Production Manager
BEMIDJI COMMUNITY THEATRE
INFORMATION FOR PRODUCTION MANAGERS
This document seems intimidating,
but at least 18 members of BCT have carried out these responsibilities and survived.
Eight of those gathered for discussion and created this list.
November 30, 1999
BIGGEST PROBLEMS FACED BY PREVIOUS PRODUCTION MANAGERS
Communication with members of the hierarchy, actors, and tech crew. (mentioned by 6 advisors).
Recruiting people for the various production assignments.
Getting volunteers to say "yes". It is not good to keep going back to the same ones. Volunteers
need cajoling to say "yes". Perhaps having more people helping to do the recruiting would be
less stressful to a new Production Manager.
Clear Expectations.
Connecting with the Stage Director for their wants and needs.
Checking and re-checking with the people in specific jobs.
Production staff who assure you that they haveeverything under control, but who wait till the last
minute, and then feel overwhelmed, thus 'dumping" onto others. Check with everyone regularly.
IMPORTANT WARNINGS
Don't assume that something will be done. Be aware, check and re-check, - try not to be nasty.
(mentioned by 5 advisors)
Beware of TIME. It is your biggest enemy. One moment, you have weeks and weeks, the next
moment, everything has to get done.
Do not underestimate the amount of time it will take to do this job, nor overestimate the amount of
time available before opening night.
Do not procrastinate. You may be able to work best when you are up against a deadline, but it will
make your co-workers very uneasy.
Don't try to do the Stage Director's job.
Learn to know the people you are working with.
Keep talking constantly to everyone with whom you are working, to minimize abrasive interfaces
between the people involved with the show.
There may be times you have to replace someone on the production staff in order to get things
done.
Don't try to take on all problems byyourself. If you need help, make some phone calls.
"Cover your backside". Don't leave yourself exposed to the results of failures-to-perform by those
whom you are supervising.
"The Buck Stops Here".
Remember that these multiple responsibilities are spread over 7 to 10 weeks. Pace yourself, you
are only human! !
FIRST THINGS TO TEND TO
Who is obtaining the scripts? Are there enough? When will they arrive?
Meet with the Stage Director. Sort out the role each of you will be responsible for.
(mentioned by 3 advisors)
Be sure that arrangements are being made for auditions. (mentioned by 6 advisors) (see below)
Outline when and where various things will probably happen, depending upon all the limitations
which may impinge and restrict the ideal conditions.
Assure yourself of arrangements (by yourself or others) for rehearsal space.
Assure that make-up supplies are on-hand or ordered in appropriate quantities, far ahead of need.
Assure yourself of a Stage Manager, and a Publicity Manager. Publicity makes or breaks a show.
A Stage manager can be your best defense against panic.
Make sure that people recruited for various jobs know whom to consult when a roadblock happens.
Have an answering machine, or a convenient way for people to reach you.
Get the phone numbers of everyone connected with the show.
WHAT POSITIONS MUST BE FILLED ON THE PRODUCTION STAFF
You are the person who sees to it that all jobs have someone to do them.
If you are stuck, or overwhelmed, recruiting these folks, ask the BCT president for help, quickly.
Be prepared to cajole, encourage, empower the candidates.
Be forewarned, guilt-motivated recruits may do a minimal quality of work.
Those who need assistants or a crew of workers usually recruit their own, tho you frequently help
by advertising the need for such helpers.
Those with an "*" are not necessary for every show
Those with an "#" frequently combined with another related assignment
ARTISTIC BACKSTAGE FRONT OF THE HOUSE
choreographer * stage manager ticket sales manager
costume manager construction foreman # box-office manager
set design running-crew foreman * publicity manager
lighting design & hang dressing room concierge * house manager
properties manager light board operator # tabloid/program editor #
rehearsal pianist * sound board operator # poster artist *
dance captain * prompter ("on book") photographer *
make-up advisor lobby display *
sound design & record * shirt & photo agent #
back-up workers who are trained for
sound and light boards
are very important, the show can't run without these operators
MANAGING AUDITIONS
This is really the Stage Director's party, you are just the "caterer". So find out what the Director
needs and wants.
Arrange a convenient location.
Schedule a variety of times, various days.
