Our Artistic Contract

Mal Magazine. Artwork credit: Sarah HowellMoB Manifesto:

We pledge to produce, promote and educate upon the subject of burlesque theatre; upholding the genre’s legacy of irreverent social satire and its contemporary ability to ignite socio-political discussion. We do so with both a sense of humour and derring-do.

We aim to provide public platforms for inspiration through ‘positive provocation’ on matters such as (but not limited to): gender identity, body confidence, beauty ‘norms’, differing ability, social and cultural inclusion.

It is our steadfast aim to be allies to both equality and diversity whilst nurturing the genre’s future sustainability as a workable fair paying creative performance industry.

Our artistic content and hiring policy reflect the above.

We consider artists to be production team members for the duration of their engagement.

Our Expectations of Team Members:

In order to best utilise the shining spotlight of our platforms, we ask each of our contributing artists to recognise the following:

  • Where a venue is bound by licences or, choose to expound rules that prohibit the exhibition of one sex or gender’s body over another’s, we ask that all artists comply with a single rule of ‘equal modesty’. E.g.In the event that women’s nipples are banned from exposure – but not men’s – all artists identifying as men (or non-female) will also cover their nipples. (We will also request this of all venue staff and audience members!)

That artists will work with us to establish the best fees that we can offer according to production budget and individual circumstance. That our mutual aim is to see the wider genre (and hobbying scenes) aim for financial growth – and not an anti-competitive marketplace.

That artists are invited to disclose, in confidence, any personal health concerns (be they physical, emotional or psychological) that they feel could impact on any part of the production process. We would urge disclosure so that we can discuss any potential issues and work together to resolve or, provide the best support possible.

– A performer with epilepsy, may feel compromised by the potential for strobe lighting.– A performer with allergies may be compromised backstage and on stage with regards to food or contact allergies.

– A performer experiencing anxiety concerns may feel compromised by crowded backstage environment or the presence of phobic stimuli, e.g. balloon.

– A performer with asthma may feel compromised by the use of haze or dry ice.

– A performer experiencing pain or stiffness in their bodies may require extra support and considerations of time.

  • It is important that disabled or differently abled artists and crew are provided with the means to participate equally where possible.

– A performer with physical or sensory restrictions may require additional room or time to manoeuvre, rehearse or prepare technical assistance for their act.

– Suitable access to a venue, it’s emergency exits and amenities is established, and changes made where possible.

– Suitable access to, and use of equipment to be fully and safely considered.

  • We ask that respect is unilaterally given to other artists’ time on stage and their right to individual self-expression. Regardless of differing personal political opinions, each artist is to be given equal opportunity to be ‘heard’, without prejudice. We consider that individual motivations and intentions are highly nuanced and personal – as are subjective matters of political opinion. Debate is encouraged where constructively and respectfully expressed in accordance with the right of the individual artist to self-determine their identity and artistic contribution.

– It is important to acknowledge (and even celebrate) differences of ideology yet remain supportive of individual ‘freedom of speech’ and avoid public/online displays of destructive or antagonising personal criticism that impact negatively on the individual or production.

–  Any issues of a particular artistic contribution should primarily be directed to the producers who have chosen to include it, in the context of a given production, rather than necessarily the artist themselves.

  • In advance of show dates: All shows operate as a team and the collaboration of each production manager, director, artist and crew member must demonstrate consideration for the needs of all involved.

– Correspondence regarding booking must be consistent and timely, clearly answering questions of availability, suitability, needs and confirming presence and responsibility for own travel.

– Suitability: Offering and Accepting the booking is a mutually responsible agreement of being appropriate to the production – in terms of act content, duration etc and that the artist is in good health and ability to fulfil the engagement.

– Call times are set and technical rehearsals are planned to ensure that everyone involved has time for self-care, including scheduled breaks – as well as their professional duty.

– Correspondence regarding content and technical requirements must be timely and useful. This will help avoid clashes with other artists, identify gaps in the technical kit and, ensure a reasonable work flow for production. Backing tracks and other materials must be supplied within the specified time including technical ‘rider’ sheets accurately specifying intended lights, sound and properties as requested.

– Backing tracks must be received in advance within the specified time frame and also named in an easily identifiable format e.g. artistname-actname.mp3

– A back up of all tracks on CD and/or preferably USB memory stick must be brought by each artist. Music held on a mobile phone or ‘as an attachment in an email somewhere’ are not sufficient.

– Artists must specific any equipment needed e.g. armless chairs, mic stands, di box or plug sockets. It is otherwise assumed that the artist will provide all that is required to fulfil their act.

– Non-venue electrical apparatus or equipment must have a valid ‘PAT test’ certificate.


  • Backstage areas. These vary greatly in terms of space and amenities available – if you have a specific need, e.g., lengthy warm up time or space, or ample storage for large props, a kettle etc… please advise in advance and remember that we must comply with fire and emergency evacuation requirements.
  • Staging. Please consider and ensure that the production managers are aware of your needs – as stages vary considerably in terms of space, side of stage storage, access points, treads, depth and width of staging, rake, position of curtains, legs etc.

Share the Love! Mutual support can be expressed online too! Social Media and shared promotion is important not only for sales but for team morale and in some cases, upholding our aim of social inclusion. We do our best to promote and nurture individuals and the genre, we really do appreciate any press, media or social media likes, loves and shares.

Our Facebook Page: https://www.facebook.com/mobtheatre/

We welcome feedback and constructive criticism. Please contact us if you’d like to help enhance our contract with further suggestions for inclusivity or with information on appropriate legislation.