Information
This is a Show pattern that you can use as a template for your assignment. It contains the relevant blocks you need in a pre-set layout; you just need to add the content required for your assignment. You may add additional blocks for supporting media and modify the layout to best represent your work.
Using this pattern
- Using Show patterns
- Add the required content for your assignment
- Delete this information section
- Submit your assignment
Assignment Guidelines
SHR6E037P~002 Portfolio: Event Evaluation TEMPLATE
Event Evaluation
Taking into account your role within the project you need to provide an individual evaluation – (2000 words), alongside film and photographic evidence of you effectively managing your event. You should explain the nature and purpose of your inclusion of all evidence and its relevance.
Your evidence should cover the following areas: at least 3 pieces of evidence in each sub category, with all evidence submitted under supporting material.
· Event Atmosphere
· Box Office
· Security
· Health and Safety (you should directly reference points outlined in your groups risk assessment)
· Production (sound and lighting)
· Artists Liaison
· Stage Management
· Online Marketing – This can include websites, social media, forums, blogs etc.
· Promotion – This can include posters, flyers, influence mixes, videos or any other relevant promotional materials.
· Financial outcomes – This should be presented on the settlement template provided on space.
· Only work submitted as part of your evaluation will be counted in the word count. Photographs, video content, online marketing and promotional materials will not be counted in the word count.
· Films should not exceed 7mins total in length and should be edited to show highlights of the event.
Event Evidence Video
Please upload your video to panopto and embed it in the panopto block below.
Event Atmosphere
Our event, “A Celebration of Motown ‘n’ Soul”, had a great atmosphere. The crowd was full of energy and receptive to all the bands. In 1a, you can see evidence of how busy the floor was in Belgrave, with lots of photos and videos being taken and shared onto social media during the event, which brought in even more people on the door. Similarly, our event reached our target audience, as can be seen in 1b, with lots of people singing and dancing throughout the sets. Our headline band can be seen in the embedded video in commanding stage presence and audience participaition, which created memorable moments and enchanced the event’s atmposhere. When scaling up our event to a larger venue, I have learnt to be mindful of the space within the venue; at Belgrave, the initial set up that the venue went with included sofas on the dancefloor. This would have been incredibly detrimental to the atmosphere, as people may have chosen to sit and watch, rather than sing and dance, which would’ve created an entirely different atmosphere. In future, I will make sure to be choosing venues which have a large standing capacity, to be able recreate this atmposhere.
Box Office
Our box office was manned by 2 people for the entire show, as can be seen in 2a. Behind our table, we had the event details on show so that we were still advertising the event to Belgrave’s punters that were not initally there for the event. As shown in 2b, we had different colour wristbands enabling differing access within our event. We also had the pre-agreed list of guestlist names for our bands, which included photographers, and family members of the band. We also had on display the disclaimer that event was being evidenced for a Leeds Conservatoire assessment (2c), which was visible for anyone entering the event. We were able to take card payments at the box office too, for people who had not bought a ticket online. However, for future events, I would endeavour to bring change in the event that people wanted to pay by cash on the door. We didn’t accept cash payments on the door for this gig, but the option would allow the event to be more accessible in the future.
Security
We had 2 security guards working the event at Belgrave, of which one can be seen in 3a. He was stationed on the front door, checking IDs and wristbands, as well as keeping a running count of who was in the room. We also had a member of our team situated next to him (in 3b) with a list of all approved guest list members, so that there was clear communication between our box office and security throughout the evening. We maintained a secured backstage area, with the door to the area closed at all times and a secondary security guard working on the other side of the door (3c), checking wristbands and only allowing the correct people backstage. This ensured all equipment and personal belongings kept backstage remained safe and secure. Unfortunately, when we initially turned up to Belgrave on the day to set up, they had not put enough security on shift for the expected capacity, so we had to talk with management to increase this number. In future, to avoid this, I will visit the venue the day before to ensure that they are prepared for the numbers we expect to bring.
Health and Safety
In accordance with the event risk assessment, we implemented all required safety measures to ensure a secure environment for both performers and attendees. Fire safety procedures were strictly adhered to, with all fire exits and evacuation routes kept completely clear at all times, and all equipment cases stored in designated back-of-house areas away from access paths, as show in 4a. We also made sure that all firedoors were kept closed at all times so that a fire would be contained in the event we had one. To minimise the risk of slips and trips, any spillages identified during the event were immediately reported to venue staff, in line with the risk assessment guidelines. Bar staff responded promptly by placing highly visible hazard signage that can be seen in 4b, ensuring both artists and audience members were clearly alerted to potential dangers. On stage, we made sure cables were contained within specific, visible rubber covers to minimise the chances of tripping over the cables. These covers, which can be seen in 4c, were used across all walkways on stage. In future, should we take cash payments at the box office, we will make arrangements to mitigate the handling of cash as per our risk assessment.
Production
Our Audio Visual technician arrived promptly at 3:00 PM, just as our headline band began loading in their equipment. The band adhered to the schedule efficiently, unloading and setting up according to the stage plot and advance that had been previously submitted and approved (5b). Once the equipment was in place, the technician proceeded to connect all audio inputs and outputs to the venue’s Allen & Heath digital mixer, as illustrated in 5a. After an initial discussion with the headlining act, we collaboratively decided on a cohesive colour scheme for the moving stage lighting, which is reflected in 5c and can also be seen in the video embedded above. However, despite the smooth start, all three scheduled sound checks overran their allotted time. Upon reviewing the situation afterward, it became clear that the technician had not fully read the event advance and was therefore unaware of the agreed schedule and time constraints. This lack of preparation contributed directly to the delays experienced during the sound checks. In future events, I will ensure that all technicians are thoroughly briefed upon arrival, including a full walkthrough of the event plan and timings, before any setup begins. This will help ensure that everyone involved is aligned and working to the same schedule.
