Download PRODUCERSMANUAL-1-1

Producers handbook
Workshop on behalf of the members of ACTS
The Brussels Shakespeare Society
The American Theatre Company
The Irish Theatre Group
The English Comedy Club
Etcetera
Brussels Light Opera Company
For further details go to: http://theatreinbrussels.com/portal/
1. THE BUDGET
PREPARING A DRAFT BUDGET
The important thing when preparing your budget is to ensure that the main fixed amounts featured
are as accurate as possible, for example: theatre hire, rehearsal space, poster design and fee etc.
Other aspects will inevitably be estimated costs but they too should be as realistic as possible and
reflect the true cost of your production. Although profit is not and should not be the main
motivation of any BSS production, and quality is an essential, it should be kept in mind that to fund
future performances it is important that each production should at the very least break even.
Where possible ask for written quotes including VAT thereby avoiding unexpected expenditures –
even if people offer their services for free there may be hidden costs (materials etc).
Please note that no contracts should be signed on any expenditure relating to this production
until your budget has been presented and approved by the Committee. Once a budget has
been approved by the committee, no further changes are permitted without the prior
agreement in writing of both the Chairman and Treasurer.
A.
EXPENDITURE
An draft template of a budget sheet – usually in excel
[name of group]
Production of ****** Date*******
Expenses
Budgeted/Estimated
Actual
Theatre Hire
Rehearsal space
Artwork design
Artwork Fees
Publicity printing of posters and flyers,
Mailing, Labels, Programmes, Advertising
Photographs
Set (construction, decoration, vehicle hire)
Properties (including furniture)
Lighting
Sound
Costumes
Make-up, Hair
Cast Party
Crew get-in refreshments
Contingency
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
€
TOTAL
Maximum
Income
Ticket sales (75% capacity @ 16 euros)
Average for ** performances
Programmes sales
Sponsorship
Adverts
TOTAL
€
€
INCOME OVER EXPENSES
€
€
B.
INCOME
Forecasted income for the budget should be taken from:
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Projected ticket sales: to calculate the ticket sales, forecast for 75% capacity for all
performances. The Committee offers a small discount for groups of students and a discount
to its members.
Programme Sales: calculate programme sales at 30% of your audience capacity. The cost
of the programme should ensure that the costs of printing and design are covered.
Advertising and Sponsorship: advertising in programmes can generate extra income,
especially if there is an advertisement opportunity relevant to the play. Sponsorship is also
a possibility.
APPROVAL AND IMPLEMENTATION OF THE DRAFT BUDGET
Once the budget is approved you may enter into any financial commitments necessary for your
production.
Ensure that all assistants and technicians know what the budget is for their particular area and
understand that they should not exceed it.
All contracts or other agreements for the supply of goods and services in return for payment must
be in writing and must be signed by the Society's Treasurer.
All payments in or out must be made to and from the Society's general account through the
Treasurer. Advances can be made available for anticipated larger bills.
All invoices you receive from suppliers of goods or services must be forwarded to the Treasurer for
settlement; no payments will be made without the relevant supporting documents. You may
ask suppliers to invoice the Treasurer directly if you wish, in which case please give the Treasurer
prior notice.
Any member of the cast or crew who makes agreed out-of-pocket payments must fill in a claim
form (annex A), which should then be sent to the Treasurer for settlement, along with either a
receipt or some other proof of payment.
CLOSING THE ACCOUNTS
This is handled by the group'a Treasurer so ensure that all your bills are with him within a
month after the performance.
Add any explanations or comments as necessary, and submit the closing account to the Treasurer.
Receipts for expenses should be gathered together, itemised, and put onto an expense sheet prior to
submitting to the Treasurer. Each group has their own Treasurer.
