INTERVIEW: Mike Sarna, Royal Museums Greenwich

Mike Sarna has worked in museums for 25 years and is the Director of Collections & Public Engagement at Royal Museums Greenwich. While launching the new Samuel Pepys exhibition which opened last week, he found a spare minute to let us interview him. 

Firstly, we would love to know, what is your process for determining what exhibitions or stories the public are likely to engage with?

     We have developed a five year rolling plan for exhibitions.  We started the process off with an “Ideas Forum” allowing all areas of the museum to contribute ideas.  We then shortlisted some ideas working with both our research and commercial divisions and tested ideas with audiences.  To keep things a bit “fresh” and interesting we pulled together teams to develop “movie pitches” (as we called them) to ensure the core idea was interesting, audience focused and dynamic.  We have also applied outside creative catalysts to various projects, hence our very recent interesting collaboration with Punchdrunk Theatre – Against Captain’s Orders. Those are the special exhibitions. Permanent galleries are a bit different and stem from our core master narrative themes.  We currently are developing  four new galleries opening in 2018 at the National Maritime Museum – our Endeavour Project.

 
Does the provenance of an object alter your decisions on display?
     Yes. The authentication is, I feel, the most interesting part.  Our most iconic object - Nelson’s uniform - was owned by Emma Hamilton and surrendered as payment of her debt’s.  This provenance history will feature in our upcoming Seduction and Celebrity: The Spectacular Life of Emma Hamilton exhibition that will open in November 2016. 

What do you look for when appointing an exhibition designer?
     We like to see designer’s passion for the subject – with that passion manifested in the design.  It’s also about the good fit with our working teams – ensuring a good relationship is key.  Designer’s must ensure they are listening and not just transmitting ideas.

How does the Royal Museums of Greenwich measure visitor engagement?
     All the usual methods – surveys across our sites, front-end work to inform and summative to assist us in the future.  What we don’t do too well though is measure our lasting impact.  We hope that our projects are transformative – I would love to be able to understand that with more continued evaluation with our visitors.

What forms of new technology do you think work particularly well for museums and exhibitions?
     Frankly, I think all new technologies are fraught with risk – sometimes we will take that chance other times I can “shy away” from the “latest greatest”.  Our mantra which I borrowed from a tech friend is “innovation in ideas and not technologies”.  The acknowledgement that tech is a tool (sometimes it can be a distraction).  Digital only works when it is seamless.  When it is seamless it feels like magic.
 
How do you think UK Museums and our many free entry points compare to museums in the States? Does paying to enter a museum make for a better consumer experience?
     Charging, doesn’t limit engagement to those who value and appreciate museums, but definitely does so for those on the threshold.  It’s a barrier for underserved communities and threatens enjoyment by the full community.  It also pits us against a variety of other paid activities – people have choices, especially in hard times of what to do with their entertainment money.  In the States, where charging is pretty universal,  a certain commerciality has crept into the offer, attempting to tempt punters in.  The “products” that are brought in are sometimes based on Hollywood movies and can be a bit frightening.  Touring U.S. museums now is The Hunger Games Exhibition.  My goodness I hope we never go there.
 
How do you ensure that you deliver an exhibition on time and on budget?
     I’m a big Prince 2 fan.  Portfolio management of our five year exhibitions programme with project management to each exhibition – PID to closure monitored through a project board process.  I find great comfort in process – it’s all about getting those concerns heard, addressed and moving it all forward.