of the talented Builders, and the Artists who have hired them. If that does not sound like an easy task; it is because it is NOT an easy task.

The best contract I know of in the industry is that of a Designer/Builder who is also a furniture maker that has been accepted into several highly juried art shows. His contract (which Festival Management has to sign as well), states that if the customer does not finish paying for the structure, the Festival gets a new furniture maker as a Vendor, and all payments up until that point are forfeit by the Vendor with whom he originally contracted. If all of the Builders on the Renaissance Faire circuit had crafts that would pass a jury, this would be the solution. With this, everyone in the Builder/Vendor/Management Matrix gets their needs met. Unfortunately, most of the Builders express their art solely in the fanciful structures they design for Vendors.

 

There are surely some other problems, but these are the most common. I’m interested in what the best solutions might be. I know of one Festival General Manager who set up an escrow account through the festival office. Thus the Vendor had to have proven his ability to pay for the entirety before the building commenced, yet the final payment check was not cut to the Builder until all three parties sat together and agreed they were happy. Not every festival will want to be this involved. Some have referred to it as micro-managing, but I can assure you that during the tenure of that General Manager, more than half of these issues were eliminated from the list. He required a Delivery Date early enough that the sit-down meeting would not impact his own time requirements in opening the show, so it was at least two weeks before the opening date.

Some Festivals have a list of approved builders, and while I applaud the attempt to create some regulation in the industry, the reality is often that the Vendor audience for that list makes assumptions about the Builder’s abilities based upon their appearance on the list, when in fact the Builder may have no more skills than those necessary in buying Liability Insurance.

There are things to be said about absentee Vendor customers, and oversight of construction projects, but I will leave that for another article. Requests for a handbook on Festival Building Practices are being seriously considered, as all of my articles on this subject seem to lead to other questions and answers. Instead of answering in extensive phone calls, I’m going to start answering the questions here in this website.

Please, if you know of some “Best Practices” on this issue, mention them or the Festivals that utilize them, in the comments below. (Horror stories are welcome as well, but please do not mention names in those, thanks.)

One of the first “Industry Truths” I was taught about Renaissance Festivals was this:

There are 3 types of people who travel and work Renaissance Festivals.

  1. People who have a business that works at Renaissance Festivals. (This includes artists who lean toward costume elements, or pewter figurines, or astrolabes; and service providers who have created a business that works within the theme, as well as Entertainers.)
  2. People who live here for the traveling lifestyle, but could work elsewhere if they wanted. They land side-jobs or “week-work” whenever possible. (This includes good managers, henna artists, Renaissance carpenters, facepainters … many of these people are building their own businesses “on the side”, or are apprenticing to a craft or crafts business. Some entertainers are in this group.)
  3. People who can’t keep it together to work more than 2 days per week.

These different groups are all engaged in completely different competitions. Many think they are trying to “level up”. Whether or not they are actually working toward that is debatable. Each track is different. Each competition has different requirements, different goals, and different rewards.

Rotterdam Marathon, photo by Qsimple

I’m a person of the first sort at this point in my career … we own several businesses at multiple permanent Renaissance Festivals. The race I am running is a start-up race. I need to be the next person with a new idea or a new product, and present it to Festival Management in hopes that they agree upon my gamble, and let me in to their event. If they already have saturation in a particular segment of their market, and I really want to do their show, I need to come up with a new product line, or develop a new service that works in their venue. I only have competitors if I am copying ideas. My race is to find and present something the Management hasn’t seen yet, in a way that fits it into their theme. An example would be a pedi-cab business. Thematically it is a challenge, but human-powered rickshaws work, or I could import bamboo bicycles.  I have to come across to Management as a professional, with the funding to back my idea and do a top-notch job. When Henna body art first started trending, I called a festival where I had an existing business; to ask if they had already contracted with someone for the service. I was told that I was the third person that week to call on the subject, but that they were very much looking forward to my presentation. I’m pretty sure I landed that concession simply by being the most professional person who applied.

Training for this race includes attending trade shows and art festivals whenever possible. Food items are quite regional, but some ideas travel well. I also attend business events, and take classes whenever I can. You never know where the next great idea might come from. (I take photos of menus almost everywhere I go.)

I started out in the industry as a person of the second sort, and I’ve always surrounded myself with people of the first and second categories on this list. Truthfully, I just work so many hours during the few calendar months of my work season … I don’t have time to see anyone who isn’t coming to work. If I’ve got time to hang-out, I’m more likely to field a brainstorming session amongst my peers. Many of us only cross schedules for 2 months of the year. This means clever co-conspirators can flesh-out ideas, with the easy non-compete agreement that they will apply to separate shows. Sometimes regions of the country are fleshed out early in a discussion if the idea seems hot enough.

But the race that people in the second category run *does* have competitors. Because these people are paying their bills (and possibly working to build their own businesses) with the funds from an on-circuit employer, they are pitching their skill-set and their reputation against folks who want that same good job.  Their employer has chosen which shows to invest in, so they don’t have complete control of their own yearly schedule, although truly, some don’t care as long as they get to travel. Some folks mix up who they work for at different times of year, in order to choose their schedule themselves.

The smartest people in this race are in school. They are either apprenticing to a craft, or learning the finer points of a business while managing it for someone else and getting paid. It’s how I learned the most important elements of festival food management (and my deep abiding love of MS Excel). I’m currently honing my inventory manager to be able to buy me out in 15 years or so since I don’t have any heirs. I know some artists in the same situation. They have built successful businesses and it’s a shame to close them just because they’ve aged-out of the ability to do the work, so they’ve taken on paid sales help who are also apprentices.

Training for this race involves fine-tuning your skill-set to make yourself too appealing to pass up. The folks I think of first are my head baker (who is amazingly talented), and my friend Heather who has a retail design and management background. She is always employed, while also launching her own multiple businesses.  When The Husband and I were still building shops for the majority of our income, I learned 4 different building codes, and became proficient (enough) with a CAD program to draw for permits in the several different states where we built. There is plenty of work for people who want to work.

Which brings us to the third group of people … I don’t really know very much about this group. I like my work too much to be avoiding it.

The race in which the third group of people are involved (discounting the real possibility of mental illness), is a race against complacence and a victim mentality. Their strongest competitors are themselves and the other crabs in the bucket. We all like to surround ourselves with people who think like we do. It is human nature. But sitting around, talking about why the world doesn’t work for you only brings into being a world that doesn’t work for you.  “There’s no week-work available” is an irresponsible person’s translation for “I lost my chance at week-work to a more reliable worker.” It is relatively inexpensive to live “on circuit”, depending on your comfort level. Consequently, folks who can only keep it together to work a couple of days a week can be “on circuit”. Unfortunately for some, this gives them more time to represent the industry to the local townspeople. This can be embarrassing at best, and detrimental to the festival’s reputation at worst.

The fact that there are professional business people working at Renaissance Festivals appears to be a well-kept secret.

There is some discussion in the industry about whether or not it is beneficial to have building inspectors involved when trying to mimic a 400 year old village. We are designing retail spaces that look like they belong in an English village in the 1600s. Levels and plumb-lines can make a structure look a bit “too crisp”.

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