27 Production Management

Production Management

Pathways

Many post-secondary institutions offer general production training or special studies in production management. The National Theatre School has a specific stream for those interested in a career in Production Management, Technical Direction, Stage Management, Stage Electrics/Lighting Design, Sound Systems/Sound Design, and Video Systems/Projection Design. A lot of Production Managers begin with broad backstage training or begin in stage management, then gain experience leading to greater responsibility. Often one will also work as a Production Assistant alongside a more seasoned Production Manager before stepping into the role.

Many Production Managers that I’ve had the privilege of working with started with independent productions or festivals. Then applied to work at larger theatres or venues. Working in a smaller scale can be much less overwhelming and provide hands on experience with less pressure as you begin.

Getting Work

As with so many other areas, a lot of your first gigs may be entry level crew until you build up your resume and gain experience. The smaller theatres and some festivals often hire on a contract basis and will get recommendations from others or take note of those working on shows in their region. They will offer opportunities to those who demonstrate potential. The larger theatres will have a full-time Production Manager on staff and when there is an opening they will generally advertise. So, after you have some experience you will mostly be submitting an application in response to a theatre’s job posting.

For job postings there will be regional sources, including social media and local arts association mailings, but nationally you can find applicable postings at: Job Postings | Canadian Institute for Theatre Technology and Artsboard | PACT.

Your resume can include any PM experience but also SM or technical work. If you transitioned from doing project management or administrative work outside theatre, feel free to include this or anything that demonstrates related experience. See an example here. As well, craft a strong cover letter that speaks to your abilities but also addresses why you want to work with that specific theatre.

Management

First of all, I want to credit production managers Wayne Buss! and Laura Lindeblom for visiting my class on several occasions and sharing their wisdom and experience. They both have generally described what they do as being responsible for making sure everything that needs to be on stage ends up on stage. That’s it in a nutshell. Also, solving problems every day and making sure everyone on the team gets what they need in order to succeed.

The role includes juggling many things and is comparable to project management in other sectors. We won’t do a deep dive into the Production Manager’s actual workload in this chapter, but to follow are some considerations that will support success.

What exactly is being managed:

• time (deadlines)
• money (budget)
• resources (supplies, goods, production needs)
• team members (human resources, staff, artists, contracts)

An overview of tasks that you need to have the ability to successfully undertake if you want to establish a career for yourself in this area would include:

• Production Administration
• Working with Production Staff
• Setting and Managing Production Budgets
• Hiring and Supporting Crew
• Creating and Managing all Production Schedules
• Contracting Designers and Stage Managers
• Supervising Tech Rehearsals and Work Calls
• Overseeing Safety Protocols and Needs

Next are some specifics that give you a sense of what skills are required but also what aptitudes will lead to a Production Manager being in demand.

Budgets

You will constantly be working with budgets. Generally, the producer/theatre/General Manager will assign you a budgeted amount available for the production of a show or for all productions in the season. Once you know the amount you have to work with you will need to develop the production budget(s). This requires a close read of each script. You need to figure out things like number of cast, number of characters, where it is taking place, and when. You can then extrapolate and estimate what might be required for things like set and costumes. Based on show needs you allot specific amounts to each area or department. This includes a further breakdown so the set for example will have a material cost for lumber or paint, plus a labour cost for the construction, and possibly a scenic painter. A TD, if one is on staff, will assist in costing out specific set needs. The budgets will shift as designs are finalized and it becomes clear where there might be greater need or savings.

Scheduling

The one constant is opening night and so all schedules work backwards from that creating a road map of how to successfully get there.

So, the process generally starts with noting the main deadlines:

• Opening date, load-in, first day of rehearsals are usually concretely set and noted in contracts for designers and production team members.
• The performance schedule can be mapped out and will include special events that impact stage activity like talkbacks.
• Then a PM would create a production calendar that fills out all other dates that may or may not have already been determined by the producer/theatre. This would include: design deadlines, build starts, contract starts, rehearsal start, general rehearsal/tech schedule, performance schedule, and strike. As well as add/drop deadlines for departments if required.
• It is good to highlight anything that might be unusual (change in rehearsal space, 10/12 tech day, paint day, to be confirmed tech note time).
• A draft will usually be sent along to the creative team in order to get their thoughts and feedback.
• Then this schedule is used as a tool when discussing availability with department heads/crew.
• In addition, it is great to create a detailed tech schedule from load-in to strike with a further breakdown of activities.

Things to take into account:

• Are there considerations around venue access times, artist/crew availability, union or association rules around span of day and breaks, requirements for days off?
• It is good to build in buffer times if possible for the inevitable unexpected needs.
• The schedule will change frequently throughout the process.
• Clarity is important! You must trust the schedule and the team must be able to interpret it and trust it as well.
• Send updates promptly and clearly date/label any new versions. Find a way to highlight changes so that people can visually pick up on what’s new.
• “At A Glance” spreadsheet with team contact info, important dates, and budget breakdown included all on one page is a really useful tool. All team members can refer to this easily and it helps keep everyone on the same page in the lead up to the start of the build and rehearsals.

