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So You Want to Be a Theatre Producer?
By James Seabright
Nick Hern Books £12.99
342 pages
Dateline: 29th August, 2010
For better or for worse, the title of this book delineates its target
market. While it was clearly written to help those that aspire to become
producers to understand what they are taking on, it could easily have
had a subsidiary market.
Very few people who go to the theatre, even regulars, have any real
idea about the nitty-gritty of what producers do. As James Seabright
remarks, with perhaps mild distaste, the average punter probably believes
that the only thing that a producer does is pour money down a black
hole in order to get to an opening night and the ensuing after show
party with cast members who, given the choice, would avoid them like
the plague.
In fact, producers in smaller scale theatres play multiple roles that
might not involve providing any finance at all. They conceive and possibly
cast productions, fund raise like mad, budget and organise to protect
their livelihoods and, more likely than not, get involved in design,
publicity, transportation and doing anything else that nobody with sense
fancies.
The author methodically takes tyros through every aspect of the job,
making it clear that the glamour of mixing with famous actors and actresses
while raking in the profits of their labours is only part of the story.
Indeed, that kind of experience is pretty much excluded, since the
one area that is not covered in any great detail is the production of
big budget West End and Broadway shows, presumably on the basis that
anyone who gets that far will have served a long apprenticeship already.
The value of this book is in the detail. James Seabright is clearly
a meticulous man who believes in providing the full story, warts and
all. With ten years as a producer under his belt, he has probably been
through the good, the bad and the ugly of this trade personally. Therefore
readers will learn every aspect of their chosen business.
This means far more than just the artistic side. This book also delves
into subjects such as how to create a budget, delaying with venues and
bad reviews, marketing and touring a show and handling all of the mechanical
aspects such as arranging casting and rehearsals, recruiting management
and technicians and above all, taking account of the money, including
dealing with everybody's best friends HM Revenue and Customs.
The writing is clear and the passage through the producer's life is
presented methodically, which should ensure that So You Want to be
a Theatre Producer? becomes the standard handbook for anyone that
does.
While the book contains a wealth of very comprehensive information,
there is more, since Mr Seabright has also set up an associated website
www.producerbook.co.uk/
.
Philip Fisher
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