The Production Executives

In a large Broadway show, there is often a long list of producers filling different parts of the producer’s job. With other shows, depending on the size of the company and its financial structure, a person might fill one or more of the production executive positions at one time.

▸ The Founder, if still actively working, is usually at the helm running the entire company. This person may fill one or all of the executive positions, possibly also being a director. Other times the founder may have become an inactive figurehead represented only by a life-size portrait hanging in a lobby. The founder’s greatest contribution is, of course, having started the organization. Often the founder is the inspiration and guiding force, bringing an artistic vision to light. Usually this person is also good at rallying financial supporters to subsidize the company, especially through the beginning years. Sometimes the SM never meets the founder or just sees him or her in passing. Other times the SM will work as closely with this person as with the director.

▸ Some production companies may also have a Board of Trustees. Other times the production company is led and guided solely by the board. Whatever the setup, the SM has little to no dealings with this group. At most the SM may come to know some of the board members from opening night affairs, in social times, or during a publicity event.

▸ The General Manager is both the overseer and keeper of the production company. This person is the keeper of the purse and is concerned more with the finances and running the entire company than with the individual shows. The general manager leaves the care of the shows to the producers, who in turn are accountable to the general manager. In some situations it may also be the general manager’s job to see that the artistic vision, direction, and integrity of the company and the show are maintained once the director and producer have moved on. The general manager is responsible only to the founder and/or board of trustees. As with the founder, the SM may or may not work directly with the general manager.

▸ In the past, the position of Executive Producer was more prominent in film and TV, but the production executives of theatre saw its worth and value and have made it more and more a part of the chain of command. The executive producer may be administrating and budgeting several shows at one time, depending on the workload and structure of the production office. In many ways the executive producer’s position is similar to the general manager, but the executive producer has more control over the creation and artistic values of the shows. The executive producer can spend a lot of business time socializing and getting backers and investors interested in the company or in a particular show. Like the figureheads already mentioned, the SM may or may not work directly with this person.

▸ On many occasions the SM will find that the Producer of the show is the highest executive position in the production company. While the creators of a show give birth to the show, the producer is usually the first to have faith in the project, seeing its artistic merit and financial potential. The producer becomes a surrogate parent and primary caretaker who turns the show over to the director and actors for day care, development, and growth to maturity.

The producer often sets the tone and presentation style of the show. This is the person who hires the artists, craftspeople, and talent best suited for the product—those who will bring the artistic vision to light, improving upon what the producer has already imagined.

With any show, the “buck” starts and stops at the producer’s desk—literally as well as metaphorically. The producer has the ultimate power over the show and company. There is a general belief that the producer is the money person—the person who invests money into the show. Most times the producer is merely the custodian of the purse, and just gives the illusion that the money is personally coming from the producer’s own pocket.

In many working situations, the SM has greater contact with this person than with the other executive figure-heads. In some cases, the relationship may grow and extend into social interaction. For the most part, however, the SM communicates with the producer through the director, or has the director’s consent and knowledge of what information is passed between the producer and SM.

▸ The position of Associate Producer also has its roots in film and TV. The associate producer’s work is an extension of what the producer would do. In small production companies, a person might be hired as an associate producer but is often called the assistant to the producer and is paid much less money. With a big show or production company, when the producer’s work becomes too much for one person, the more responsible position of associate producer is adopted.

Primarily, the associate producer transposes the entire production into dollars and cents. The associate producer breaks the budget down into the various departments and must have excellent knowledge of what things truly cost for each department. The associate producer also has detailed knowledge of the working rules for the different unions associated with a production, especially when it comes to pay scales and anything having to do with overtime, penalties, fines, or fees. In many respects, the associate producer’s and SM’s positions run parallel courses. However, the SM may not be as knowledgeable in budgetary matters and, except for Equity, usually has only a general working knowledge of the rules and regulations of the other unions. In the absence of an associate produce, a producer might require the SM to do some of this work.

