After Gillian MacKenzie’s retirement last year, her assistant Sandra Wilson has followed in her footsteps as Dance Festival Organiser. This year’s Blackpool Dance Festival was her first being in charge and responsible for the smooth running of things, and has been a complete success. Despite her busy schedule she took time to speak to Sylvia Boerner during this year’s festival
How did you start working in this job?
“I am originally from Scotland, but I have lived in Blackpool since aged 15. I used to come with my parents for the illuminations. Then my parents moved here in order to start a business in the guesthouse industry. I now consider Blackpool ‘home’. Having worked for the Blackpool Tower for 18 years, where I met Gillian MacKenzie initially in my role managing the seating plans for the Junior Dance Festival, I joined her in 1996 at the Winter Gardens. I love the Tower, but having been there for 18 years I wanted to do something different. When the job here came up, I didn’t hesitate and took the opportunity. I was working on my first dance festival in 1996.
Now that you are in charge, does it feel any different?
“No, not really. It just runs as normally. We have been working to a certain format for a number of years and also as I do four Dance Festivals in a year (Junior, Sequence, the National and this being the fourth one), it is sort of a routine. You know what you do and when.”
Have you changed anything from when Mrs MacKenzie was there?
“No, I guess everyone has their personal input, their own way of working, but nothing drastic has changed in the overall format, because whoever is running it, just sticks with that. You might just have a different idea about something minor, some detail regarding the running of things behind the scene, but it would be something a festival goer or participants wouldn’t even notice.”
Could you take us through the preparations?
“Basically, the main bulk of work starts six months before, but within two weeks of the current festival finishing we send out next year’s details. The seating plan, for example is open from end of July. Then we work to a closing date for entries and we process that side of it. More and more people fax their entries through. This year, when we came back from the Junior Festival and the deadline for entries was closed, we had something in the region of 2,500 entries to process. When these are all put into the computer, we have to arrange the various competitions and work to a date as we have to get all the information down to the printer for the programme to be printed on time. On top of that, of course, we have all the internal schedules and the timetables to do; the tickets sales are on-going, so as I said, basically two weeks after this one, we are starting on next year’s festival already.
What do you consider the most challenging part?
“I would say to get everything ready on time, because you do have fixed dates and deadlines to work to. Entries close on April 1 and everything has to be at the printers on May 8. This can put on the pressure.”
What do you enjoy most?
“Obviously I do enjoy the run-up, but the festival itself is very special — the atmosphere, the people, meeting new people and when people thank you for everything you have done and you can see they’re thoroughly enjoying the outcome, that is really rewarding. It is obviously part of my job, but to hear from people that this makes a difference is always very nice.”
What is it like working for such an international audience of dancers?
“I think I am used to the vibe by now. I have previously organised a hair fair event, which was totally different. That was very hard work because you’re dealing with hairdressers. Dancers are very organised and disciplined especially as most of them are travelling from far away, they are usually very good with the dates and schedules and are very pleasant.”