They must be well advertised: - news stories, news ads, mailed flyers, posters in public places, etc.
Use the Cass Lake newspaper also for recruiting in that community.
Advertise in places where the sort of actors needed will be found (schools, music groups, etc.)
Include a synopsis and a description of the characters needed.
Probably you will need to attend to publicizing auditions, because your publicity manager will not
yet be selected.
Scripts can be placed on reserve in the Bemidji Public Library, for people to read in advance.
Have scripts on hand, or plenty of xeroxed copies of useful portions of the script.
A business-like flow of applicants, and the appearance of fair treatment, are very necessary.
Auditions need a Matre-de, or a hostess, to deal with arriving candidates. If you fill that role, then
actors will get used to seeing you as a responsible part of the production.
WORKING WITH YOUR PRODUCTION STAFF
(many advisors expressed these ideas in several ways - these comments are a summary)
Encourage constant communication between all staff members and with the actors.
Be sure the Stage Director and the artistic support staff are forging agreement as to what is needed.
If music or dance is involved, help develop a rehearsal schedule which works for everyone.
All communication cannot be thru "your switchboard". So you should determine with everyone
involved (as situations arise) the sensible channels for intercommunication on various topics.
Use tact.
Be positive and offer support.
If things are going satisfactorily, "Get out of their way".
Good management practice is to deal with problems in private. Also, don't keep a lot of people
waiting and idle while you have a discussion with one person. Pick appropriate conditions.
You are a cheerleader and also a peacemaker, and sometimes a shoulder to cry on.
You need to be a "buffer" between people who cannot co-exist. This isn't a life-long marriage, it
is at most an 8 or 10 week process. We just need to live thru it without letting it blow up.
Personality conflicts between cast members are the Stage Director's problem. But you are the
emergency "back-up".
Frequently we need to arrange for "outsiders" to design, hang and focus lighting. Sometimes we
need such help in other areas, such as musicians. Their duties, time schedules, and
compensation should be clearly defined in advance. This is easy to say, but difficult to
accomplish. Artistic types generally resist being pinned-down. Concentrate on defining the
most important parameters, and let the details of how the work is to be done be left to the
individual.
Keep yourself "on top of" the process, so that tough situations don't become unmanageable.
But figure out ways to do this without becomming a "pest".
Keep everyone moving along in rhythm with the over-all time-line.
Create your own time-line for major steps along the way. Communicate it clearly to your workers,
so they know what is needed. If you don't have a plan, why should they have their own plan?
Make every attempt to prevent production problems from distracting the Stage Director and the
actors. They need to be able to keep focused on their performances.
Have the courage to make necessary decisions, after short but thorough research.
Go quickly to the BCT President or Board if you need help.
Repeatedly thank people for what they are doing to help the show.
BUDGETING
Start by asking the Board what the limitations and expectations are.
Inform each of your staff what their department has available to work with.
Costumes, Scenery, Props, Publicity are the people who do the most discretionary spending.
You may need to hire technical lighting work, or musicians.
Work with the BCT treasurer about getting the bills paid.
There is always a conflict between "keep the costs down" and "create the best show possible".
Make $50 or $100 decisions yourself, talk to the BCT President about the $500 or $1000 kind.
DEALING WITH THE LANDLORD OF THE PERFORMANCE SPACE
(many advisors expressed these ideas in several ways - these comments are a summary)
Be cognizant of the landlord's needs as well as BCT's needs.
Assure yourself that you know and understand schedules and limitations about access to the
building, rehearsing, set building, dressing rooms, who can operate lights and sound (and how
they get trained, if that is needed), and cleaning-up after ourselves.
Arrange who representing the landlord (andwho representing BCT) is in charge of opening and
locking doors. And also how to quickly arrange changes in prior plans.
If we are at the Paul Bunyan Playhouse, keep asking till you get a written contract.
We make every effort to cooperate with our landlord if they have a need to use their own space on
one or two occasions while we are in production. But we don't want to jeopardize the quality or
availability of our show.
Constantly guard against sudden surprises, they upset the focus of our artistic people and detract
from the quality of the show.
Follow-thru on all our obligations and promises. You represent all of BCT, and our reputation as a
very 'positive" group is valuable to us.