Scheduling tips

• Create clear timelines.
• Set earlier deadlines than are necessary.
• Never tell external folks the real deadline.
• Allow time for back and forth on all materials that require input/approval.
• Breakdown any deadlines in to smaller target dates.
• Be realistic.

If you are working freelance on one production, then it will be a focused schedule. At a theatre company you will also have an operational calendar with a full season overview. You may also be dealing with the venue being used for fundraising events, or rentals, or maintenance.

There are some great digital tools now in use to help with coordinating team schedules, finding meeting times, and allowing for a sharing of availability.

• Trello
• Doodle Poll
• Podio
• Teamup
• MyVolunteerPage
• Slack
• Hive
• Google Calendar

As noted in previous chapters, there is also much talk right now about how to make for healthier technical rehearsal schedules, in particular avoiding 10 out of 12 hour days. See Means of Production and their work on reimagining tech week for more information. This is a conversation happening everywhere, including on Broadway.

Communication

Although good communication is a constant in all theatre roles, the Production Manager really needs to make sure that information is flowing both in and out.

If this is the area you want to work in, really ask yourself if you are a good communicator. What is your style of communication? It is good to make sure you can use both qualitative and quantitative forms of communication.

What is effective communication?

• Basically, communication is the creation of meaning through the use of signals, symbols, and language.
• Often meaning is construed as much from other components, not just the words.
• Nonverbal behaviour also provides information. Tone of voice, body language, and even the method of communication can have an impact.
• E-mails are so often misconstrued because they are missing nuance that allow for interpretation.
• You need to be aware of anything that can interfere with, change the message, or lead to miscommunication with your team. For example:
  • Grammatical errors or word choice problems
  • Absence of feedback
  • Cultural differences
  • Power effect
  • Past experience and sensitivities
  • Assumptions
  • Stereotypes
  • Projection

Communication Tips

• Put it in paper
• Review the information orally to confirm perception
• Provide open channels for on-going feedback
• Don’t hesitate to pick up the phone or meet in person to address issues
• If there are conflicts, try to have an objective third party involved
• Provide deadlines and a clear call to action – e.g. please reply with your thoughts by March 10th
• Try to find the best means of communication for each individual and work with it

Leadership

Production Managers do have to have leadership skills as they oversee a large team. I have seen some with a tendency to micromanage, which I can recognize as a challenge I also have as a producer. It can be a hard balance to lead with trust. Good leaders often see their role less as supervising and more about working with their team to make sure that they have the needed resources. In this way, a leader may be responsible for their team but they are also responsible to that team.

A Production Manager is also often a go between (for example between designers and crew), having to keep everyone happy. In this case, leadership is also about being available and specifically being on site. The team does not have time to wait for solutions or approval when time is of the essence during tech week.

As with other leadership in the arts, there is a lot of putting out fires, cleaning up messes, and problem-solving. You role model behaviour. It is also a constant balance between what is good for the organization/production with what is good for the human beings involved.

For more on leadership see the Arts Management track.

Contracts

You will both be working under a contract and be responsible for contracting.

When working with independent theatres on a contract-basis there is no specific contract to use as a model for production managers. Means of Production has created some guidelines to try and clear up the murkiness around the position. Since the role of production manager can be very broad and depending on budget size, may mean taking on some of the crew work yourself, it is important to have clear expectations spelled out in a signed agreement.

When working full-time at a theatre, it would be under a standard employment contract abiding by labour laws of the region. Although the number of hours should be set, the reality of theatre is that it won’t ever be a consistent 9 to 5. Tech will require evenings and weekends. Having clear policies around how this time will be banked or balanced out is crucial.

In terms of hiring, you want to bring in good people. When it comes to designers and stage managers you want to offer good people to the Director to choose from since they will have approval. Who to engage comes with budget considerations, for example keeping it local means no travel costs.

In creating any contracts, like for designers, you want to make sure deadlines are clear and in writing.

Resources/Tips

Many of the considerations explored in discussing the changing theatre milieu and the future of theatre impact production managers. There is a movement to consider sustainability and ethics in spending. For many Amazon has become a quick way to find production needs, however it is important to assess how this aligns with the production or theatre’s values. Some have started creating a column in their budgets to assess the carbon cost or footprint, as well as noting what will happen to built or purchased items after the show. The goal being to prevent things ending up in the landfill.

Many theatres in our region will work together to loan each other stock items or equipment. This both reduces waste, but also supports keeping costs lows. If you are moving into this field of theatre be sure to build bridges, forge support networks, and create relationships with your colleagues so that you can thrive together.

Accessibility options such as audio description, ASL, or relaxed performances are also important to integrate into schedules and technical considerations early on. It is crucial not to see this as an extra burden but a way to make the production better for all involved.

A few suggested books are:

Communicating in Small Groups, Principles and Practices by S. Beebe & J. Masterson

Performing Arts Management: A Handbook of Professional Practice by Tobie S. Stein, Jessica Rae Bathurst, Renee Lasher, & Donna Walker-Kuhne

The Production Manager’s Toolkit by Cary Gillett & Jay Sheehan