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Overview
The producer is ultimately responsible for all non-artistic show decisions. S/he selects a production staff, facilitates all logistical matters, and runs all production meetings. If a production team member becomes unable to complete their position, the producer must either replace them or complete the position him/herself. The producer is also the final authority on the production. If something makes the producer uncomfortable for safety or other reasons, s/he may veto it. Additionally, the producer is responsible for handling interpersonal conflicts. It is important that the producer be organized, accounting for all miscellaneous tasks involved in the show. The producer must frequently take initiative and be extremely adaptive. Be prepared to do a lot of work.
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- Find an SM by auditions
- TD, SD, and ASMs are high priority
- Lights, Costumes, Sound, Props, Publicity are all important
- In some cases, you may need to design audition posters, yourself
Especially in the spring, try to finalize prod positions as soon as possible to give staff as much time to work as possible. This is especially true for SD and publicity.
Contracts
Old production staff and audition contracts can be found in the ensemble locker: /mit/ensemble/Private/Contracts/Current. Edit the due dates as necessary.
Newer production staff contracts (one contract for everyone) can be obtained by emailing Mark (marvel@mit.edu). They will soon be put in the lockerThey can be edited using basic LaTeX (files in locker). Edit names, dates, and contact info.
Deadlines
It is a good idea to try to make designers stick to their deadlines, it makes for smoother sailing.
Things to keep in mind include:
- Dates of Designer Runs and Costume and Props parade should be decided upon early
- Lights final deadline should be after both Sets final deadline and the Designer Run
- Costumes and Props final deadline should be near Costume and Props parade
- Publicity should be done relatively early, especially in the spring. Teaser posters should be put up at least a week before put-in. Final posters should appear on campus starting at put-in.
Production Staff Issues
It is important to check in regularly with production staff to make sure that everyone is doing their jobs. If anyone is not on top of things, consider monitoring them more closely. If they are unorganized, help them get organized. If they are unsure how to something should be done, explain it to them or have them talk to a more experienced ensemble member. If they are slacking, meet them in person and create a more stringent work schedule. If they are unresponsive to email, call them. If they are unresponsive to calls, try reaching them through one of their friends. If all else fails, pay them a personal visit. Not everyone responds to email regularly: it is your job to adapt to their preferred means of communication, not visa vise versa.
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Play by ear. Each production staff member will respond differently - some may like more guidance, others may be annoyed by prodding. Stay friendly but firm - lend a helping hand while making sure things still get done.
Production Meetings
It is usually helpful to have a pre-first production meeting (middle of August in the Fall; IAP in the spring) with as many prod staff members as possible. Not everyone will be able to make it, but it's a good time to hear the Director's Vision and let designers start working before classes get underway.
The following key words should feature prominently in the first production meeting of the semester: contracts, calendar, deadlines, budget, schedule, read-through, designer run, prod hours, parade, put-in, paper-tech, q2q, tech week, vision. Collect contact info (phone, email) for call-board.
It helps to have production meetings scheduled at a regular time (Sundays after rehearsal, for example). The first and last prod meetings are typically 60 minutes long and include the full prod staff. All other meetings can be split in two by departments (see prod contract). Prod staff members (except the Producer, TD, and SM) are only required when their department is called.
Rehearsal Period
First Readthrough (IMPORTANT!)
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- Schedule Production meetings
- Make sure the Set Designer and TD meet with Chris Nayler
- Register the Show with SAO and with the city of Cambridge (this can be done as early as you want)
- Make sure theArts@MIT have your show on their calendar
- Make sure ticket reservations open around the time of the first posters appearing on campus
- Order tickets (see Box Office Manager page for how to)
- Contact With assistance from publicity, contact Technique and the Tech about photographers coming to final dress, and the Tech about a reviewer coming during the first weekend.
- You may have to be persistent on this one to get confirmation from The Tech.
- Recruit:
- Board ops as needed
- Run crew as needed
- Ushers, one per night
- Box office manager + assistant(s)
- Someone to film the show (coordinate with Memory Master)
- Make sure the pre-show announcement exists (it can be pre-recorded or given by one of the actors). It should contain:
- Duration, and intermission duration
- Emergency exits
- No flash photography
- No smoking
- Strobe warning if applicable
- …?
- Schedule runtime jobs (or get the SM or TD to do it)
- Buy director gift, buy cast&crew gifts and come up with cast&crew awards
- Help schedule/run
- papertech
- cue-to-cue
- Come up with a plan (with your box office manager) with respect to selling out, if you think this is likely to happen
- Make sure one of the Tech or Technique takes a group picture
- Schedule
- Alumni reception
- Brush-up
- Cast Parties
- Post-prod
- Ensure all borrowed items are returned
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Miscellaneous
Interpersonal Stuff
You get to deal with all of the drama that might effect the show, lucky you. From conflicts between designers to angry actors to broken up couples to the inevitable conflagration between the SM and the director, you need to get the parties back into a state where they can work together and fulfill their responsibilities. Remember, especially as the show approaches, everyone is hosed, everyone is tired, everyone is looking for an excuse to start screaming, and much of the time squabbles are born more of general frustration than of real interpersonal problems.Try to remain calm and be understanding of the situation. Hugs are also good. 
You should make it very clear to the actors, prod staff, and director at read through/the first prod meeting/routinely throughout the production that you are there to be a shoulder to cry on, to mediate, and to make sure no one dies or kills anyone until after strike.
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- Auditions
- Read Through
- Designer Run(s)
- Costume and Props Parade
- Papertech (SM)
- Q2Q (SM)
- Put-in and Strike (TD)
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To Co-Produce or Not Co-Produce
Producing can be a lot of work, so in certain cases, it might be reasonable to split the job between two co-producers. However, co-producing requires a lot of coordination and organization. Be prepared to see your co-producer a lot. A good pair of co-producers will typically:
- Have similar work habits
- Both be willing to take initiative and responsible for tasks
- Communicate well with each other
- Will remain on good terms even in times of crisis
If you decide to co-produce, it is useful to have a Google spreadsheet shared between the two co-producers of all the producer tasks. Assign a co-producer to make sure it gets done; when it is, check it off on the spreadsheet so both co-producers know. To make sure both co-producers are kept in the loop, create an email list with both co-producers and make sure that prod staff/actors use this email list.
It can also be fun to make a couples' name for the co-producers. 
Other Tips
- Keep Interactions with the Director Positive
- If Transitions are difficult, have a Transition Call