On Partnership agreements, staff, attitudes etc
Printed From: Community Theater Green Room
Category: Theater Administration
Forum Name: Running Your Theater
Forum Discription: General questions about how to make it work
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=4706
Printed Date: 11/25/24 at 1:07am
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Topic: On Partnership agreements, staff, attitudes etc
Posted By: davidmichaelmax
Subject: On Partnership agreements, staff, attitudes etc
Date Posted: 7/09/10 at 5:33pm
(More stuff for start-ups to think about from yet another letter to a
friend...)
Me again - I thought I'd address the aspect of theatre
partnerships,
especially the
kind involving a third party besides someone in your family.
There
are lots of different forms of existence that a theatre can take -
non-profit corporation, for-profit corporation, sole proprietor, limited
liability corporation (LLC), and formal partnership, as we were at the
Melodrama before switching to corporate status shortly before I left.
Partnerships
are common because theatre usually takes the combined resources of a
few key people to start up, and they aren't as much work to set up as a
corporation.
But before
any of you commit to that kind of drain on your finances, time and
energy, make sure you have a partnership agreement that SPELLS OUT every
aspect of the partnership. Most people are loathe to do this.
As
someone who has been down that road and who has spoken to others who
also made the mistake of a "handshake" partnership, I can assure you
that THINGS WILL CHANGE FOR THE WORSE WITHOUT A LEGALLY BINDING
PARTNERSHIP AGREEMENT. EXCLAMATION MARK!
As icky as it feels to
have to talk about this stuff, do it anyway, and get it out of the way
before you jump in with both feet. It will save hard feelings down the
road. It will show whose children will inherit what in the event of
tragedy.
It will spell out ways to leave the partnership, ways
to take in a new partner, who owns how much stock and at what price, how
that stock may be disposed of, who can legally spend the partnership's
money and for what purposes, etc etc etc. The cost of a lawyer in this
case is well worth the price.
DO IT! I BEG OF YOU!
Think
it all thru as well as you can, then sign and notarize that damn
agreement.
Then put it aside and work day and night to build the
theatre and remain good friends. THAT'S really the difficult part,
because well-done theatre is often GRUELING and takes a toll on your
goodwill, peace of mind, and ability to play nicely with others.
If
it all gets to be too much for anyone (girlfriend or boyfriend
relations sour, or you discover you really wanted to become a mime
full-time, or one of your partners eats his boogers or something,
someone wants to take his ball and go home, etc)
then there will be no question about how to relieve the pressure,
because the
agreement will be something into which you all had input, agreed upon,
and is legally binding on all parties.
Anyway, DO think clearly
about this part of "show biz". The Biz part gets neglected, often to
lasting regret.
There are a couple of things to strive
for no matter what kind of theatre you do. Give people more than their
money's worth, or at least more than what they expected. This can be
done at little or no cost, is part of the "fun factor", and also
incorporates the illusion of theatre.
Keep the place absolutely
clean every day, because women especially will not attend if they think
the bathrooms, seating or floors are dirty. Empty ashtrays and clean the
front of house mercilessly. Do the windows. Hose down the sidewalks.
Smile at EVERYBODY.
Keep internal disagreements private and
resolve to handle staff or management problems behind closed doors.
Don't publicly humiliate anyone on the staff. Patrons do not
understand anger directed by staff at anyone else, and will avoid coming
again if they see it displayed. Again, all things learned the hard way!
I pass it on to you.
Make the evening casually fun if
"Melodrama" style, and elegantly fun if dinner theatre. Build in
surprise and delight. Have the entire staff dress in period costume
(even box office), or in some hip kind of "theatre" style (usually
involving black).
NEVER give a patron attitude for any reason.
Listen to them without interruption when they have an issue, and make it
okay for them by the time they leave. They will remember and return if
you do that. ALWAYS handle people professionally if there's a problem,
even when they are completely obnoxious. There are a million books on
how to do this. READ THEM and agree on a system. Use it unfailingly once
you do. You'll win your patron's respect that way, even the sour ones.
Remember
how Scrooge's nephew Fred "kept his good humor to the last", even in
the face of insult and miserliness? Do that too. Easy, huh?
As
far as individual salaries, in the case of paid actors, if the theatre
provides housing it can help cut
down on the amount paid in salaries. We usually avoided any Equity
contracts.
Pay a little above minimum wage to younger, less experienced actors,
find them places to stay or shared housing, have one communal meal a
day, that kind of thing.
Pay a bit more to older, more
experienced full-timers, and give them more responsibility. Maybe even a
title! And a funny hat. No, forget the hat...
No, YOU wear the
hat, Mandie! Or the hubbie...
A good full-time musical
director (who plays the shows, does choral and vocal direction as well
as putting together acceptable revues) will cost at least
two grand a month if you will be holding the kind of schedule we used
to (five shows a week, sometimes more); a stage manager a little less.
If
someone in the
acting company has choreography chops, then add a fixed amount, maybe a
couple hundred dollars budget allowing, to their monthly salary per
project.
If you hire a choreographer from outside the company,
many can do an acceptable job for 300-600 bucks, depending on the scope
of the show. It's one of those things you have to feel around for a
little bit, and ask around in the area for what's considered the
standard fee. Sometimes you'll discover a jewel in the rough at dance
studios and the like.
Give young talent a chance, but work
closely with them to get pro results (without micro-managing). Bring new
talent up as often as you can, but be sure they can handle it if you
are going for professional, instead of community, theatre.
One
tactic that works well, if you have someone you admire in mind, is to go
to them with a certain figure and say "This is what our budget will
allow - will you be able to do it for that? Challenge people a little -
truly creative people often respond favorably to challenge. We all do,
really.
Ask, ask, ask and ask. That's how you get to yes. That's
how all the answers are found. And remember to follow up any services
rendered with thank you letters, signed pictures of the cast, flowers, a
bottle of decent wine, comp tickets - anything that will create a
positive, pleasant memory of you in their mind and make them want to
help you again. Be genuine, and people will rise to your aid. Share your
genuine vision, and they will want to be part of it.
More later
in another letter!
All the best,
David Michael Max
-------------
"It's never too late to be who you might have been..."
George Eliot
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