MANAGING MORALE BOOSTERS
(many advisors expressed these ideas in several ways - these comments are a summary)
Photos for the tabloid publicity/program must be taken at least 4 weeks before opening.
Deciding whether or not to have sweat/tee shirts must be done about 4 weeks before opening, so
the vendor can order the garments, and do the printing in time for actors to wear the shirts as
advertising before the show opens. Order a few spare shirts, someone will buy them.
Arrangements for lobby refreshment sales must be made several weeks before the house manager
begins duty. So you need to be involved. Scout and church groups are usually invited to sell.
We have never used a "pot-luck" rehearsal just before opening, but the HiSchool does that
effectively.
Arrangements need to be made for a competent photographer to take 15 - 30 shots of stage scenes
after one of the first performances. No-one enjoys staying late for this, but it's a necessity.
Agree with photographer how copies of stage scenes will be ordered and distributed.
Money for shirts and photos, both getting from vendors and selling to participants, should be run
thru the BCT checkbook, to avoid any thoughts that there is mismanagement of the money.
Talk to the BCT treasurer.
Do not give anyone shirts or photos before the customer has paid. Deliver promptly after payment.
How about having the poster artist come to autograph copies for the actors and staff?
Informal gatherings of those who wish to participate after rehearsals or performances at restaurants
or pubs can be encouraged. But watch out for a lot of public planning about private parties of
cliques at private locations. Such gatherings should not be widely discussed, lest those not
invited feel rejected.
A cast and crew (and spouse) party on a late afternoon or evening at the end of the show's run puts
a gratifying final punctuation on the total effort. Plans need to be appropriate for ages and
number of people involved. Large homes, or church basements are frequently used. Who will
provide needed items, who will take care of setting-up. Arrange timing so that the crew placing
scenery back into storage are not forced to arrive late.
AS THE PRODUCTION WINDS DOWN
Arrangements to "strike" the show must begin several days before the closing curtain.
Confirm what the expectations of the "landlord" are about schedule of removal of stuff.
Instructions to actors and production staff must be announced.
Ways of getting all possessions and supplies back to where they belong must be planned.
Transportation of large items, and of scenery, must be arranged.
THANK-YOUS TO ALL
WHO CONTRIBUTED EFFORT, OR SKILL, OR STUFF, ARE VERY IMPORTANT
Communication with members of the hierarchy, actors, and tech crew. (mentioned by 6 advisors).
Recruiting people for the various production assignments.
Getting volunteers to say "yes". It is not good to keep going back to the same ones. Volunteers
need cajoling to say "yes". Perhaps having more people helping to do the recruiting would be
less stressful to a new Production Manager.
Clear Expectations.
Connecting with the Stage Director for their wants and needs.
Checking and re-checking with the people in specific jobs.
Production staff who assure you that they haveeverything under control, but who wait till the last
minute, and then feel overwhelmed, thus 'dumping" onto others. Check with everyone regularly.
IMPORTANT WARNINGS
Don't assume that something will be done. Be aware, check and re-check, - try not to be nasty.
(mentioned by 5 advisors)
Beware of TIME. It is your biggest enemy. One moment, you have weeks and weeks, the next
moment, everything has to get done.
Do not underestimate the amount of time it will take to do this job, nor overestimate the amount of
time available before opening night.
Do not procrastinate. You may be able to work best when you are up against a deadline, but it will
make your co-workers very uneasy.
Don't try to do the Stage Director's job.
Learn to know the people you are working with.
Keep talking constantly to everyone with whom you are working, to minimize abrasive interfaces
between the people involved with the show.
There may be times you have to replace someone on the production staff in order to get things
done.
Don't try to take on all problems byyourself. If you need help, make some phone calls.
"Cover your backside". Don't leave yourself exposed to the results of failures-to-perform by those
whom you are supervising.
"The Buck Stops Here".
Remember that these multiple responsibilities are spread over 7 to 10 weeks. Pace yourself, you
are only human! !
FIRST THINGS TO TEND TO
Who is obtaining the scripts? Are there enough? When will they arrive?
Meet with the Stage Director. Sort out the role each of you will be responsible for.
