It is traditional that a book of instruction be filled with rules on how to and how not to, and this book does not follow that tradition. There are no golden rules for the production manager, each production establishes its own set of rules, which continue to evolve for the duration of the tour.
Because every production is original, it has to be treated like a prototype to a certain extent, and the guidelines have to be altered to meet the requirements of each particular production. What works for one tour may not be valid for another, although there may well be several common elements. This book concentrates on the common elements.
This book specifically deals with the business of production and sets out guidelines that have to be followed to get the show on the road. These guidelines have nothing to do with the content of the show, the look, or the sound. They involve the business of making the show happen. The purpose of the book is to provide the basic information to manage the production for a touring concert from start to finish in the most efficient and effective way possible.
Equipment for live concert performances is provided by service companies, commonly known as vendors, that provide sound and lighting equipment or specialize in one or the other. Selection of a particular company depends on location, the performers’ artistic requirements, venue size, and most important, the budget. The budget usually sets the limitations for most decisions, so all too often the artistic requirements are trimmed to fit financial necessities. The budget is usually set to fit the popularity of the performers and their ability to draw an audience.
This book begins with an introduction to the touring concert. It explains who’s who on the road and where performers’ management and agents fit in. Using a production manager’s checklists, I take you through a tour with a realistic itinerary that visits different types of venues. I also discuss the role of local promoters’ production managers. The larger a crew, the more complex a setup becomes. A small crew can be equally as difficult to coordinate when several tasks are shared among a few persons. It is therefore important that the crew work together as a team. Each person is as important to the success of a show as the next. The technical side of the production is as important as the performance, and it’s the production manager who has to coordinate the team and keep their attention on the task at hand in often extremely difficult circumstances. The appendixes provide basic electrical formulas, a performance contract, a technical rider, a production checklist to suit most situations, and several forms that can expedite routine tasks. There is also a glossary of commonly used words.
For those of you who wish to progress to production manager, I hope that this book provides some insight. It does not, however, replace the need for practical experience and taking the bull by the horns.