Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
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: ● ● ● 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: ● ● ● Obtaining a theatre Organising auditions Finding rehearsal space Producer in consultation with the Director: ● ● ● 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: ● ● ● ● 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: - Costhea, Quai aux Briques 22, 1000 Brussels - The RSC Wardrobe 00 44 1789 205920 - El Dorado Chaussée de Wavre 137 1050 Ixelles - 02 512 96 05 - 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 - 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).