(mentioned by 3 advisors)
Be sure that arrangements are being made for auditions. (mentioned by 6 advisors) (see below)
Outline when and where various things will probably happen, depending upon all the limitations
which may impinge and restrict the ideal conditions.
Assure yourself of arrangements (by yourself or others) for rehearsal space.
Assure that make-up supplies are on-hand or ordered in appropriate quantities, far ahead of need.
Assure yourself of a Stage Manager, and a Publicity Manager. Publicity makes or breaks a show.
A Stage manager can be your best defense against panic.
Make sure that people recruited for various jobs know whom to consult when a roadblock happens.
Have an answering machine, or a convenient way for people to reach you.
Get the phone numbers of everyone connected with the show.
WHAT POSITIONS MUST BE FILLED ON THE PRODUCTION STAFF
You are the person who sees to it that all jobs have someone to do them.
If you are stuck, or overwhelmed, recruiting these folks, ask the BCT president for help, quickly.
Be prepared to cajole, encourage, empower the candidates.
Be forewarned, guilt-motivated recruits may do a minimal quality of work.
Those who need assistants or a crew of workers usually recruit their own, tho you frequently help
by advertising the need for such helpers.
Those with an "*" are not necessary for every show
Those with an "#" frequently combined with another related assignment
ARTISTIC BACKSTAGE FRONT OF THE HOUSE
choreographer * stage manager ticket sales manager
costume manager construction foreman # box-office manager
set design running-crew foreman * publicity manager
lighting design & hang dressing room concierge * house manager
properties manager light board operator # tabloid/program editor #
rehearsal pianist * sound board operator # poster artist *
dance captain * prompter ("on book") photographer *
make-up advisor lobby display *
sound design & record * shirt & photo agent #
are very important, the show can't run without these operators
MANAGING AUDITIONS
This is really the Stage Director's party, you are just the "caterer". So find out what the Director
needs and wants.
Arrange a convenient location.
Schedule a variety of times, various days.
They must be well advertised: - news stories, news ads, mailed flyers, posters in public places, etc.
Use the Cass Lake newspaper also for recruiting in that community.
Advertise in places where the sort of actors needed will be found (schools, music groups, etc.)
Include a synopsis and a description of the characters needed.
Probably you will need to attend to publicizing auditions, because your publicity manager will not
yet be selected.
Scripts can be placed on reserve in the Bemidji Public Library, for people to read in advance.
Have scripts on hand, or plenty of xeroxed copies of useful portions of the script.
A business-like flow of applicants, and the appearance of fair treatment, are very necessary.
Auditions need a Matre-de, or a hostess, to deal with arriving candidates. If you fill that role, then
actors will get used to seeing you as a responsible part of the production.
WORKING WITH YOUR PRODUCTION STAFF
(many advisors expressed these ideas in several ways - these comments are a summary)
Encourage constant communication between all staff members and with the actors.
Be sure the Stage Director and the artistic support staff are forging agreement as to what is needed.
If music or dance is involved, help develop a rehearsal schedule which works for everyone.
All communication cannot be thru "your switchboard". So you should determine with everyone
involved (as situations arise) the sensible channels for intercommunication on various topics.
Use tact.
Be positive and offer support.
If things are going satisfactorily, "Get out of their way".
Good management practice is to deal with problems in private. Also, don't keep a lot of people
waiting and idle while you have a discussion with one person. Pick appropriate conditions.
You are a cheerleader and also a peacemaker, and sometimes a shoulder to cry on.
You need to be a "buffer" between people who cannot co-exist. This isn't a life-long marriage, it
is at most an 8 or 10 week process. We just need to live thru it without letting it blow up.
Personality conflicts between cast members are the Stage Director's problem. But you are the
emergency "back-up".
Frequently we need to arrange for "outsiders" to design, hang and focus lighting. Sometimes we
need such help in other areas, such as musicians. Their duties, time schedules, and
compensation should be clearly defined in advance. This is easy to say, but difficult to
accomplish. Artistic types generally resist being pinned-down. Concentrate on defining the
most important parameters, and let the details of how the work is to be done be left to the
individual.
Keep yourself "on top of" the process, so that tough situations don't become unmanageable.
But figure out ways to do this without becomming a "pest".
Keep everyone moving along in rhythm with the over-all time-line.
