Download “So, you wanna` be a Producer?!” Section 4.1

“SO, YOU WANNA’ BE A PRODUCER?!” SECTION 4.1
BUDGETING FOR THE COMMERCIAL THEATRE
INTRODUCTION
Budgeting is partly an art and partly a science. Much of the information needed for budgeting can be accurately
deduced but a certain amount can only be educated guesswork.
GATHER INFORMATION
Before attempting to budgetgather as much information as you can. This should include:
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An outline date schedule, showing the number of rehearsal weeks, get in days, rehearsal days on stage,
number of previews and the opening night.
Is the show to be produced directly into the West End, opened out of town and transferred to the West
End, opened out of town and toured, or toured and then transferred to the West End
What are the Author’s deals and who will make up the Creative Team
What is the size of the Cast, how many Understudies will be needed and what are the top salaries likely
to be. Will there be a Star on a percentage.
For a musical, the size of the Orchestra, the musical line up and will the Musical Director be included in
the line up or is he or she an extra person.
The make-up of the stage management and other technical departments, to include: Wardrobe and
Dressers, Wigs, Sound, Lighting and Follow Spots, Automation and Projection, Stage Staff and, if there
are children in the company, Chaperones.
What production staff will be needed - consult an experienced Production Manager
Will the show require the services of a General Manager
Consult with your lawyer, accountant and insurance broker on their likely levels of fees and costs
What Theatre will the show be suited to. Ideally get a ‘total seater’ from the Theatre on the basis of the
seat prices you expect to charge. Also try to establish the costs the Theatre will pass on to you (the
contra) and the level of rent you will be able to negotiate both before and after recoupment.
You need to have a clear idea of the scope of the physical production in terms of the set, props,
costumes, wigs, lighting, sound, special effects and any other areas which must be included in the
budget. This area of production budgeting requires some use of a crystal ball and more practically the
© Andrew Treagus
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advice of an experienced Production Manager. This area of budgeting will also have a very real influence
on the artistic scale and style of the production and needs careful consideration.
Take advice from a reputable theatre advertising and marketing company on their suggestions for
setting budgets in all areas of advertising, marketing, print, photographs and front of house display.
THE BUDGET
The sample outline budget on the next 2 pages is divided by columns to show:
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Production Costs, all costs which will be incurred in mounting the production up to the first paid
performance. Include also costs which cannot be classified as regular running costs, up to the Press
Night (e.g. the Press Night party).
Running Costs, all costs of running the production on a weekly basis. Be sure to include all costs which
cannot be classified as production costs.
Royalties, the weekly percentage payments to Authors, the Creative Team and the Producers, based on
the weekly net box office receipts.
Notes on the outline budget follow, and should help to explain what each line in the budget refers to.
© Andrew Treagus