▸ In years past, the work of the Production Manager (PM) has been part of what the general manager, producer, associate producer, and company manager might do. Only in recent times have the executive figureheads of a production company seen the value and importance of having one person centralizing, organizing, and coordinating all that must be done in putting together the “physical” part of the production. While the producer sits at the top and dictates what is wanted for the production, it is the PM who has the knowledge to go out and get those things done and make things happen. It is the PM’s job to see that the dreams, designs, and creative work of the producer, director, musical director, choreographer, designers, and technical departments are realized, while still working within the schedule and budget of the show. The PM works with all teams and departments to collectively and creatively solve technical and financial problems. He or she will oversee the hiring of staff, the shops, studios, and vendors that will be needed to make/construct the things needed. The PM will also have a strong say in choosing the technical head that will lead, support, and work the show.

While the SM is the foundation and glue upon which the cast and director are cared for, the rehearsals are run, all departments are informed, and the artistic integrity of the show is delivered in each performance, the PM is behind-the-scenes foundation and glue for overseeing staffing, budgeting, obtaining rights and licensing from publishers, and knowing the rules and expenses of the different technical departments. The PM is responsible for the success of the backstage operations of a theatre. He or she sees that the different parts and departments of the production are ready to deliver when their services or craft is needed and put into place. While the SM will suggest production meetings, it is the PM who initiates most of them.

In short, there is not one part of the production with which the PM is not involved or has a say in some way. This is the one person with whom the SM is in constant and continuous contact daily, if not hourly as things change, happen, or occur.

▸ A lot of the work the PM does today, the Company Manager did at one time on large, big-budget shows. Today this position still holds importance with touring shows. It is the company manager’s job to handle all the business that has to do directly with the company (the show) administratively and financially. The company manager sees that the transitions from one city to another go safely and smoothly, dealing with housing, transportation, reservations, and the logistics of moving the company. The company manager also acts as the advance person, going to the next town several days early in preparation for the arrival of the cast, crew, and technical setup of the show. When a show becomes a touring show, the terms company manager and tour manager sometimes become interchangeable. On a big show with a large cast, another person may be hired and the work of the two positions be divided. On small touring shows, when there is no company or tour manager, the work of these two positions is done by the producer’s office and the PSM.

The Production Office Staff

The production office staff includes all the people who administrate, coordinate, and provide great support to the company and the production.

▸ Heading this sector in the production company is the Executive Assistant, once called the production secretary. Nearly always, this is the producer’s assistant. The executive assistant is the person who starts the wheels of organization turning on a show before the director or SM begins their job. In many ways, the executive assistant’s work is like that of an SM: creating lists, gathering information, making phone calls, organizing, and just generally pulling the production together. Seldom will an SM meet an executive assistant who is not good at the job. Executive assistants are dedicated to their work and can be a great source of information for the SM. It is the wise SM who befriends all executive assistants.

▸ The position of Casting Director most definitely started in films, carried over into TV, and by the early 70s, became more commonplace in theatre. Casting directors are most often found working on big-budget shows or new shows that are heading to Broadway. The casting director is usually an independent outsider, contracted by the producing company for a particular show. The casting director’s responsibility is to gather the talents best suited for the roles in the play. A good casting director has an excellent eye for talent and has a knack for placing actors in roles. The casting director saves the producer and director from having to sit through hundreds of auditions with people who are not right for the show. Prior to the casting director being used in theatre, the SM prescreened the talent—a job that made the SM’s position more prestigious and important. The SM’s work with the casting director is limited and brief, taking place mostly during the audition period.

▸ Depending on the size and budget of the show and producing company, the Publicity sector of the office staff may consist of an entire department with several people, or it may be one desk with one person working on programs, creating press and media exposure, doing photography, and sometimes designing graphic artwork for the program or posters. It is the publicist’s job to get the word out on the show, create interest, and draw in a paying audience. The ways of doing this can be as extreme as the publicist, producer, and stars choose. More traditionally, getting the word out is done mostly by advertising, interviews with news and entertainment media special appearances by the stars and selected cast members, and participating in benefits and charity affairs. The SM’s most important work with the publicity department comes in giving them correct information on the cast and show, which will be printed in the program, and in working closely with them during photo shoots.

▸ In some companies, the Accounting department may consist of several people, or be a one-desk, one-person operation. This position on the chain-of-command list needs no further introduction other than to say that this is the place from which the paychecks are generated, the bills are paid, and the petty cash is handed out.