Artist Liaison
Under the role of artist liaison, I believe we managed communication and artist welfare effectively throughout our event at Belgrave. The primary focus was ensuring that performers felt supported, informed, and comfortable within the event environment. As evidenced in 6a, Alexy maintained clear communication with the opening band, updating Chlöe on soundcheck delays and coordinating adjustments, which helped reduce uncertainty and maintain professionalism. Similarly, in 6b, I liaised directly with the saxophonists from Mikey & The G’s, proactively addressing stage spacing and monitor placement to prevent discomfort or potential hearing risks. This demonstrated an awareness of both performance quality and artist wellbeing. Furthermore, 6c highlights how Teyla and Keigan engaged with Pockets to offer assistance, reinforcing a collaborative atmosphere and ensuring no artist needs were overlooked. This contributed to a smooth-running event by prioritising clear, respectful communication and quick problem-solving. For a larger-scale event, it would be essential for each band to have access to their own green room to ensure privacy and comfort. Providing a larger, dedicated storage area for instrument cases would also improve organisation and reduce backstage clutter. This would support smoother transitions and a more professional environment.
Stage Management
To ensure things went smoothly both on stage and backstage, we made sure there was clear walkways (7a) with notices of the running order being printed and also sent in a groupchat with the artists. This group also allowed ongoing communication throughout the event, (being able to indicate how long until the next band needs to be on, how long left of a current set, etc) to ensure a seamless viewing experience for those in attendance. To keep standards high with clear walkways and enough space to store belongings, we had to speak with the venue manager (as pictured in 7b) to ask staff to clear space. When we arrived, there were sofas and tables left in the alotted area for cases. If this went unchanged, we would’ve had to store 30-plus cases in the greenrooms, hindering the artists’ experience. Before the day, I had spoken to the bands regarding their stage plots, to minimise the necessity of moving amps and stands between bands. This, as seen in 7c, lead to the stage being set up in a manner which worked for all 3 bands, and facilitated smoother swaps between bands. If we were to scale up next time, I would try to get risers as some feedback we received was that the musicians at the back of the stage weren’t as visible for the larger lineups; though this was not possible at Belgrave.
Online Marketing
Please embed your online marketing evidence below. This can include websites, social media, forums, blogs etc.
More than 3 pieces of evidence needed in this section to show a range of marketing and promotional techniques utilised.
To ensure that our gig was sufficiently promoted, we employed several techniques of online marketing. Our main device was Instagram, with our headliners Pockets first announcing the gig 5 weeks before the show. This post, which was also collaborated on by both supports, collected over 12 thousands views, and was heavily shared on stories. Similarly, I made sure that both Mikey & The G’s and Chlöe posted about the gig regularly, with Mikey & The G’s posting weekly reels promoting the gig with footage from rehearsals. Outside of Instagram, the event was also posted on my website, antoniomascarenhas.com which regularly gets over a thousand weekly visits andg gains traction from SEO searches of Motown music in Leeds. We also managed to get our event posted on the Leeds Gig Guide website. To scale up our efforts on a larger scale in future, I would use targeted advertisements on Meta to get our event seen on an even larger scale, and contact radio stations that regularly play Motown and Soul to seek a potential live read on air.
Promotion
Please embed your promotion evidence below. This can include posters, flyers, influencer mixes, videos, or any other relevant promotional materials. More than 3 pieces of evidence will be accepted.
To get the most visibility on our event around the Conseravtoire, we put up posters (9c) all around St. Peter’s Square and Playhouse. The posters themselves were intended to be kept very minimalist, so that the key information was easily readable from a distance. In hindsight, the font colour on the ‘motown’ text could have been slightly darker to be more legible when printed. In 9a, you can see me putting up the last of our posters. We made sure our posters were in both buildings to maximise awareness with the School of Drama, of whom regularly support Pockets when playing other local venues. We also set up a table in the Cafe Bar, seen in 9b, which advertised our giveaway of a copy of Stevie Wonder’s Innervisions to one lucky winner within the first 150 tickets sold. We made sure that we publicised the winner of the vinyl on our socials, to make sure they knew that they won. Being able to set up a stall in the Cafe Bar enabled us to have an element of face to face promotion, which was successful to a degree. To improve upon this, I would definetly aim to have more in person opportunities to promote our event. The incorparation of experiential marketing beyond a giveaway, may have added an element of virality which could start a domino effect of our event being shared through mouth-to-mouth contact.
Financial Outcomes
Please embed your financial outcomes evidence as a PDF in the file block below. This should be presented using the settlement template available on space.
In our settlement you can see that we managed to sell 209 tickets in total. We were able to sell out our ‘early bird’ first release tickets within a week, which was positive and showed interest for our event and importantly covered our initial costs of venue hire and the giveaway prize. We collectively chose to lower our ticket prices from £10 to £8.68 so that the prices were more inticing for a student perspective after booking fees were added. All inclusive of our audience, guest list, and support bands, we had 260 people watching our headline band. Due to most of the tickets sold being from regular viewers of Pockets, I think that the 65% of profits works out to be quite modest, and on a larger scale that percentage would have to be increased to be more fairly distrubuted. In future, to yield a greater revenue, I would seek an alternative platform to sell tickets, so that we could stick closer to our desired ticket price.