2. DUTIES OF THE PRODUCER
The responsibilities of the Producer include the following:
Jointly with the Director:
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●
●
Obtaining a theatre
Organising auditions
Finding rehearsal space
Producer in consultation with the Director:
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●
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Finding a Stage Manager (notes on stage management are attached)
Organisation/follow-up of publicity
Producing a programme
OBTAINING A THEATRE
(list of possible theatres)
The Studio
Warehouse Complex
69a rue Walheam
1030 Schaerbeek
Go info go to the English Language Theatre website (above)
The British School of Brussels Arts Centre (240 seats)
Leuvensesteenweg 19, Tervuren
Telephone 02 766 0430
The International School of Brussels (350 seats)
Kattenberg 19, 1170 Brussels
Telephone 02 661 4211
The Palais des Beaux Arts (Petite Salle)
Rue Ravenstein 23, 1000 Brussels
Telephone 02 507 8466/69
La Botanique (Rotonde)
26, rue Royale, 1210 Brussels
Telephone 02 218 3732
The Studio Theatre (60 seats, used for studio productions)
Rue Waelhem, 1030 Brussels
E-mail: Sue Botterell on [email protected]
The Scarabeuse Theatre (120 seats)
19-27 Rue Creuse, 1030 Brussels. This is a flexible space with the ability to transform into the
round, thrust or prosc. arch
The Bronks
Rue du Marché aux Porcs 15-17, 1000 Bruxelles -T 02 219 99 21 - F 02 219 75 54 - E
[email protected]
The producer is at all times free to suggest to the Committee alternative theatres they may
know or favour.
PERFORMANCE RIGHTS
You should ensure that for modern plays you have performance rights. Normally if the author has
been dead for over fifty years there are no performance rights to pay. Some plays do not allow
performance rights for amateur productions, so ensure that you have this before you audition, and
incorporate the cost into your budget.
AUDITIONS
Auditions should be announced two to three weeks prior to audition dates by the following means:
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Posting on the website along with venue/contact details and times;
Posting on the Group's Facebook page
An e-mail blast; (all groups have their own e-mail lists)
Follow up phone calls to those people you know may be interested in attending the
audition;
A Director cannot go into a play without being aware of who is available and who is suitable. This
is not pre-casting, it is common sense. It allows the Director to see whether he can put the play on
in the first place or whether he should look at something else or postpone.
There is always new talent which arrives at auditions and the Producer's task is to ensure any
nervous would be actor feels welcome enough to relax and participate.
The Producer should be present at all auditions to assist the Director at every level in the
casting of the play.
Possible audition spaces are:
The Warehouse
Rue Waelhem, 1030 Brussels
(see English Language Theatre website above)
De Kam Cultural Centre
Beekstraat 172, 1970 Wezembeek-Oppem
02 731 43 31
[email protected]
Holy Trinity, Christ Church
29 rue Capitaine Crespel
1050 Brussels
[email protected]
Espace Catastrophe
Rue de la Glacière 18
1060 Saint Gilles
Telephone: 02 538 1202
e-mail: [email protected]
www.catastrophe.be
Important Notes.
July and August and from around 18 December to 3 January are dead times in Brussels so avoid
those times. If going up in February, it is preferable to get your auditions done by late June so that
you can cast in time for the holidays and start work immediately everyone returns in September.
Everyone not cast is informed first, personally, as a matter of courtesy. Ensure that everyone at
the auditions fully understands the commitment required, such as dates of performance and a rough
rehearsal schedule. This will cut down on people having to back out later.
The Producer with the Director will also look for such backstage technical support necessary for the
successful running of the play.
A form should be prepared and handed out asking each person their preferred role or task
and their contact details, experience and availability (annex B).
REHEARSAL SPACE
The Warehouse
Rue Waelhem, 1030 Brussels
(Go to portal site above)
De Kam Cultural Centre
Beekstraat 172, 1970 Wezembeek-Oppem
02 731 43 31
[email protected]
Holy Trinity, Christ Church
29 rue Capitaine Crespel
1050 Brussels
[email protected]
Espace Catastrophe
Rue de la Glacière 18
1060 Saint Gilles
Telephone: 02 538 1202
e-mail: [email protected]
www.catastrophe.be
REHEARSALS
Before the rehearsals start the Producer (or director) will have informed everyone if they have been
cast or not and prepared a contact list with names, roles, and Tel. /email details.
