Community Theater Green Room Discussion Board: Basic Questions for a Newbie

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biggertigger
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Posted: 9/27/07 at 11:30pm

Lots of questions run through everyone's head before working on a show. Your first requirements now is to putting together a production team and choosing the script so you can figure out what your really need. (No need to worry about finding a falling chandelier if your not doing phantom).

Here is my first few suggestions, start looking for a show now. Or if you have a show that they school wants you to do read it many, many times to get the idea how to put it together. (If a show as not be choosen, I would look at a simple set show like "Your a goodman, Charlie Brown" which uses simple suggestive set pieces. Avoid major set musicals like "Hello Dolly".

Put together the the production team. If it is in a school are you working with the music teachers? Send out letters to the students parents (You'll be surprised at who will come out to volunteer). Then start working on your show.

As always this forum has some very knowledgable people, don't hesitate to ask for help.

The two greatest days in a theater persons life, the day you start a new show and the day the damn thing closes.

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Linda S
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Posted: 9/28/07 at 7:47am

Charlie Brown is an excellent idea for a show. Biggertigger is right. Contact the parents asap. Also, see if other members of the school staff would be willing to help or provide you with students who want extra credit. When I was hired, like you as someone outside of the staff to run the drama program, I talked to everyone. Some teachers involved their classes, others just volunteered. Heck the Latin teacher did the choreography for Brigadoon. You have a wealth of resources at the school. The Shop teacher might help you with sets. One day I had rotating shop classes build the whole set for a show. It was amazing. The Home Ec teacher might help with costumes; Language Arts with publicity and articles, Art with posters and set decorating. The Music teacher was one like my right arm when I did musicals providing not only able vocalist but musicians. We always had a great student orchestra. And don't forget the custodians. They were my biggest supporters. They were always there to help. It never hurts to ask. Lots of people would like to be involved, but they don't know what they can do. Let them know how they can help.

Linda

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vickifrank
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Posted: 9/28/07 at 10:25am

Oh, and two other things...if you use kids to do the design, choreography, etc.. Set your expections up front...Ex: I expect you to study what others have done and to have a professional output.

Then you should be prepared to write a letter for each to put in their high school portfolios so they can use this to get scholarships and summer jobs. The high school-college transition has changed a little over the years. Those letters from adults saying what a kid is capable of and how they've shown leadership can be worth real scholarship money.

My second oldest daughter's favorite essay for scholarships was something like "How being a stage manager taught me to lead and work with teams." That and being second in her class translated to a free ride through a bachelor's degree in Mechanical Engineering.

We all know that the arts take real work--its nice that such a simple thing as a letter can be used to help kids that contribute to the arts to thrive in life. Sort of a 'you give and you receive' win-win situation.

If you mention this letter of recommendation as your intent to the teachers, they will understand and probably weigh in, because it in turn connects the kids to school effort and makes for more motivated students.

----

And Linda is exactly right. These folks in the schools originally started working there because they liked learning and helping kids to learn. If you ask, you sometimes do them a favor by letting to get away from bureaucracy, school non-sense, daily troubles and back to what they used to love.

You do this because --despite the hassles--at the core of it, it is fun. Part of directing in high school is involving the school community in that fun. Our local high school has a genius director. This guy does wonderful art, by seeing what kids can do--and letting them do it. The artistic quality is top rate, better than many colleges I've seen and better than many pros. But if you watch this genius, he's also 'saving' kids who got turned off by school. Kids are drawn to him because he lets life (and the arts) be fun again. So the creativity just soars and kids start feeling good about living. If I could clone him I would, because a few of him in schools would fix a lot of what is wrong with American education.

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Kathy S
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Posted: 9/29/07 at 1:19am

I seem to recall hearing that a simple way to figure the royalties is roughly 12% of the expected gross, which is generally true for most of the musicals, I think. If you don't expect to fill your 1,000 seat auditorium, be sure to work out a deal with the royalty hous. They will ask you how many seats you expect to sell. But be careful there, too, because if you say you will only sell half of the seats they will hold you to that!

I think the royaty houses are good about explaining things to you. I have found that if I lay my cards on the table and ask all the questions on my mind, they'll be happy to explain. I also always try to deal with the same person each time.

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Teach Me
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Posted: 9/29/07 at 9:28am

Thank you to everyone! I feel like I finally have a starting point! I appreciate knowing how to estimate the costs...I was not prepared for that, but I guess that is why I wasn't getting the information I needed from the Royalty Houses...I couldn't answer the questions they needed me to answer...I will have to review the records and call them back....I feel confident I will get somewhere this time! I wish I had learned that before I called and frustrated everyone - including myself!!

I also have some great ideas about how to get kids involved...afterall, this is a 'student' production - although parents and staff will be our number one resource!!!

Forever grateful,

Teach Me

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Linda S
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Posted: 9/29/07 at 5:30pm

I didn't know about the 12%. I ran a few numbers to see if it worked, and it is very close. A little low, but close. That number does not include rental of materials though. That is another expense on top of the rights.

