How to Produce a Play

Find a script. You, the producer, are the very first person to start the process of creating a play. Before anything else can happen, you (and/or your staff) need to decide which play to produce. You may decide to put on a theatrical classic, like Les Miserables, Death of a Salesman, Ms. Saigon, or A Raisin in the Sun - well-known plays like these frequently receive stage productions decades after their debuts. However, you may also decide to debut a new play. If this is the case, you should make a point to seek out quality scripts from talented writers, who may be found in a variety of places, including college campuses, theater companies, or via an agent or publisher.^[1]

• Note that plays are intellectual property and, as such, will often require royalty fees for their use. Be sure to contact the playwright, his or her agent, or the rights owner if the script you've chosen isn't public domain.

Find a director. The director is the "boss" of the play as far as creative decisions are concerned. S/he directs the actors as they rehearse, has the final say on aesthetic decisions like prop and set design, and, ultimately, will receive much of the glory (or derision) that the play garners upon its reception. The producer is responsible for finding a director who will be a good fit for the play - this can be a friend or professional partner or a promising newcomer. Keep in mind, however, that the director can always decline the invitation to direct or attempt to negotiate for a higher fee. As a producer, it is your job to find replacement directors and/or participate in negotiations as necessary.

• Some producers take on the role of director as well. This puts an enormous amount of responsibility on one person's shoulders, so be cautious about tackling this double-role unless you have plenty of experience.

Secure funding. One of the producer's most important functions is to pay for the play. If you are wealthy enough to pay for the play on your own, you may choose to be its sole financial backer. However, many plays are financed by a group of investors - wealthy individuals hoping to claim a slice of the play's profits. In this case, it's your job as the producer to "pitch" the play to investors, whether they're personal friends or rich strangers, in an attempt to get them to agree to pay for the play.

• It's also your job to keep these investors happy and up-to-speed throughout the production, notifying them of production changes, new sales projections, and the like.

Find a venue. Plays need a physical space for rehearsal and performance purposes. As the producer, it's your job to secure this space for your production. The venue should accommodate the technical aspects of your production (in terms of stage size, lights, sound systems, etc.) and should be large enough to fit your projected audience.^[2] Other aspects you may want to consider are:

• The cost of using the venue - different venues will have different profit-sharing rules for ticket sales and so on
• Whether or not the venue provides its own front of house staff (ticket takers, etc.)
• Whether or not the venue provides liability insurance
• The aesthetic and acoustic qualities of the venue
• The history of the venue

Schedule auditions. Every play needs a cast - even one-man shows do. If you're well-connected, you may have certain actors in mind for certain parts in your production, in which case you can contact them directly to offer them parts. If not, you should schedule auditions. Be sure to promote these auditions so that prospective actors will know where and when to be for a shot at a role in your production.^[3]

• Focus your promotion efforts on places where actors are likely to be, like theater companies, art schools, etc. and groups they're likely to be in contact with, like talent agencies.

Hire support staff. Actors are far from the only people who work on a play. Stagehands, light and sound technicians, costume designers, choreographers, and countless more support staff collaborate to make a successful production. As a producer, you'll need to oversee the hiring of the support staff, though you won't necessarily direct them in their day-to-day duties, as this is usually delegated to various managers.^[4]

• Note that, while many venues provide their own front of house staff, some don't, and, in these cases, you'll need to hire your own in addition to the other crew members.

Cast your play. Generally, the director has the final say when it comes to casting, as s/he is the person who will ultimately work with the actors to create the finished product. However, depending on your relationship with the director, you may still have some input on the casting process,especially if you have previously worked on the creative aspects of theatrical production.