What does a theatre producer actually do?

B y NellFrizzellIdeasTap 31/05/12
Everyone knows a theatre producer, but do we really know what they do? We
spoke to three successful practitioners to get the lowdown on what being a
theatre producer really means and how you can get ahead
An overview from start to finish
I dont like the term creative producing, says Julius Green, author of How to
Produce A West End Show, because all producers are creative by definition:
the y create the piece of theatre from the ground up. The producer puts
together the team of directors, designers and actors, books the theatre, issues
the contracts, raises the finance and builds the budget.
No two jobs are the same, says Roxanne Peak-Pa yne . Every time I start a
new job as a producer, I ask them what exactl y it is that the y expect because
its alwa ys different. In very loose terms, its an overview of the whole
production, from start to finish, across all areas.
Looking after the mone y
In the subsidised sector, the producer budgets for a deficit, hoping to attract
funding, while in the commercial sector you budget for a profit, hoping to
attract investment, argues Julius Green. Dont be scared of money. Money is
the fuel that we need to make it all work.
Never tell an yone what the full budget is, advises Roxanne. If Im doing
something for myself, I alwa ys build in a contingency of time and mone y
that no-one else knows about. However strict you are, something completel y
unpredictable always pops up.
Bringing people together
The ability to get on with people is hugel y important, sa ys freelance
producer Mark Cartwright. Your job as a producer is to be sure that you have
achieved the best possible result, for all the creative team and the audience.
Youre a very unifying figure, sa ys Roxanne. You have to make sure that
everyone is singing from the same hymn sheet. The director is obviously
central to the show itself, but as a producer youre responsible for peoples

journey to the show, whether the yre funders or audiences or cast.

Picking the right project
You get shows through a mixture of routes, says Mark. A lot of brilliant ideas
come through directors, but sometimes its something the producer has read or
commissioned. Sometimes it comes from an agent or just a friend.
Most people are scared of the administrative and financial elements, but thats
actuall y the easy bit, says Julius. The difficult bit is creating a piece of art.
There is so much work out there and so man y people wanting you to put their
work on. You should only produce something that you have a real passion for
and that you would personall y want to bu y a ticket for and go and see.
Problem solving
If there are any problems then I suppose it is the producers responsibility to
solve them, sa ys Mark. I suspect Ive always been the last person working on
every show that Ive done, right up to sorting out the wages and reconciling the
budget.
When it boils down, if there is going to be a bad guy, warns Roxanne, it will
probably be the producer. You will sometimes have to make hard decisions that
the director might not like."
Top Tips for theatre producers:
Dont let the relationship with the director become too casual or
unprofessional.
Go and watch rehearsals on agreed da ys; dont just drop in randomly.
If you have an y hidden talents from carpentry to speaking French you will
end up using them at some point in your career.

What Does a Producer Do?

We are often asked, What does a producer do? Does it mean you pa y for the
show?
Being the producer of a show involves much more than that. The short answer
is that the producer does everything. Here is the full story.
Choose the show
First, the producer must decide which show to stage. He or she must read
scripts, decide which one suits his resources and audience, and then appl y for
the rights.
Choose the venue
At the same time, dates must be booked at a theatre. The dates must be in
place before rights can be requested. The major rights holders also need to
know the size of the audience and the ticket prices. Their fees depend on the
theatre and ticket prices. The higher the ticket prices and the larger the venue,
the higher the ro yalty the y will charge.
Find the supporting crew
In addition to a director, a pla y will need sets, props, costumes, and a stage
manager. A musical will also need a choreographer, a vocal coach, a musical
director, and a rehearsal pianist. These people must be in place earl y in the
project.
Hold auditions
Auditions must be held to cast the pla y. Usually the director is in charge, but
the producer, choreographer, musical director, and vocal coach are often
involved as well. A date and place must be determined, the audition process
must be agreed upon, and the auditions must be announced and publicized.
Cast the show
This is usually the job of the director. Once the show has been cast, the
producer will announce the cast or notify cast members.

Begin rehearsals
Rehearsals begin after casting is complete. A rehearsal space must be
obtained and rented, and the director, choreographer, and vocal coach must
meet to create a workable schedule. The schedule must then be posted or
sent to the actors. In a perfect world, the schedule would be set for the
duration of the rehearsal period. However, in the real world changes are
necessary due to conflicting interests of actors, road closures, illness, or
simpl y because some scenes require more rehearsal time.
Tickets
Depending on the scope of the production, you can do several things. You can
simpl y collect money at the door, print and sell tickets yourself, or engage
someone to print and sell tickets for you. Whichever you choose, you must
arrange it.
Publicity
You must have a wa y to inform and entice audiences to come to the show.
Publicity includes designing, printing, and distributing posters; creating a
media ad campaign; sending out press releases; and anything else you can
envision.
Music
At some point you must decide what sort of music your pla y requires. Will you
pla y background music on a system in your venue? Will you hire a musician or
a complete orchestra? While others work as volunteers, musicians usually
must be paid for their services. The cost of a large orchestra or pit band can
be quite high.
Budget
A preliminary budget must be drawn up at the start of the process. Without it
you would have no wa y to determine what you need to charge to avoid going
into the red. Later in the process a final budget can be drafted. The budget
must take into account known costs, such as rental of a venue, flexible costs,

like costumes and props, and unexpected costs (if I knew what the y were, the y
wouldnt be unexpected). The budget must consider how many people you can
expect to come to the show. How popular will it be? There is a lot of guess
work here. If you are incorrect, you will probabl y lose mone y.
Sound and Lighting
You will need to rent lights and sound equipment, including microphones,
unless you own them yourself. Some venues provide lights and a technician to
run them. Sound is usuall y your responsibility.
Costumes, sets, props
As these items are being created, you will have to consult with the people in
charge. The director is also involved in the consultation. Since the budget is
not unlimited, the producer will have the final say on what is possible and what
is not possible.
Stage Crew
The stage manager will need a crew to help move sets and props into the
venue, to set each scene, and to remove the sets and props when the show is
over. The stage manager will meet with the director to go over the script and
cue all the changes. Then he or she will train the crew and supervise them
during the show. He or she is also responsible for seeing that actors are ready
for each scene and for giving the signal to start the show or the subsequent
acts. Its a HUGE responsibility.
Make-up and Hair
Will the actors be responsible for their own? Or will someone with expertise be
in charge of these tasks? Will you need to purchase supplies prior to the
show?
Program
Usually, a program must be designed and printed. Audiences are informed
about the pla y, credit is given to those who are both on and off stage, and

supporters are acknowledged. Usuall y the rights holder must have credit in the
program.
Front of House
The producer must also engage a front of house manager, ushers, ticket
takers, refreshment sellers at intermission, and so on.
Financial Management
As you can see, there are a lot of mone y transactions. Careful records of
expenses and revenue must be kept. Bills must be paid. People must be
reimbursed for expenses such as fabric for costumes, materials for
constructing sets, and many other items. Start up mone y is needed, although
many expenses can be put off until after the show. Onl y through meticulous
and sound practices can a theatre group expect to sta y in business.
When the show is over, when everything has been packed away or returned to
its owners, when all the bills are paid well, then the producer can sit back
and relax. Of course, he or she is probabl y alread y working on the next show!