The Creators

In the book of Genesis, the Creator of heaven and earth was first and foremost. So it is with the creators in theatre—the writers, composers, and lyricists (the script, music, and words). We know from history that during Egyptian, Greek, and Roman times the author (the playwright) was preeminent, and then came all the other parts of theatre. Today the creators in theatre remain first and foremost. They are still revered and held in high esteem.

▸ The Writers, Composers, and Lyricists begin their work alone, sometimes in pairs, sometimes in small groups. The creators conceive the child, give it birth, but they must relinquish the child to others in this chain of command for it to be nurtured and grow. Sometimes the union between the creators and the others is a happy, rewarding, and highly successful experience, with each person making contributions greater than anyone’s expectations. Other times, the child is short-lived and the creators return to their quiet place, first to recover and then perhaps to start the creative process over again. The SM’s work with this group of people is usually limited to being a “host” during the rehearsal period, seeing that they are included in the loop of daily information and, if needed, have a place for them set up in the rehearsal room where they can continue their work.

The Designers

In doing their work, Designers are the bridge between the artistic and technical aspects of the show. They work in close harmony and contact with the production manager. While they have the freedom to creatively and artistically express their design and craft, they are also obligated to study the show and deliver what the show requires—what the producer might want and what the director might dictate. Designers must know their craft as well as having a very good technical knowledge of the medium in which they are working.

Designers bring to the show the same intense artistry, design, and style that are brought by all the others on the creative staff. Their work sets the physical and visual look. They dress up the show, giving it color and its particular look. The look and style for the show is created between the producer and designer, and often includes the director. It is the designer’s job to create the illusion of reality and lull the audience into acceptance of theatrical time, place, and space.

The Production Staff

Heading this illustrious group, is the director. People in all walks of life know the importance and power of the director’s work. Films are probably most responsible for bringing the director’s work to public attention. Television helps keep it there.

▸ In theatre, Directors and their work have always had a place of importance and prominence among their peers and theatregoers. Today the general public gives as much recognition and acknowledgment to the directors of a stage production as they do the performers. Directors of the golden age of theatre include Jerome Robbins, Bob Fosse, Gower Champion, Joshua Logan, Michael Bennett, George Abbott, Abe Burrow, Tommy Tune, Harold Prince, Moss Hart, Michael Kidd, Ron Field, and Noel Coward. Into the twenty-first century, renowned directors include Susan Stroman, James Lapine, Baz Luhrmann, Twyla Tharp, Bartlet Sher, Christopher Wheeldon, James Moore, Arthur Laurents, and Kathleen Marshall.

The writers conceive the idea and bring it to term, the producer nurtures the piece, giving it a healthy home and environment, but it is the director who molds and shapes the work, giving it character, personality, and style. It is the director who breathes energy and movement into the piece, giving it greater values and coloring.

The director and SM’s work together is like a marriage; however, the relationship is not a fifty–fifty proposition; the SM is there to serve, honor, and obey (lots more to come on this subject).

▸ In theatre, the Assistant Director moves and lives within the shadow of the director. The assistant director is there to assist and serve. Whatever creative or artistic input the assistant director might bring to the production, it is always made through the director. The director often gives the assistant due credit, but ultimately the assistant’s contributions are absorbed into the production, and full credit is given to the director. The assistant director’s duties are as simple or as involved as the director chooses. Sometimes the director will turn over a whole scene to the assistant, giving the assistant full range for artistic and creative expression. At other times the assistant is allowed to work with the actor only in running the scene and drilling the performers in their parts. At still other times the assistant director is kept more as a personal assistant or secretary to the director, taking notes and giving reminders. If there are many script changes or rewrites, the assistant usually works closely with the director, and then sees that new pages are put into the computer and that copies are made for the next rehearsal. Sometimes the job of making script changes is given over to the SM. The assistant director is usually a good friend to the director or a longtime working associate. In his own right, the assistant director may also be an accomplished actor, director, choreographer, or even an SM. The SM and assistant director work closely together in serving the director.