Linda

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Gaafa
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Posted: 9/29/07 at 10:04pm

KathyS rule of thumb is a good guide - I'll have to remember that!
Most Rights house Dogalogues mention the basic minimum royalty fee for 'Musicals' + 12% -20% of gross box office/performance, depending on how popular the show is.
To my mind TM just choose the show you would like to do. then leave it up to school/producers to work out if they can aford it or not?
also it may be prudent to get a hint on what show budget they have in mind &/or available.
Working with schools it is best to have a direct conduit, via an apionted producer or simpathetic go between, to run interferance with the cliostered powers that be.
I always try & equate production costs to a $ value/seat & then work out the gross/season.
Total 'full house' gross take guestimation is then achieved, by applying a punter factor of full & consession ticket price factor. Which averages out a price/seat.
Some shows may have more of an apeal to adults than the youth or vici verca.
When I come up with a figure for $ gross. I dicount it by 75%, which gives me an idea of a possible budget, to work on & if the show is viable to do.
But this should be the producer/school concern, in your case.

Joe
Western Gondawandaland
turn right @ Perth.
Hear the light & see the sound.
Toi Toi Toi Chookas {{"chook [chicken] it is"}
May you always play
to a full house}

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IamTammy
Walk-On
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Posted: 10/01/07 at 4:28am

P.S.

Let us know how it went, and thank you for our cut.

heh~

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Teach Me
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Posted: 10/01/07 at 8:08am

Thanks again for everyone's input. I guess I am the producer as well because it is up to me right now (and my team, sooner, rather than later)...I am allowed to borrow on projected profits; however, my one and only directive is to break even or leave a small profit when I am done...not allowed to be in the red when the show is over:-)

Thanks also to the person (Joe, I believe) who mentioned checking out the balcony when determining blocking. I hadn't thought of that either...in fact I totally forgot there was a balcony until you mentioned it! I have never blocked with a balcony in mind...and I thank you for the tips. I don't know how many seats are up there - I don't recall there being many...but I will know soon enough:-)

I have a lot of work to do - I hope someday to repay the kindness all of you have shown me...and I will let you know how things end up!

Teach Me

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Topic: Basic Questions for a Newbie( Topic Closed)
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Author	Message
biggertigger Celebrity Joined: 4/16/07 Location: United States Online Status: Offline Posts: 188	Posted: 9/27/07 at 11:30pm
	Lots of questions run through everyone's head before working on a show. Your first requirements now is to putting together a production team and choosing the script so you can figure out what your really need. (No need to worry about finding a falling chandelier if your not doing phantom). Here is my first few suggestions, start looking for a show now. Or if you have a show that they school wants you to do read it many, many times to get the idea how to put it together. (If a show as not be choosen, I would look at a simple set show like "Your a goodman, Charlie Brown" which uses simple suggestive set pieces. Avoid major set musicals like "Hello Dolly". Put together the the production team. If it is in a school are you working with the music teachers? Send out letters to the students parents (You'll be surprised at who will come out to volunteer). Then start working on your show. As always this forum has some very knowledgable people, don't hesitate to ask for help.
	The two greatest days in a theater persons life, the day you start a new show and the day the damn thing closes.
	IP Logged

Linda S Celebrity Joined: 4/16/05 Location: United States Online Status: Offline Posts: 312	Posted: 9/28/07 at 7:47am
	Charlie Brown is an excellent idea for a show. Biggertigger is right. Contact the parents asap. Also, see if other members of the school staff would be willing to help or provide you with students who want extra credit. When I was hired, like you as someone outside of the staff to run the drama program, I talked to everyone. Some teachers involved their classes, others just volunteered. Heck the Latin teacher did the choreography for Brigadoon. You have a wealth of resources at the school. The Shop teacher might help you with sets. One day I had rotating shop classes build the whole set for a show. It was amazing. The Home Ec teacher might help with costumes; Language Arts with publicity and articles, Art with posters and set decorating. The Music teacher was one like my right arm when I did musicals providing not only able vocalist but musicians. We always had a great student orchestra. And don't forget the custodians. They were my biggest supporters. They were always there to help. It never hurts to ask. Lots of people would like to be involved, but they don't know what they can do. Let them know how they can help. Linda
	IP Logged

