Deck 13: Image Makers: Producers

Question 1

Explain the process by which a script develops into a Broadway production, including the roles of agent, producer, casting director and at least two other theatre practitioners that have been discussed in the text.

Answer 1

The process of developing a script into a Broadway production involves multiple key players, including the agent, producer, casting director, and other theatre practitioners.

The first step in this process is typically the acquisition of the script by an agent. The agent represents the playwright or screenwriter and helps to negotiate deals with producers, securing the rights to produce the show. The agent also helps to connect the playwright with potential producers who may be interested in bringing the script to the stage.

Once a producer is on board, their role is to oversee the entire production process. This includes securing funding, hiring the creative team (such as the director, choreographer, and designers), and managing the logistical and administrative aspects of the production. The producer is often responsible for assembling a creative team that can bring the script to life in a compelling and commercially viable way.

The casting director plays a crucial role in finding the right actors to bring the characters in the script to life. They work closely with the director and producer to hold auditions, review headshots and resumes, and ultimately make casting decisions that will bring the vision of the script to the stage.

In addition to these key players, other theatre practitioners such as the director and the design team (including set, costume, lighting, and sound designers) play essential roles in the development of a Broadway production. The director works closely with the actors to bring the characters to life and shape the overall vision of the production. The design team collaborates to create the visual and auditory elements that enhance the storytelling and create the world of the play.

Overall, the development of a script into a Broadway production is a collaborative process that involves a diverse group of theatre practitioners working together to bring a story to life on stage.

Question 2

What is the job of the Literary Manager? Explain the problems that could occur between the playwright and the Literary Manager.

Answer 2

The job of the Literary Manager is to oversee the development and selection of new plays for a theater company. They are responsible for reading and evaluating new scripts, providing feedback to playwrights, and making decisions about which plays to produce. They also often work closely with the artistic director and other members of the theater company to shape the overall artistic vision and programming.

One potential problem that could occur between the playwright and the Literary Manager is a difference in artistic vision. The playwright may have a specific idea for how they want their play to be developed and produced, while the Literary Manager may have a different vision based on the needs and goals of the theater company. This could lead to conflicts and disagreements about the direction of the play, the changes that need to be made, and the overall artistic vision.

Another potential problem could be related to feedback and communication. The playwright may feel that the feedback they are receiving from the Literary Manager is not helpful or is not in line with their vision for the play. This could lead to frustration and a breakdown in communication, making it difficult to move forward with the development and production process.

Overall, it is important for the playwright and the Literary Manager to have open and honest communication, to be willing to compromise and collaborate, and to ultimately have the best interests of the play and the theater company in mind. By working together and finding common ground, they can overcome potential problems and create successful and fulfilling artistic partnerships.

Question 3

Large scale musicals are extremely costly to produce and generally have very expensive ticket prices. Yet, they remain tremendously popular and a staple of every Broadway season. Discuss what factors contribute to their cost, and what steps producers have taken to get around these expenses.

Answer 3

There are several factors that contribute to the high cost of producing large scale musicals. These include the expenses associated with hiring top talent such as actors, musicians, and creative teams, as well as the costs of elaborate sets, costumes, and special effects. Additionally, marketing and advertising for these productions can also be very expensive.

In order to mitigate these costs, producers have taken several steps. One approach is to secure corporate sponsorships or partnerships, which can help offset some of the production expenses. Another strategy is to seek out co-productions with other theaters or production companies, allowing for shared costs and resources. Additionally, some producers have turned to crowdfunding platforms or private investors to help finance their productions.

Furthermore, advancements in technology have also allowed for more cost-effective ways of creating elaborate sets and special effects. For example, the use of projection mapping and digital backdrops can often be more affordable than constructing physical set pieces.

Overall, while large scale musicals remain costly to produce, producers have found various ways to navigate these expenses and continue to bring these popular productions to the stage.

Question 4

Individual people that invest in a Broadway play are called

A) Investors
B) Backers
C) Angels
D) Fools

Question 5

Diversity in staging has lead to the formation of _______ theatre companies, such as Spiderwoman Theatre

A) Native American
B) Latino/a
C) Asian-American
D) GLBT

Question 6

The distinction between Broadway and Off-Broadway is decided based on

A) The theatre's location
B) The audience size
C) The size of the stage
D) None of the above

Question 7

The Producer of Cats and Miss Saigon is

A) Hal Prince
B) Cameron Mackintosh
C) Audrey Wood
D) Daryl Roth

Question 8

The "preview" has taken the place of

A) Out-of-town tryouts
B) Pre-production workshops
C) National Touring Companies
D) Extended Dress Rehearsals

Question 9

Altering the race or the ethnicity of a character to bring about a new perspective is called

A) Nontraditional Casting
B) Conceptual Casting
C) Casting inversions
D) All of the above

Question 10

Broadway production costs continue to rise due to increases in the costs of

A) Transport
B) Labor
C) Materials
D) All of these

Question 11

One option that has broadened distribution for Broadway shows is

A) Electronic recording of Broadway shows
B) Pay-per-view theatre events
C) Creation of touring companies
D) Use of holograms, and CAD generated actors

Question 12

Joint ventures and limited partnerships are frequently formed to produce off-Broadway shows, which can cost __________>

A) $500,000
B) $1,500,000
C) $15,000
D) $150,000

Question 13

Plays and musicals that have transferred from regional theatres for successful Broadway runs include

A) Democracy
B) Caroline, or Change
C) As Bees in Honey Drown
D) The Producers.

Question 14

The only real difference between producing on Broadway or Off-Broadway is the cost.

Question 15

The professional union that represents the stage managers on Broadway is the International Alliance of Theatrical Stage Employees (IATSE).

Question 16

National Touring Companies are usually formed because the Broadway production did not get good reviews and is losing money.

Question 17

The terms Artistic Director and Producing Director are basically interchangeable.

Question 18

The Artistic Director of the Arena Stage is Washington, D. C. is Gregory Boyd.

Question 19

LORT (The League of Resident Theatres) was formed to provide venues for touring shows.

Question 20

Playwrights frequently pay "options" to producers who will, it is hoped, produce their plays.