▸ When doing musicals, the Musical Director is next in a chain-of-command list. This person brings to the music what the director brings to the overall show. However, although the director may take liberties with the author’s words, intentions, and interpretation, the musical director remains truer to what the composer has written. In smaller productions, the musical director may also be the rehearsal pianist, vocal coach, and almost certainly the conductor. On larger shows, especially those heading to Broadway, each of these positions may be filled by different qualified individuals. The SM does not work as closely with the musical director as with the director. Nonetheless, the musical director is usually present for each rehearsal, needs to have a workspace (usually close to the piano), and needs to be kept in the loop of information.

▸ If the Conductor is hired simply to conduct the music for the performances, the SM may meet this person only one or two times during the latter part of rehearsals. Otherwise, the conductor will appear in the orchestra pit when the orchestra starts working with the cast. Whatever business needs to be done with the conductor is usually done through the musical director. By performance time, the SM makes certain the conductor has a dressing room. Throughout the run of the show, the SM checks regularly with the conductor to offer assistance, and receives any performance notes the conductor may want the SM to give to cast members.

▸ The Rehearsal Pianist seems to have the most tedious job; the pianist must remain at the piano throughout the entire rehearsal day, waiting and ready to play over and over just a few bars or whole sections of the score. During rehearsals, the rehearsal pianist becomes the orchestra, playing special parts or effects that will be played by other instruments when the full orchestra is together. For the SM, the rehearsal pianist is a low-maintenance person. As long as the rehearsal pianist is informed of each day’s schedule, as long as there is electrical power for the keyboard, or if it is an old-fashion upright/spinet piano it is in tune and placed so that the pianist can see the performers, the rehearsal pianist requires little else throughout the day.

▸ If the show is a new musical or the revival of a musical that is getting a makeover or update, the SM may get to meet and deal with the Arrangers, the people who put on paper the musical arrangements of the vocals, orchestra instrumentation, and dance underscoring. You can be sure that they now have their own software programs to do what used to be done by hand. These arrangers do most of their work outside the rehearsal hall and may come to the rehearsal hall one or two times in the last week.

▸ The Vocal Arranger creates the harmony, blend, and overall sound that the performers re-create for each performance.

▸ The Dance Arranger carefully counts out each measure of music to fit the different sections of the dance being performed on the stage. Then the special rhythms, dance times, tempos, beats, accents, and musical effects are noted.

▸ The information from the vocal and dance arrangers is given to the Orchestra Arranger, who transposes everything into the musical instrumentation of the orchestra—the orchestrations. It is during this time that the sound of the orchestra and the number of instruments to be used is finalized, and the overture, incidental music, and underscoring are completed.

▸ Included within this group of musicians is the Copyist. After the arrangers have completed their work, the copyist painstakingly transcribes to manuscript paper every note for every instrument in the orchestra, for the entire score. At one time this was done tediously by hand and by many copyists; with the advent of copy machines the job was made easier and less expensive. Now with computer programs, the job has become a one-person operation.

▸ In being thorough and complete with this chain-of-command list, the musician’s union, the American Federation of Musicians, might be listed at this point. Any business the SM might have with this union is usually with the musical director or conductor. The SM must, however, learn the rules and regulations of this group that govern work times, breaks, overtime, fees, and penalty payments.

▸ The Choreographer completes the musical portion of the chain-of-command list. The choreographer brings the same kind of creative artistry to the show as does the director and musical director, but the choreographer’s job may be a bit more difficult; the director has the script and the musical director has the score, but most of the “text” for the dances must be created from the choreographer’s head. Even for shows that have already been choreographed for Broadway, many times the choreographer will reinvent some or all of the dance, while the other parts of the musical remain the same.

▸ Under the choreographer is the Dance Captain. This person is a dancer in the show who has been chosen by the choreographer to oversee and maintain the dances after the choreographer is gone.

▸ At last we come to the SMs, the PSM and the ASMs. The SMs are the bonding agents that keep all departments connected. If this position were to be put into one of those rectangle box charts, the SM would appear somewhere in the middle with many, if not all, lines and arrows leading to the position. The SM’s work is neither technical nor artistic, though knowledgeable in both areas. In most professional situations, the artists much prefer that the SMs stay off to the sidelines of their area and work only in support. The SM’s greatest artistic contribution to the show comes during each performance as they call the cues for the show.

