Professional Careers in Theater [Part 1: Management, Directing, Planning]

Careers in Theatre – Part 1: Theatre Management
 
Titles for different jobs vary with the theatre…In a smaller theatre situation, there may be one THEATRE DIRECTOR who handles the responsibilities for choosing the season, hiring the director, producer, etc.   In a large theatre “system” [such as PLAYHOUSE SQUARE in Cleveland, Ohio, having multiple performance spaces] there may be a “board of directors”, or one or two well-paid staff who handles crucial decisions and financial responsibility, such as the SENIOR VICE PRESIDENT OF THEATRE OPERATIONS who is interviewed for PBS.  This lesson presents video interviews that give an enormous variety of situations.  The interviews in Part 1 are primarily managerial positions, but don't think all the creativity is going on BACKSTAGE!!  These extremely creative individuals who are stage directors, producers, stage managers, and theatre directors MAKE SURE that the show truly goes GO ON!  

Have your new CURTAINS UP! notebook & pen ready.   Be sure to label it as such, adding drawings or collages on cover.  [Also, add some identification info, in case you misplace this notebook.]
*Turn to the LAST 10 PAGES  in your notebook.  On page 1-5, write the heading VOCABULARY( to write definitions for any words/terms you don't understand during an interview) .  On pages 6-10 at the end of your notebook, write the heading CONTACTS.  This is a place to write names & locations of theatres, theatre professionals, theatre people in your town, city, state...whether working on an amateur level or professional level.  IT'S IMPORTANT to get to know people who work in  your chosen field!!

 BEFORE ANY PLAY IS PRODUCED FOR AN AUDIENCE, a thriving theater must do these things:
 -Plan an appealing season of shows that will appeal to their customers/audiences/communities
-Get permission from the publishers/chosen shows, making sure royalty fees are affordable for a theatre of the particular size and location                             
-Sign contracts with the publisher to guarantee the work will be performed exactly as written
-Secure a producer for each show of the “season”, if the theatre is large & part of a multi-theatre group
-Secure a director for each show
-Secure a stage manager & assistant stage manager for each show
KEEP THE  POINTS ABOVE  IN MIND, AS YOU VIEW & TAKE NOTES ON THE INTERVIEWS
******************************************************************************************
1. Watch each video, pausing & taking notes on each interview. 

2. PAUSE VIDEO AND WRITE any words/phrases that you don’t understand in each interview. Look up the definition of the word/phrase when the video ends!  [Before viewing the next video, add these words & definitions to the VOCABULARY  pages in the back of your notebook.] 
3.  Assignment to complete AFTER EACH interview: 
[Use a separate page in your notebook for each interview, even short ones.]
* 1. Label: Write the name of the interview/person’s name/working position of that person/name and location of the theatre…state & city.
* 2. Write SEVERAL SENTENCES [5 at least]:  Recall the main points/ interesting facts that you learned from the interview and things you learned about that specific job in theatre. Include ONE QUOTE that you thought was important that was shared by the video speaker. 
*3.  Write a short paragraph:  Describe that person’s work situation…Would you enjoy working in that type of theatre? Enjoy small town/large city life?  What appeals to you about this person’s job & environment, and what do you think you would DISLIKE about it? 

                                       !!SOME FOOD FOR THOUGHT!!
As you make notes on these interviews, can you see a purpose for noting the NAMES, THEATRES, & CITIES of these different theatre positions?   Believe it or not, you may be able to UTILIZE this notebook & these names, if you are seeking a job in the future [ You should write them in your CONTACTS area of your Curtains Up Notebook].  It’s amazing how many theatre/arts people know each other, meet each other at conferences, at auditions, at festivals, etc.
 Recognizing a person’s NAME, speaking to them at a CONFERENCE, or VISITING their theatre [if you’re in their city] may give you some contacts that could be important in the future…especially if you can mention something you remember from seeing their interview, and/or doing further research on a theatre. STAY ALERT to the possibilities!  Coincidences happen sometimes, so BE PREPARED… which means continue to update yourself with information, research, & keep learning all you can about your field!

 * [Some highly successful people define “LUCK” as “being PREPARED when a possibility presents itself!]

1.  Within your “PROJECT GROUP” of 4 students, each of you will choose a certain job in the “theatre.”  ALL TASKS FOR EACH JOB must be completed to receive credit for this ASSESSMENT…and for the “SHOW TO GO ON!!”
2. READ THE JOBS, & TASKS THEY DEMAND.  Within the group, decide who wants to accept each job position.  The jobs for this production will be in a SMALL, LOCAL THEATRE [which is imaginary]. 