The average rehearsal period is three to four months. The Director should prepare the rehearsal
schedule according to the information received at the auditions (annex B). It should include the
venue address and acts to be rehearsed on any given night for the entire period of rehearsal up to
and including performance. This should be distributed by the Producer or Director in good time for
the cast to prepare in advance for their rehearsals.
The contact details of the Director and Producer should also be included on the schedule. Amateur
theatre actors with the best will in the world may find themselves called into a late meeting or on
mission at short notice, they must be able to contact the Producer or Director should this happen.
It is extremely useful but not vital that the producer be present at each rehearsal – to take notes and
keep the cast informed. This can depend on the Director, as some will expect more support than
others. When contemplating taking on the producers’ role, this is something that should be agreed
between you and your Director in advance.
PUBLICITY
All publicity connected with the production must clearly state which group is running the
production and include their Logo.
The Group's Committee should be consulted on all designs for the publicity.
Most groups have some kind of publicity strategy, or even somebody who works exclusively on
publicity for each show. Below are some of the basics that are carried out for publicity.
All publicity should name the play, playwright or translator and include the venue, address, dates
and times of performances, ticket prices and box office numbers.
POSTCARDS
For distribution to the cast and crew – around 1500 copies
POSTERS
150 is the recommended number for printing. The Commission will take 70 to place in all
Commission buildings, and will place them three weeks prior to the first performance date; the
posters can be no larger than A3. This applies to all the other institutions. The Council will take
12, and the Parliament 10. None of these posters should have publicity logos on them. Ask the cast
and crew to assist in looking for poster sites.
Posters for Commission buildings must be in either A4 or A3 format. They cannot carry
advertising on them. Somebody from within either the Commission, Parliament or Council must
request that they be displayed.
POSSIBLE POSTER/POSTCARD SITES
Bookshops
Waterstones, Blvd Adolph Max*
Sterling Books, rue Fossé aux Loups*
Libraire des Etangs, 319 Chée d'Ixelles
European Bookshop, 8 rue du Luxembourg
The Reading Room, 503, avenue Georges Henri
Any newsagents/bookshops in Commission buildings
Various French and Flemish Theatre websites should be sent information on the play and a poster
by email if possible.
Bars
James Joyce
Hairy Canary
Kitty O' Shea's
Restaurants in the Parliament area – Place du Luxembourg
Restaurants in the Schuman area – Place Schuman
Shops
The Irish Shop
Stonemanor
Gyms
World Class
Brussels Information Office*
Commission Bureau d'Acceuil*
Also, any shops in the Commune near to the event itself.
Those marked with * will also take Postcards
Doctors Office
WEBSITE, NEWSLETTER AND FACEBOOK
Information on the production can be posted to the Group's website and facebook page before box
office numbers are finalised. Photos of rehearsals can also be posted to the sites as an "appetiser".
Ensure that all box office details are sent put onto the Website at least six weeks prior to the first
performance. Information should be included in any newsletters, and in the programmes of other
groups. Also ensure that postcards are left at theatres where other productions are taking place.
The show can be advertised on the portal website portal. To do this, send an e-mail to Conrad Toft
[email protected]
TTIMELINE
In order to ensure that production progresses in due time, try putting together a timeline (see
example below), and just work backwards from the date of performances:
Preparation period
Auditions
Set dates and run
audition notices on:
Website
newsletter
membership mailing
list
word of mouth
Rent rehearsal space
Notification
Notifications to
auditioners should
be sent out and cast
confirmed
Month One (***)
Month Two (***)
Month Three (***)
Rehearsal space
confirmed.
REHEARSALS
START
START OF MONTH
Cast list created and
distributed
Two evening a week
and one on the weekend
Pre-rehearsal text
analysis dates set if
required
Poster design
confirmed and sent for
printing
Poster circulated to
Commission
School pack prepared
and circulated to
schools
Pubs
Doctors office
Bookshops
Magazines
etc
Mont
Posters to g
Box office opens
Publicity goes out
BY THE END OF THE
MONTH
Sound effects should
have been chosen if
appropriate
Lighting effects
confirmed with the
lighting technician
POST PRODUCTION
All invoices should be handed to the treasurer for payment no later than 30 days after the end
of the production and, if possible, before the next committee meeting.