▸ The Production Assistant (PA), also known as the runner or gofer, is usually young, filled with ambition, and excited to be working in show business. PAs are willing to put in the time and effort to prove themselves and get that proverbial foot in the door. With that kind of energy, willingness, and enthusiasm, the PA gets to do many things for all people in the production who may need things done. However, the PA works directly with the SM, the director, and the producer. The PA is eternally on the run, with a list of things that must be done within the hour. PAs put in extremely long hours, and the pay is usually below scale and at poverty range; they are assured by everyone that the experience more than makes up for the lack in financial gain.

The Performing Artists and Actors’ Equity

It is difficult to place within the SM’s chain-of-command list the Performing Artists and their union, Equity. They are an entity that stands alone, and when following a natural order and placement, all that come before them on this list are in support of them. So while they are being placed at this point, it is not an indication of their importance. Their greatest work and contact and working relationships with people in the company is with the director, stage manager, music director, and choreographer. This group needs no further introduction at this point. In Chapter 7, “Profiles and Working Relationships,” you will meet the different groups within the performers and learn more about their working relationships with the SM.

▸ Performers cannot be discussed without also talking about Actors’ Equity. In professional theatre, wherever the actor goes, so goes Equity. Membership in Equity has already been established as the dividing line between being a professional and a nonprofessional actor. Equity’s purpose is, of course, to work for and protect the performers (including SMs) from substandard working conditions and unscrupulous producers. It is the SM’s job to act as “watchdog,” seeing that the performers, as well as management, abide by contractual agreements between Equity and the producers.

▸ The Equity Deputy is a cast member chosen by the cast whose job it is to represent the Equity members to management in all union matters, keep the Equity office informed on all business matters, and, like the SM, act as watchdog to ensure that the performers, as well as management, abide by contractual agreements. In a musical or in a show with a large number of cast members, separate deputies are chosen: one to represent the principal performers, others to represent all or various groups of the ensemble performers.

The Technical Staff: Department Heads, Their Assistants, and Stage Technicians

As with the performers, do not let the placement of this group distract you from their importance. Collectively, this grouping of technicians and craftspeople are to the show as a voice is to a singer or fingers are to a pianist. Without them, the illusion of theatre, as we experience it today, would be relegated to Greek and Roman times, when some masks, a few props, and suggested pieces of clothing were used as costumes.

While each department is autonomous and stands alone, they do come under the guidance and leadership of the PM (production manager). It is to the production manager that they must answer. In some working situations, when the SM might have problems with a particular department, it might be best for the SM to turn first to PM to see how things can be resolved.

The technical staff members are the practical applicators, the nuts-and-bolts people, the backstage laborers. After the designers in each technical area have done their work and the shops and vendors have provided what is needed, the department heads and crew take over. It is their job to assemble the physical elements of the production and technically support the show during the performance. No matter how automated or computerized things may become backstage, department heads and crew members are needed to execute the technical effects that create the environment of the play and the illusion of theatre.

In keeping with the “professional” theme of this book, once again it is noted that the SM does not (and cannot, by union rule) do any of the crew’s work, nor does the crew do any of the SM’s, and yet their jobs are complementary, each needing the other to do their best for the benefit of the show and a smooth-running performance.

▸ The Technical Director (TD) has a good working knowledge of all things technical, coordinates all technical departments, is the leader of the crew, and sees that all the technical elements of the show get into place and become operational. The TD has an even closer working relationship with the PM, for their work goes hand in hand, each dealing with the same technical departments and matters.

The TD leads the stagehands to make repairs, adjustments, or changes. Once the show opens, the TD makes certain that the technical elements are maintained and remain operational throughout the run. The TD is the final word in technical matters backstage.

▸ The Head Carpenter is in charge of the scenery. This person, with an assistant and a portion of the crew, is responsible for putting up the set and taking it down, as well as maintaining the scenery and making all repairs. The head carpenter, along with the crew, is in charge of the scenery moves and executes the scene changes during the performance. Many times, the head carpenter’s position and the TD’s position are combined.