• As a group, come up with the name of this new, local theatre. [Can’t be a real theatre name]
• Read these jobs and discuss the skills needed for each.  

 
-Theatre Owner, Producer: [ Your group will not REALLY purchase rights/produce a play from one of these publishing houses, BUT - pretend that you might, even though your "group playwright" will end up writing your show. You still must research the avenues of dealing with publishing houses, though, as your part of the project.]  [You also will INVENT all the details of how large your theatre is, etc.]
You must write letters/emails to companies who hold the PRODUCTION RIGHTS for the play that will be produced, look for a fairy tale-type show. First, research Samuel French, Dramatic Publishing, Dramatists Play Service. Research shows for a small cast, 2-3 scenes. Tell them how many audience seats are in the house, & how much you feel you could charge for each ticket.Visit these 3 websites, browse shows, LIST requirements that you will need to agree to if you DID perform one of their shows.
MAKE 5 COPIES of your letters to the publishing houses.MAKE 5 copies of your notes concerning # of seats in your theatre, and how much $ can be charged for each ticket in your town/city.[Luckily, you will eventually have a PLAYWRIGHT who will write the perfect play to perform , & won’t have to use these publishers!]
 
-Director:  You will receive a copy of the script from the PLAYWRIGHT.
Read through the script several times, imaging the characters places on stage, whether you like the playwright’s stage directions for entering/exiting [ if not, you may change them, but
Make any other notes: What types of lighting do you envision for different scenes? Do you want a certain type ofMUSIC or SFX [sound effects] for differentparts of scenes?NOTATE WHAT KINDS.Research COPYRIGHT-FREE music that may be used… it’s important not to pirate someone’s creation without their permission, as you AND theatre could be sued.]

Plan an AUDITION SCRIPT, by highlighting portions of your script that would REVEAL a talented actors’ abilities….at least 10 different lines by various characters. Also write any other notes about how to direct portions of the show. 
TYPE THE AUDITION SCRIPT with which to audition actors:  for each character, give character’s NAME, the scene & what’s happening to the character at this point, & FEELING[S] YOU WANT TO SEE PORTRAYED in this line.
MAKE 5 COPIES of items below: [1 for teacher, 3 for other group members, 1 that you keep]

1. Audition script
2. List of copyright-free music you will use, & notes about which parts of a scene music will be played; also SFX needed, & how you will get or make them, & in which scenes needed

 3. Notes on lighting, listing which scenes & colors, and/or special types of lighting, shadows, etc. you imagine.
LAST, MAKE 5 COPIES: One for your teacher, one each for your group members, one for yourself, to be kept with your CURTAINS UP! Notebook.
 
 
 
-Playwright:For this imaginary play, you will choose either a FAIRY TALE, which will have 2 scenes, OR 2 NURSERY RHYMES, which will have 1 scene each.Whichever story or rhymes you use, rewrite it in play form, with lines & directional comments for each of the 5 actors.  [AT LEAST 2 pages PER SCENE, no more than 4 total characters…all of which don’t have to appear in each scene]
*REMEMBER:  Give a list of props that you think will enhance the scenes [at least 6, total] and
also note when a character enters/exits the stage, including STAGE DIRECTIONS [SL, SR, DS, US, etc.] within the script. Notate whenever a character enters the stage with a prop, as this is info that will be needed by the stage manager and affects where props are kept backstage.
* If you choose the 2 nursery rhymes, you may want a narrator, etc. to somehow introduce the RHYMES and/or “connect” them somehow between scenes.
*If an actor enters the stage with a prop, as this affects the stage manager & where props are kept.
LAST, MAKE 5 COPIES: For your teacher, the other 3 group members, and one to be kept in your CURTAINS UP! notebook.
 
-Stage Manager:After the PLAYWRIGHT has delivered the script, read it thoroughly & make notes about PROPS that are needed, & others that could enhance the performance. [At least 6 props]
Make color drawings of each prop, and list the materials needed to make one. Research the cost of buying these materials.
* Finalize your COLOR prop drawings,  and attach a neatly written COST SHEET  for final total $ cost of materials for the 6 props in the  show.
* Finally, mark [on your copy of the script] which props are to be kept offstage R or L, referring to the script as to where the actors enter with the props.
LAST, MAKE 5 COPIES: [of script/prop markings, drawings, and final cost sheet]- One for your teacher, one for each group member, one for your own CURTAINS UP! notebook