LynchPin is about enabling work. Our production work serves an underlying desire to make it possible for theatre practitioners to work when there is no Work, to share ideas, develop their skills, extend their practice, expand their cv. The four aspects of our performance-based work ensures that there is usually something going on for which we need actors and/or technicians on a short-term basis.

ScripTease: these monthly events generate a consistent need for actors who want to develop their reading skills and who have a couple of evenings free to rehearse and one other to perform.

Artifice works regularly but not consistently. While we do work in theatres, for the most part we are not in the business of imitating spaces, but in inhabiting them. This means that with each new venue there is a new layout: entrances and exits will be in different relation to each other, the audience layout will be different – and the actors need to be fluid enough to work with and around these movable factors while retaining connection with character(s) and text. Audiences occupy the same space as you do, so you can play with them and off them. So we look for actors who are interested in:

  • work with classical text
  • increase their flexibility
  • work with a repertoire of three or four characters/plays
  • not be thrown because your scene partner is different this time around
  • be open to requests to re-create a character if a new booking comes in
  • work in close relationship with audiences
  • work in beautiful spaces in a very particular kind of ‘site specific’ performance

MainStage and One-bi-One productions are more occasional, and more conventional.

One-bi-One shows by definition tend to be one- or two-handers and, like Artifice shows, once established can be pulled ‘out of the bag’ when venues are interested.


Associate Artists

The status of Associate Artists is available to practitioners who have demonstrated their commitment to LynchPin’s work over a period of time. It provides access to development space and time, plugs the artist into the running of the Company, and provides opportunities to increase learning and awareness about small-scale theatre.



To date only one MainStage show has received funding: Consider This …. When this happens, we employ actors and crew according to ITC guidelines.

For the rest, we work with artists as self-employed sub-contractors. We can’t pay for rehearsing – yet, but we hope the benefits of working with us are not merely financial, and we live in hope that increased work will generate healthier funding.

Payment for performances depends on the nature of the contract we’re working with. Wherever possible Artifice charge fees to perform, though we also work on box office splits. As much of the income for a show will be passed on to cast and crew as can be afforded by the Company. Help with transport costs will be provided when donation funds allow.

ScripTease box office takings are split with the cast on a 40/60 basis, with the 40% going to the Company to cover costs, and the 60% being divided amongst the cast.

Takings are clearly dependent on attendance – even where we are charging a fee, future bookings are more likely if the venue or event has been financially successful. We depend on social media for most of our marketing, and we hope all our artists will spread their enthusiasm as widely among their Facebook, Twitter, Instagram, circles as possible.