▸ In the early days when flying in and out painted drops and pieces of scenery became part of theatre, sailors were the first Flymen or Railmen. They were hired to work this part of the crew because they already had experience in hoisting and letting down sails on ships. To tie off the ropes after a sail had been hoisted or lowered, there was a log or railing with pegs or pins driven through, projecting out on both sides. By winding the rope around both parts of the pins, the sail could be tied off and secured into place. This operation was also applied in theatre. The place or space above the stage where the drops were stored and from which they were flown in and out became known as the flys or fly space. The place where the sailors stood to tie off the ropes became known as the rail or pin rail, and the sailors became known as flymen or railmen. The head of the rail is often the assistant to the head carpenter. Together they work in setting up and striking the set/scenery.

▸ The newest member of this technical staff is Automation. Simply put, it is the computerize movement of scenery on and off stage. Basically, it is a collection of motorized winches, most of which are on stage level, while up in the flys are traveler tracks that slide across the stage flat pieces of scenery, called sliders. What once took individual crewmen to operate each wench or traveler now takes one person at a monitor and keyboard, set off into some dark corner backstage.

▸ Another new member and department added to this part of the SM’s chain-of-command list is Projection. At one time projection was more of a technical specialty that might have been a still or moving picture. It now has become a major player in set design, projecting onto the stage and scenery all kinds of light patterns, pictures, graphics, and effects to create a more artistic and imaginative look and design to the show.

▸ The titles of the remaining technical heads and crew members—Electric, Props, Sound, Costumes/Wardrobe, Child Wrangler, Hair, and Makeup—describe quite well the work they do. We will get to know them in greater detail in Chapter 7, “Profiles and Working Relationships.”

▸ The International Alliance of Theatrical Stage Employees (IATSE)—the stagehands’ union—is to the stagehands what Actors’ Equity is to the performers, caring for and protecting its membership. The SM must be sure to learn the rules and regulations of this group that deal with work times, breaks, overtime, fees, and penalty payments. The SM must also learn not to do any technical work that has been designated as union stage crew’s work, even if it is something as innocuous as picking up a broom and sweeping.

The Shops and Vendors

The Shops and Vendors are seldom, if ever, included in the chain of command. However, these are places and people with whom the SM must deal or keep informed (especially during the rehearsal period). The shops and vendors provide the sets, costumes, props, sound, lights, hair, makeup, and anything else needed for the show that is made, constructed, assembled, rented, hired, bought, borrowed, or begged.

The Theatre, Performance Site, or Venue

An SM will work in as many different places as there are different places in which to present live performance: concert halls, arenas, hotels, ballrooms, lobbies, theme parks, trailer beds, ice rinks, domes, bowls, forums, coliseums, amphitheaters, convention centers, converted storefronts, shopping centers, auditoriums, VFW halls, and theatres—famous theatres in major cities, theatres holding 5,000 people, theatres with ninety-nine seats or less, theatres with severely raked stages built in 1886, or a modern civic center theatre designed by Frank Lloyd Wright.

At each performance site, there are people both backstage and at the front of the theatre to staff and maintain the venue. Backstage, the SM meets a second group of technical heads:

▸ The House Crew are people hired by the theatre to operate the various technical areas backstage and to support each product that comes to that particular venue. The house crew joins with the show’s technical heads in assembling the show in the theatre, and then during performance becomes part of the crew in running and supporting the show.

▸ Some house crews may also include a Doorman or Security people, a Janitorial staff, and if needed for the show, Dressers. To distinguish more clearly between the people hired by the venue and the technicians who come with the show, the house crew is often called the local crew.

▸ The Front-of-the-House Staff may consist of one or two people doing all the jobs needed to run the front of the house, or it may be broken up into the theatre manager, box office workers, administrating staff, ushering staff, concession stand operators, parking attendants, and additional security. The people who work the front of the house are the first to meet and greet the audience. In providing quick and courteous service, they help in making the audience receptive to the entertainment and begin the experience of going to the theatre. The SM has a very limited working relationship with this group, but it is good for the SM to make introductions and social contact with them.

▸ The Fire Marshal seldom, if ever, is included in the chain-of-command list. This is the forgotten person who shows up one or two days before the show opens to inspect all flammable items, to see if permits have been obtained, to see if all flammable items have been made fire retardant, and to see if any open flames are being used in the show, such as matches or candles. It is important that the SM keep this person in mind and, once the show gets into technical rehearsals, reminds the various technical heads to be prepared for the fire marshal’s last-minute inspection.