Author: Tim Saward

Production/Direction models

As well as directing itself there are a number of jobs which need to be carried out by the production team:

- applying for licence
- organising rehearsal schedule
- ensuring stage management and technical team is in place and briefing them
- arranging costumes 
- liaising with dancers groups (in the case of panto)
- liaising with the publicity officer over publicity

And there are probably more jobs depeding on the play you’re doing.

There are a number of ways to parcel up these jobs. This short guide helps highlight some of the benefits and disadvantages of each - which should help you come to a decision on the best approach for your production.

The more people you have the more you can share out tasks, and the more time people will have to concentrate on each individual area. However, the more people involved the more important it will be to be clear about who’s doing what, who has the final say, and the limits of each person’s authority (e.g. to spend money).

A couple of broad principles:
- Be clear who’s doing what. If no-one’s responsible for something then chances are either no-one will do it, or several people will try to do it.
- Be clear between the people in the production team who’s in charge. Ideally, you’ll discuss different decisions (which costume, how a scene is lit, who to cast) and come to an agreement. But in case of disagreement, establish who has the final say.
- Let other people know who’s doing what, and who to go to for decisions. For example, who should the cast ask for decisions on costumes, or who do they tell if they can’t make rehearsals?

The examples below give some idea of how you could parcel up the jobs. There are other ways, but these give you some idea about the basic principles.

Single Director/Producer 
One person in charge of direction, production issues, and central point of contact on everything. Tends to be more approrpiate for short or simple plays.

Examples:	Many one act plays, Galileo
Advantages: 
- One person’s vision
- Makes it easier to control budgets
- Clear who’s in charge
Disadvantages/Issues:	
- may be lots of work, even for a short play
- production issues can get in the way when you’re trying to direct (or direction can get in the way when you’re trying to produce)

Single Director/Producer, Lots of Delegation
A variation of the above, but with specific jobs (lighting, props, set) fully delegated to others for final decisions.

Example: Second from Last in the Sack Race
Advantages:
- One central person in charge
Disadvantages/Issues:
- Needs clear delegation
- May need liaison between, eg people doing costume and set to ensure consistency
- Discussions on costume, lights etc can still impinge on time you want to direct

One Director with a separate producer:
Director concentrates on cast direction; producer on organising set, costumes, lighting etc.

Examples: Macbeth 
Advantages:
- Two people to share work and responsibility/stress
- Can have someone directing, and someone working on costumes/props etc at the same time
-  Someone with a second opinion who can ‘cover’ 
Disadvantages/Issues:
-  Need clear idea of who does what

Director/Production team:
A team of people takling on different aspects of the production, for example: music, lighting/sound, cast direction, set and costumes etc. More common on larger more complex productions.	

Example: Jack and the Beanstalk, Jekyll and Hyde
Advantages:
- Lots of support 
- Potentially makes even relatively large productions much easier to produce
- People have time to give their full concentration to different subjects
Disadvantages/Issues:
-  Need good communication at the start about what the production willl look like
-  Need regular reporting back

Some other dos and don’ts on production

If you think your play has large technical or staging challenges, think about how to overcome them before you even get to advocating the play.

- Do ask people to do things like stage management, costumes, lighting and sound (some people will not volunteer, but will be happy to do the job if asked)
- Do think about how you can use cast with backstage jobs. If you have a large cast then you may have lots of manpower which just needs organising
- If you have a big vision Do think about what you could drop if necessary and do that last
- Do attempt to build in some slack for people dropping out (especially new people around back stage)

If you need help from the committee, ask, and be clear what you’re after.