T
op Tips for a Writer Producing Theatre Lenore Rowntree
Finding a producer can be tough. A few of us co-wrote a piece of documentary theatre on the tricky subject of mental health. We intended to act too, and then everyone, myself included, got stage fright. But I got determined to see the play mounted. A steep learning curve and a lick of luck later, I became a first-time producer and director. Don’t wait to be ready. You’ll never be ready. Great things happen when you dive in. Don’t worry whether your play is relevant. Tapping into what is trendy is impossible; once you’ve figured out what’s “in,” it’s usually on its way “out.” If you’re interested, the rest will come. Beg for money. Grants. Grants. Grants. Find those that fit your project. Study websites and attend information sessions. Call or meet with granting officers, and pay attention to what you’re told. Hit all the items on the funder’s checklist, but also find a way to tell your story. Make sure your budget balances. Don’t tell the granting officer you don’t believe in grants, or that the project won’t happen if they don’t fund. And don’t sell yourself short—if you omit including a budget item for yourself as producer, it smacks of desperation. Funders want to support artists, not keep them in poverty. Spend longer writing your application than your limited patience thinks it can stand, and have a business-minded friend look over the budget. Keep begging. Theatre is expensive. If someone wants to help with a go-fund-me project, costume-making, advertising, or set design, let them. Look for partners to provide items you need (avoid sponsors out for themselves, e.g., those who want to market the homebrew kombucha you’re not set up to serve and will make a sticky mess). Do not hold yourself up to the altar of mainstage theatre with its quality sound, lighting and sets. Remember doing the Front Porch Players or Backyard Bards as a kid? Those productions worked out just fine. Find a Festival. The thing that let me produce with eight paid actors and a stage manager on a $4,000 grant was finding a friendly festival. The festival took care of some or all of venue, front of house, marketing (you’ll still need to spread the word), lighting, sound and ticket sales. Research festivals and find one that fits your production. Having a borderline ridiculous title is sometimes enough, especially if you’re going for a Fringe. Our title was SRO Stars. SRO
means single room occupant, which is how many people with disabilities live in Vancouver’s Downtown Eastside including the majority of the playwrights. We found the Heart of the City Festival. Our play was a match! Made in “the heart of the city.” Be afraid. It will motivate. You’re not crazy to be afraid. Double-check everybody’s availability, the props, advertising deadlines, and give as long a timeline as possible on rehearsal and production dates. Talk logistics every time you assemble to make sure all are still on board. If you’re running the sound or lighting system, keep checking it works as expected. BUT remember the Front Porch Players didn’t have any of this. Neither did the Backyard Bards. Hire the finest people you can afford. Don’t rely on your best friend’s kid’s drama teacher to round up kid actors. Experienced actors help immensely. Google “drafting a casting call.” Make your call enticing; tell your story so actors want to be involved. Don’t be shy to ask for headshots, and specify age, sex and other needed characteristics. The Vancouver Pubic Library has a free postings website. If possible, hire one person who’ll tell you everything you’re doing is great. Maybe your best friend’s kid’s drama teacher will come in handy after all. Be generous. Especially with the actors. Generosity with time, support and encouragement is important. Actors give a lot; if the role is emotionally demanding, it can come at a personal cost. Staged readings are effective and take the heat off the need to memorize. At some point get really mad. Not necessarily at someone—unless they deserve it—and then, take it back when you cool. But if you’re angry with a situation, it’s a sign. You won’t be able to grapple with it later. Have an after-party. Drink alcohol or kombucha. Budget for it, but not necessarily in the grant application. We are writing in difficult times, but more than ever the world is in need of content. Granting agencies still have funds, and many festivals are still occurring but reformatting. As always do your homework and find the matches that fit. Redo your budget to include expenses needed for adaptations, such as a videographer or more runs with smaller audiences. Don’t let the unknown undo you. 2020 Volume III ︱ WORDWORKS 15