Create your own time-line for major steps along the way. Communicate it clearly to your workers,
so they know what is needed. If you don't have a plan, why should they have their own plan?
Make every attempt to prevent production problems from distracting the Stage Director and the
actors. They need to be able to keep focused on their performances.
Have the courage to make necessary decisions, after short but thorough research.
Go quickly to the BCT President or Board if you need help.
Repeatedly thank people for what they are doing to help the show.
BUDGETING
Start by asking the Board what the limitations and expectations are.
Inform each of your staff what their department has available to work with.
Costumes, Scenery, Props, Publicity are the people who do the most discretionary spending.
You may need to hire technical lighting work, or musicians.
Work with the BCT treasurer about getting the bills paid.
There is always a conflict between "keep the costs down" and "create the best show possible".
Make $50 or $100 decisions yourself, talk to the BCT President about the $500 or $1000 kind.
DEALING WITH THE LANDLORD OF THE PERFORMANCE SPACE
(many advisors expressed these ideas in several ways - these comments are a summary)
Be cognizant of the landlord's needs as well as BCT's needs.
Assure yourself that you know and understand schedules and limitations about access to the
building, rehearsing, set building, dressing rooms, who can operate lights and sound (and how
they get trained, if that is needed), and cleaning-up after ourselves.
Arrange who representing the landlord (andwho representing BCT) is in charge of opening and
locking doors. And also how to quickly arrange changes in prior plans.
If we are at the Paul Bunyan Playhouse, keep asking till you get a written contract.
We make every effort to cooperate with our landlord if they have a need to use their own space on
one or two occasions while we are in production. But we don't want to jeopardize the quality or
availability of our show.
Constantly guard against sudden surprises, they upset the focus of our artistic people and detract
from the quality of the show.
Follow-thru on all our obligations and promises. You represent all of BCT, and our reputation as a
very 'positive" group is valuable to us.
MANAGING MORALE BOOSTERS
(many advisors expressed these ideas in several ways - these comments are a summary)
Photos for the tabloid publicity/program must be taken at least 4 weeks before opening.
Deciding whether or not to have sweat/tee shirts must be done about 4 weeks before opening, so
the vendor can order the garments, and do the printing in time for actors to wear the shirts as
advertising before the show opens. Order a few spare shirts, someone will buy them.
Arrangements for lobby refreshment sales must be made several weeks before the house manager
begins duty. So you need to be involved. Scout and church groups are usually invited to sell.
We have never used a "pot-luck" rehearsal just before opening, but the HiSchool does that
effectively.
Arrangements need to be made for a competent photographer to take 15 - 30 shots of stage scenes
after one of the first performances. No-one enjoys staying late for this, but it's a necessity.
Agree with photographer how copies of stage scenes will be ordered and distributed.
Money for shirts and photos, both getting from vendors and selling to participants, should be run
thru the BCT checkbook, to avoid any thoughts that there is mismanagement of the money.
Talk to the BCT treasurer.
Do not give anyone shirts or photos before the customer has paid. Deliver promptly after payment.
How about having the poster artist come to autograph copies for the actors and staff?
Informal gatherings of those who wish to participate after rehearsals or performances at restaurants
or pubs can be encouraged. But watch out for a lot of public planning about private parties of
cliques at private locations. Such gatherings should not be widely discussed, lest those not
invited feel rejected.
A cast and crew (and spouse) party on a late afternoon or evening at the end of the show's run puts
a gratifying final punctuation on the total effort. Plans need to be appropriate for ages and
number of people involved. Large homes, or church basements are frequently used. Who will
provide needed items, who will take care of setting-up. Arrange timing so that the crew placing
scenery back into storage are not forced to arrive late.
AS THE PRODUCTION WINDS DOWN
Arrangements to "strike" the show must begin several days before the closing curtain.
Confirm what the expectations of the "landlord" are about schedule of removal of stuff.
Instructions to actors and production staff must be announced.
Ways of getting all possessions and supplies back to where they belong must be planned.
Transportation of large items, and of scenery, must be arranged.
THANK-YOUS TO ALL
WHO CONTRIBUTED EFFORT, OR SKILL, OR STUFF, ARE VERY IMPORTANT