The set
The c
The make up
Front of h
PROGRAMMES
A print run on a ratio of a third of the audience plus 10% is recommended; the price should be
discussed with the Committee. The programme should include information on the Society, details
of our forthcoming events and the events of the other societies. For some plays it might be
appropriate to have a brief synopsis of the play is included in the programme which could, if you
felt it strictly necessary and according to space available, be translated into French and Dutch.
Advertising in the programme can be a very lucrative form of advertising – check with your group
if they have any regular advertisers that you can approach.
PRINTING
Ensure that the printers have sufficient time to provide the finished article. Discuss the planning of
it with them beforehand so that there are no delays.
BOX OFFICE
If you do not have anyone available to set up box office, speak to the relevant Committee who may
be able to assist. It is recommended to have at least one telephone number, and one e-mail account
and the website to deal with box office. Ensure that the box office is prepared to start accepting
reservations as soon as your publicity is officially sent out. Ensure that the box office team liaise
with one another each day to ensure that overbooking does not occur. A daily report of ticket sales
should also be sent to the Treasurer so that he can keep track of money coming into the bank
account. If you are unsure about setting up an e-mail account speak to Deborah Griffith. Also, do
not forget that at least one member of the box office team will need to be available throughout the
nights of the run.
3. OTHER MATTERS
SET CONSTRUCTION
The Director, and set designer must plan the set needed for the production. The producer should
then liaise between the Director and the set designer/builder on the construction of the set.
To build the set the workshop in the Warehouse may be available but is often oversubscribed by
other groups. Speak to Sue Botterell on [email protected].
PROPERTIES
Each production will require a certain number of properties. A list of necessary props should be
compiled by the Director and the Producer should liaise with the props person(s) to ensure their
availability – preferably during the rehearsal period.
There is a large amount of furniture available in the basement of the Warehouse which is available
for hire, and a large number of props in the attic. The BSS and BLOC have their own separate
storage facilities containing both props and costumes.
LIGHTING/SOUND
There is an acute shortage of lighting technicians in Brussels. If you have difficulties finding
someone consult the Committee for suggestions.
COSTUMES
There are a large number of costumes stored at the Warhouse, and the BSS and BLOC have their
own stores. This is normally borrowed on a reciprocal basis. All items should be returned in good
order and in a timely manner.
For hiring costumes we have also used:
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Costhea, Quai aux Briques 22, 1000 Brussels
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The RSC Wardrobe 00 44 1789 205920
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El Dorado Chaussée de Wavre 137 1050 Ixelles - 02 512 96 05
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ABCD, Rue du Viaduc, 118-122, à 1050 Bruxelles - 02 502 33 33 (tél/fax/répondeur) un
courriel : [email protected] - un site : http://www.abcd-theatre.be
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Both BLOC and the ECC also have costumes available for rent.
MAKE-UP AND HAIR
Each Group keeps their own make up boxes, and they will have a responsible person available to
replenish them.
The Hair Club gives a 10% discount to drama groups, telephone 02 511 4193.
FRONT OF HOUSE
The Producer should find someone to run front of house who will then organise their own team.
The basic responsibility of the person in charge of Front of House is to look after the audience.
Front of House assists Box Office and oversees Programme Sellers and the Bar (if self managed),
making sure that people can find their seats etc. Front of House must work closely with the Stage
Manager, with regard to Curtain Up. Front of House should be the last to leave the auditorium and
ensure that the auditorium is tidy and prepared for the next performance.
Should there be an accident or a fire, then Front of House along with the stage manager should be
able to organise assistance and, in the worst case scenario, evacuation. Fire door locations should
be identified, noted and checked to be sure they open easily.
INSURANCE
Each group is insured individually, normally covering equipment and audience members.
Volunteer actors are presumed insured by their primary insurers. When hiring a theatre do also
check over their own insurance coverage, and check whether you are fully covered for anything you
may be doing on stage (for example, using fire on stage).