Andrew Joy and Professor Jeffrey Martin, Division of Design and Production
This creative project compared two case studies in theatrical producing. Simply put, being a producer is being in charge of finding the material to produce (i.e. a play, musical, dance program etc.), making all arrangements to put that material on stage, and being financially responsible for the project from the beginning to end. Commercial theatre “operates without subsidy and is centered in New York City.1” Other types of theatre that were a part of this project were non-profit, regional, community and educational theatre but will be referred to as non-profit theatre.
The first case study was a student-produced musical theatre production performed at BYU. Merrily We Roll Along was performed March 12-17, 2012 in the Margetts Theatre of the Harris Fine Arts Center. As the producer I organized budgets, assembled the creative team, and obtain rights and rehearsal spaces. I began the process in March 2011 and after a year’s worth of work we sold out every performance.
The second case study was a seminar sponsored by the Commercial Theatre Institute (CTI) in New York, the industry’s leading training and professional development program. CTI’s website described one major aspect of the seminar as “an in-depth case study that will call upon the production team, the cast, and the creatives of a currently running Broadway show to share its history and development.2”
The culminating event of this project was a presentation of the conclusions at a Theatre Media Arts Departmental forum held Thursday, October 4, 2012. Based on my findings I presented easy tactics that non-profit producers could utilize that would help them be more financially wise. The costs of producing theatre have risen dramatically in past years making it difficult to produce new projects. In areas where funds are small or even non-existent, such as student works, it makes it nearly impossible. By comparing the marketing structure and budget of student-produced theatre and commercial theatre, we better understand how to be financially wise but still marketable. The aspects learned from commercial theatre are implemented, maintaining focus on the art but also becoming more financially self sustaining. Understanding these aspects helps to keep the arts alive in the university setting and the community.
During the forum I defined what a producer does from a commercial stand point. As we discussed each item with the aid of a power point, I compared the commercial definition with a non-profit or educational definition. For example we discussed the structure of a commercial show and the structure of a non-profit organization. Every commercial show is a separate Limited Liability Company. This means that it is its own company complete with investors, a president (or lead producer) and mission. When the show closes its commercial run, the company is dissolved. If there is money made during the commercial run it is divide to the investors based on the percentage of money the initially supplied.
In a non-profit setting the structure is entirely different. Each show is part of a season of the non-profit company. The company does not have investors, but rather has donors. If a particular show makes money it does not go back to the donors but rather goes back into the company for future productions and expenses.
I also did a side by side comparison between the budget (Figure 1 & 2) and marketing plans of the Broadway production of Godspell and my student produced production of Merrily We Roll Along. I showed those in attendance the tactics and organization that can be applied from the commercial example that will help them market and budget more wisely.
We also discussed the need in non-profit theatre for specific target audiences, social media marketing and free publicity. Again, the audience was given visuals that helped them see how they can utilize these principles. This project helped not only me but many theatre students find ways to make theatre more affordable and more easily produced.
References
- Conte, David M., and Stephen Langley. “Commercial Theatre.” Theatre Management: Producing and Managing the Performing Arts. Hollywood, CA: EntertainmentPro, 2007. 75. Print.
- http://www.commercialtheaterinstitute.com/