The producer is responsible for all non-artistic decisions for the production. More specifically, s/he selects a production staff according to Ensemble guidelines, creates a budget, and facilitates all logistical matters. The producer runs all production meetings. Also, the producer can be thought of as the "last line of defense"; if a production team member becomes unable to complete their position, the producer must either replace them or complete the position him/herself. In this sense, it is important that the producer be able to perform the majority of production staff positions him/herself.
General:
Check in at least weekly (sometimes daily) with all members of the production. Be sure that they are on track - offer assistance/advice when necessary. It is easier to deal with a problem earlier rather than later!
Pre-production:
Fill all production staff positions
Meet with all production staff - be sure they understand the calendar and what is expected of them.
Set up and run preliminary prod meeting (production calendar)
Create and go over contract with Director
Create and go over contract with each member of the production team.
Go over casting policy and rehearsal time max w/ Director
Create a budget (the Treasurer will help with this)
Schedule auditions with both the director and Ensemble.
Auditions:
Assist with audition process with SM team and director
Create and go over actor contracts with all auditionees
Ensure that auditions adhere adhere to the Casting Guidelines stipulated in the Constitution.
Rehearsal period:
Run all production meetings (usually weekly, more frequently if necessary)
Say NO to the director if a task is not feasible - if you are not sure, ask the TD/officers/designer. If you're still not sure, ask Rinaldi. If you're still not sure, say no.
Check in at least weekly (not just at prod meeting) with design/building staff.
Check in at least every other day with director and SM teams
Obtain entertainment licenses
Register the event (CAC, Cambridge)
Production week:
Assist as needed. (catch all the balls that are dropping)
Performances:
Assist as needed. While it is not necessary for the producer to attend all performances, it is recommended, as a) it makes everyone feel better and b) you can be around if an extra pair of hands are needed in an emergency
Post-performance:
Ensure that all prod staff have fulfilled all their obligations (i.e., returned borrowed equipment.)
Set a deadline for all receipts to be turned in.
Submit a final budget (based on receipts turned in)
Run the post-production meeting to discuss the production (what went wrong, what went right, etc.)
Calendar:
The attached calendar (there should be an attached calender but there isn't- someone fix this) is a template for the production. It may be adapted to each production as needed. However, it is recommended that the calendar be firmly set before rehearsals begin. In this way, the production staff has firm deadlines with which to plan their semesters and prepare their designs/construction schedules. The production week schedule, however, is not flexible, in that both the design staff and the actors require this structure to prepare for the performances.
Other:
Producer is arguably the hardest job in a production. The key to success is keeping in touch with those involved with the production, identifying issues/problems early, and planning ahead.
OTHER DESCRIPTION- someone should merge these
The producer is to the production as the chair is to the Ensemble. The producer will be chosen based on an interview with the officers. They must have experience doing MIT theater - preferably technical theater. Words of wisdom.
Primary Responsibilities:
Make sure people are doing their jobs. Get them to do their jobs. This does not mean that you should be doing the work for them when they slack.
Be present. Your presence reassures people, and is necessary as much as you can possibly manage.
Stay informed of the progress of the production as a whole, and check in daily (or as often as is feasible) with the production staff in order to be aware of any problems or potential problems.
Run production meetings. Production meetings are generally the primary means of communication between all the people involved in producing the show. They are *very* important.
Important Details:
Try to stay current with all the departments and remind them of upcoming deadlines as necessary. (see master production schedule.)
Facilitate meetings between the director(s) and the design staff on an individual basis very early in the process so designs can proceed in a timely fashion. This includes the props person (though usually in conjuction with the scenic desginer and costume designer).
Try to get and idea of what run crew (dressers, stagehands, etc.) will be needed as early as possible and start looking for them as soon as possible, as they are usually difficult to find.
Your responsibility is to see that the work gets done, not to do it yourself. Repeat this to yourself over and over.
Problem areas usually include props, publicity, sound, and production meeting tardiness/absence.
Help out the stage manager(s) in any way you can, especially during prod week. At that point your job will be mostly over, but theirs is just beginning. Making their life easier makes everyone happier.
Especially be aware that you may need to resolve emergincies much more often during prod week. Plan accordingly.
If you cannot be around during prod week, at least check in with the stage manager once a day, including performance dates. Remember that you are expected to be around for prod week, and plan your personal schedule accordingly.
You'll be in charge of scheduling production meetings once a week. Try to schedule them for the same time each week and all ahead of time.
prod 2
====== Producer timeline =======
tag>producer
This is a handy checklist for the weeks in the runup to producing a show. It is, like the pirate's code, more like a set of guidelines (generally you should do things earlier if possible). If there is a Producer right away, their responsibilities begin at Play Choice. If a Producer is not found by then, the Officers should do the following duties, as well as finding a Producer asap.
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===== Play choice =====
* Have the director sign the \[\[http://studentlife.mit.edu.ezproxyberklee.flo.org/sao/event-planning/process\|student group contract\]\]. |
===== As soon as possible =====
* Find prod staff:
* SM is the highest priority. The SM MUST be found by auditions, at least several weeks before this //extremely preferable//.
* TD, Set Designer and ASMs also very high priority, followed by other major designers (Lighting, Costumes, Sound, Props, Publicity).
* It is useful to have a publicity designer and/or manager to be able to audition publicity.
===== Audition publicity =====
This may have to be done by Producer if Publicity Designer and Manager have not been found early enough.
** Spring Semsester Show*
* You should start in the last week of classes Fall Semester, since some people are not around for IAP. Publicity should continue through IAP, particularly the latter half. Investigate getting program ads in MTG/Dramashop IAP shows.
** Fall Semester*
* Co-ordinate with the Officer-at-Large to get auditions handouts etc at orientation activities (midway, scene night etc).
In both cases, spam/poster heavily on Reg Day
*Set up audition webform ASAP* (as soon as the audition dates have beem decided, preferably two weeks before auditions). See the webmaster page for how to do this. You need to know the dates and times for member & non-member auditions/callbacks as well as what is required for auditions.
===== First Prod meeting ======
*Spring*: In the spring, prod meetings start during the first half of IAP. Is is highly recommended for the Producer to be present for all of IAP, though it is not impossible if they are absent for the first week or so. It is very heavily discouraged for the Producer to be absent for all if IAP, and if they do so they absolutely must have a proxy.
*Fall*: The fall prod meeting should happen at least 1 week before reg day, or as soon as possible before that, even if not all of the prod staff are on campus.
It can be very useful to meet with the director before the first prod meeting (even very soon after they hired) to familiarize them with various ensemble practices (e.g. what prod positions we have, how prod meetings work, the timeline for prod/auditions etc, lines of responsibility between director/producer/SM etc).
The *first director check* should be delivered at the first prod meeting.
*Prod staff contracts* should be proofread, checked for changes in dates and printed out to be signed at the first prod meeting. It's useful to print two versions, one for the techie in question and one for yourself.
//Vague Agenda://
* Auditions
* Budget
* Director's Vision
* Contracts and any deadlines specified in the contracts
* Scheduling permanent prod meeting time.
===== Before auditions ======
You must meet with SM and director before auditions to discuss how they are going to work. In particular, explain the casting policy (in the constitution) and finalize the audition format. It might also be good at this meeting to bring up the 'ensemble spirit' of casting call, to prevent confusion later.
With the SM, finalize audition form and make sure dates/requirements are correct. Make sure the director has scheduled a readthrough.
===== Auditions ======
Have these the first week of classes.