Overview
The producer is to the production as the chair is to the Ensemble. The producer is responsible for all non-artistic decisions for the production. More specifically, s/he selects a production staff according to Ensemble guidelines, facilitates all logistical matters, and runs all production meetings. The producer can be thought of as the "last line of defence"; 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 you uncomfortable for safety or other reasons, you are well within your right to veto it. Additionally, you are responsible for handling interpersonal conflicts between anyone involved in the production.
General Comments
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.
Pre-Production
Prepping for Auditions
With the SM, finalise audition form and make sure dates/requirements are correct.
Schedule auditions with both the director, SM, and Ensemble.
Set up the online audition form as soon as possible. See the webmaster page for how to do this.
With the SM, finalize audition form and make sure dates/requirements are correct. Make sure the director has scheduled a readthrough.
Finding and Keeping Prod Staff
SM is the highest priority. The SM MUST be found by auditions and hopefully at least several weeks before this. 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. Meet with all production staff (this can be the first prod meeting) - be sure they understand the calendar and what is expected of them. Go over contract with each member of the production team.
Production Meetings
Set up and run preliminary prod meeting to determine the production calendar, introduce the designers, talk about the director's vision, go over the budget, and schedule all future prod meetings. In the spring, prod meetings start during the first half of IAP. In the fall, the prod meeting should happen at least one week before reg day, or as soon as possible before that, even if not all of the prod staff are on campus.
Contracts
Production staff contracts can be found in the ensemble locker: /mit/ensemble/Private/Contracts/Current. Edit the due dates as necessary.
Director Prepping
Create and go over contract with Director. Go over casting policy and rehearsal time maximums with Director. Make sure the director has scheduled a read-through. 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.
Auditions
Assist the SM team and the director with the audition process. 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. 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.
Registering the Show
Obtain entertainment licenses from Cambridge city hall. Register the event with CAC. Remember, we only have 99 guests. On an unrelated note, shows with 100 or more people need a police detail. Remember that the entertainment license costs a large cum of money- make sure you have your $240 (or whatever sum) in cash or money order when you go to city hall.
Prod Week
Assist as needed. Catch all the balls that are dropping. Help out the stage manager(s) in any way you can. At that point your job will be mostly over, but theirs is just beginning. Making their life easier makes everyone happier.
Performance
Assist as needed. In the past it has been required that the person who registers the event with Cambridge/CAC be present at all performances. If this is not the case, you should probably be present anyway in case of major emergency and/or just because it makes everyone else feel better.
After Closing
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). Schedule and run the post-production meeting to discuss the production (what went wrong, what went right, etc.).
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. 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.
Buying/Renting Weapons
For Romeo and Juliet in Spring 2011 we required the use of Rapiers. The ensemble owns both bastard swords and foil-type swords, neither of which was perfect. We therefore rented rapiers from [[http://www.weaponsofchoicetheatrical.com/|Weapons of Choice]]. If they are no longer around, contacting either MIT theatre arts or perhaps Ted Eaton (our R&J director) to find another place. Prices can get expensive - it's probably around $30 to $40 for each weapon for the run of the show, but that have a quite good selection. For R&J our director found a contact who gave us money to pay for the renting, but if we were willing to skimp on other areas we should be able to rent 2 or 3 ourselves. Shipping will take about 5 days, so rent them a bit before you want them to show up.
A couple general notes about renting weapons:
Keep the packing material around so you can pack them up neatly for the return trip.
Take care of them. They aren't ours and we don't want to be on the hook if they break.
Keep them safe. Make sure they stay in the office and people don't play with them. This can't be emphasised enough.
Make sure to rent one more than you need. Weapons do have a way of breaking we you least want them to.
If you're renting them for spring semester, the buffer for returning them can creep up fast. Either do it before leaving for spring break or right after you get back.