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.
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.
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 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)
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.
Prod Week
Assist as needed. Ccatch 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. 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
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)
Run the post-production meeting to discuss the production (what went wrong, what went right, etc.)