vickifrank Celebrity Joined: 9/21/07 Location: United States Online Status: Offline Posts: 332	Posted: 9/28/07 at 10:25am
	Oh, and two other things...if you use kids to do the design, choreography, etc.. Set your expections up front...Ex: I expect you to study what others have done and to have a professional output. Then you should be prepared to write a letter for each to put in their high school portfolios so they can use this to get scholarships and summer jobs. The high school-college transition has changed a little over the years. Those letters from adults saying what a kid is capable of and how they've shown leadership can be worth real scholarship money. My second oldest daughter's favorite essay for scholarships was something like "How being a stage manager taught me to lead and work with teams." That and being second in her class translated to a free ride through a bachelor's degree in Mechanical Engineering. We all know that the arts take real work--its nice that such a simple thing as a letter can be used to help kids that contribute to the arts to thrive in life. Sort of a 'you give and you receive' win-win situation. If you mention this letter of recommendation as your intent to the teachers, they will understand and probably weigh in, because it in turn connects the kids to school effort and makes for more motivated students. ---- And Linda is exactly right. These folks in the schools originally started working there because they liked learning and helping kids to learn. If you ask, you sometimes do them a favor by letting to get away from bureaucracy, school non-sense, daily troubles and back to what they used to love. You do this because --despite the hassles--at the core of it, it is fun. Part of directing in high school is involving the school community in that fun. Our local high school has a genius director. This guy does wonderful art, by seeing what kids can do--and letting them do it. The artistic quality is top rate, better than many colleges I've seen and better than many pros. But if you watch this genius, he's also 'saving' kids who got turned off by school. Kids are drawn to him because he lets life (and the arts) be fun again. So the creativity just soars and kids start feeling good about living. If I could clone him I would, because a few of him in schools would fix a lot of what is wrong with American education.
	IP Logged

Kathy S Celebrity Joined: 8/21/04 Location: United States Online Status: Offline Posts: 303	Posted: 9/29/07 at 1:19am
	I seem to recall hearing that a simple way to figure the royalties is roughly 12% of the expected gross, which is generally true for most of the musicals, I think. If you don't expect to fill your 1,000 seat auditorium, be sure to work out a deal with the royalty hous. They will ask you how many seats you expect to sell. But be careful there, too, because if you say you will only sell half of the seats they will hold you to that! I think the royaty houses are good about explaining things to you. I have found that if I lay my cards on the table and ask all the questions on my mind, they'll be happy to explain. I also always try to deal with the same person each time.
	IP Logged

Teach Me Player Joined: 9/27/07 Online Status: Offline Posts: 0	Posted: 9/29/07 at 9:28am
	Thank you to everyone! I feel like I finally have a starting point! I appreciate knowing how to estimate the costs...I was not prepared for that, but I guess that is why I wasn't getting the information I needed from the Royalty Houses...I couldn't answer the questions they needed me to answer...I will have to review the records and call them back....I feel confident I will get somewhere this time! I wish I had learned that before I called and frustrated everyone - including myself!! I also have some great ideas about how to get kids involved...afterall, this is a 'student' production - although parents and staff will be our number one resource!!! Forever grateful,
	Teach Me
	IP Logged

Linda S Celebrity Joined: 4/16/05 Location: United States Online Status: Offline Posts: 312	Posted: 9/29/07 at 5:30pm
	I didn't know about the 12%. I ran a few numbers to see if it worked, and it is very close. A little low, but close. That number does not include rental of materials though. That is another expense on top of the rights. Linda
	IP Logged

Gaafa Celebrity Joined: 3/21/04 Location: Australia Online Status: Offline Posts: 1181	Posted: 9/29/07 at 10:04pm
	KathyS rule of thumb is a good guide - I'll have to remember that! Most Rights house Dogalogues mention the basic minimum royalty fee for 'Musicals' + 12% -20% of gross box office/performance, depending on how popular the show is. To my mind TM just choose the show you would like to do. then leave it up to school/producers to work out if they can aford it or not? also it may be prudent to get a hint on what show budget they have in mind &/or available. Working with schools it is best to have a direct conduit, via an apionted producer or simpathetic go between, to run interferance with the cliostered powers that be. I always try & equate production costs to a $ value/seat & then work out the gross/season. Total 'full house' gross take guestimation is then achieved, by applying a punter factor of full & consession ticket price factor. Which averages out a price/seat. Some shows may have more of an apeal to adults than the youth or vici verca. When I come up with a figure for $ gross. I dicount it by 75%, which gives me an idea of a possible budget, to work on & if the show is viable to do. But this should be the producer/school concern, in your case.
	Joe Western Gondawandaland turn right @ Perth. Hear the light & see the sound. Toi Toi Toi Chookas {{"chook [chicken] it is"} May you always play to a full house}
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IamTammy Walk-On Joined: 7/08/06 Location: United States Online Status: Offline Posts: 0	Posted: 10/01/07 at 4:28am
	P.S. Let us know how it went, and thank you for our cut. heh~
	IP Logged

Teach Me Player Joined: 9/27/07 Online Status: Offline Posts: 0	Posted: 10/01/07 at 8:08am
	Thanks again for everyone's input. I guess I am the producer as well because it is up to me right now (and my team, sooner, rather than later)...I am allowed to borrow on projected profits; however, my one and only directive is to break even or leave a small profit when I am done...not allowed to be in the red when the show is over:-) Thanks also to the person (Joe, I believe) who mentioned checking out the balcony when determining blocking. I hadn't thought of that either...in fact I totally forgot there was a balcony until you mentioned it! I have never blocked with a balcony in mind...and I thank you for the tips. I don't know how many seats are up there - I don't recall there being many...but I will know soon enough:-) I have a lot of work to do - I hope someday to repay the kindness all of you have shown me...and I will let you know how things end up!
	Teach Me
	IP Logged