Download setting up a production

SETTING UP A PRODUCTION
THE ROLE OF THE PRODUCER
The role of the producer is manifold and diverse. In effect s/he will be responsible for making arrangements for every aspect of the
production in order to prepare it for presentation to the public on stage, subsequently managing it during the course of its production
run and finally making all necessary closure arrangements. Thus his/her many functions will include:1.
Acquiring the rights in the basic work from author, composer, collaborators, translators (if any), and owner of any underlying
rights e.g. in a film or novel from which a play or musical is being adapted.
2.
Engaging and commissioning any original or new writers to finish an uncompleted work or revise one which is supposedly
completed but is in need of a re-write, and acquiring the rights in their work.
3.
Finding and hiring a suitable theatre in a suitable location, possibly after a previous tryout or workshop production.
4.
Putting together and engaging the creative team of director, choreographer, set designer, costume designer, lighting
designer, sound designer, and also orchestrator if no acceptable orchestrations already exist. Also engaging a support team
of their assistants, supervisors and other production personnel where appropriate. Obviously in the case of a non-musical
play there will usually be no sound designer, orchestrator or sound engineer.
5.
Preparing a detailed budget relating to the estimated capital cost of mounting the production and, separately, the weekly
running expenses, with reasonable contingency reserves. Also preparing projections as to the time it will take to reach
recoupment and break even at different levels of theatre capacity.
6.
Raising the money which may involve private finance from "angels" or loan capital or a mixture of both and ensuring (on
professional advice) compliance with Financial Services & Markets Act 2000 regulations.
7.
Arranging the manufacture and purchase or hire of the physical assets of the production i.e. the stage scenery and props,
costumes and wigs, and any special equipment required.
8.
Putting together and engaging the cast of performers and understudies which may involve arranging and attending
auditions. Also, in the case of a musical, engaging musicians, conductor and musical director.
9.
Preparing a production schedule i.e. timetable for various things to be started or completed in readiness for scheduled
opening.
10. Dealing with advertising, publicity and promotion, both in advance of opening and during the run of the production, which
may involve the commissioning of special artwork and logo from a graphic designer.
11. Arranging with theatre management the opening of the box office for advance bookings, discussing and approving ticket
retailing arrangements with box office management.
© D Michael Rose
12. Arranging with printers for posters and "flyers" and other printed material such as special programme covers and "biogs" to
go in the programme.
13. Setting up special bank accounts for the production and retaining lawyers and accountants as appropriate.
14. Setting up internal accounts, admin’ systems and personnel for management of the production.
15. Arranging and holding rehearsals, including technical and dress rehearsals, band calls and stage management.
16. Opening night arrangements including the printing and issue of invitations to press, celebrities, persons connected with the
production etc; and arranging any opening night party.
17. Arranging with theatre manager and contractors for "get-in" and "fit-up" and, eventually,
for closure and "get-out".
18. Arranging for disposal, scrap, storage or return to hirer of the sets and costumes after closure.
19. Arranging with accountants for preparation of interim and final production accounts and royalty statements, distributions
to investors, payment of royalties, salaries and other expenses during the course of the production.
20. Arranging insurance cover and considering with brokers the level of cover and extent of insured risks required to be covered.
21. Maintaining close consultation with the creative team during preparation and rehearsals in
relation to artistic presentation, ensuring all elements are co-ordinated and everything
ready for opening.
22. Arranging for "house seat" disposals and return to box office of any that are unused.
23. Arranging special preview sales to charities, attending previews, and making any last
minute changes during the course of previews in light of audience reaction.
24. Monitoring the performances from time to time during the run of the production to
ensure quality is maintained.
25. Arranging for any subsidiary exploitation which may be appropriate, such as merchandising, motion picture, second class
licensing, cast album, subject to having acquired the relevant rights.
26. Negotiating contract terms of all the above, and liaison with lawyers where appropriate.
27. Generally sorting out the many unforeseen problems which inevitably arise in relation tothe above, and endeavouring to
keep the stage company happy and working at their best.
© D Michael Rose
28. Winding up the production after closure, and accounting to all relevant parties.
© D Michael Rose