SLOC GUIDELINES - Updated March, 1998

Producer

Reports to:  Board of Directors

The Producer is responsible for managing the production. The Producer acts as business manager for the production and as liaison with the SLOC Board of Directors. Duties include:

1. Staff the show as early as possible, with the help of the director of the production.
To train people who can also be producers/directors in the future, the staff shall include:

a.       An assistant director;

b.       Party (or Cabaret) chairperson{s).

2. Discuss the seating plan (Opera House) with the ticket chairperson.

3. Consult with the Business Manager about securing a contract from the publishing / royalties house for the show dates. He/she will provide copies to the Treasurer and will have the Treasurer prepare a check for payment of production fees and for scripts/scores.

4. Arrange for scripts and scores for the staff, for the accompanist and for auditions.

5. Call a production meeting as soon as the show is staffed. Discuss the set. lighting and costume designs, work schedules and budgets. The initial production meeting shall include various Company committee heads to provide guidance as to what resources and materials are available.
Note: Productions Designers will require scripts in order to prepare for this meeting

6. Prepare and present to the Board at least three months before the show's opening:

a.       The Budget

b.       Set design and set movement (presented by the set designer)

c.       A production schedule

7. Arrange for the following:

a.   Audition dates with the Audition Arrangements Chairperson. Make sure the Opera House is reserved / scheduled for your audition dates.

b.   Accompanists. Contact the Accompanists Chairperson (with approval of the Show's Musical Director).

c.    Duplication of brief "sets' (script parts to be read by those auditioning).

d.    Tryout ads and publicity with SLOC's Vice-President, Public Relations.

8. Notify those who are cast. Announce to everyone the day/date by which the casting will be completed, and if they are not cast, encourage them to come back and try again or invite them to help the production staff, assisting in production areas.
Make a list of cast and crew, with phone numbers (work and home) and addresses

9. As producer, you have Financial Responsibility to the Board for adhering to your show's budget.
Any costs over the original show budget total must be approved by the Board.

10. Obtain the tax exempt certificate and list of stores in which we have accounts from the SLOC Treasurer. Keep a "rough record" of expenditures by the production staff and stress financial responsibility by everyone on the show's staff.

11. Coordinate social activities with the party chairperson (s) for opening night, strike, and cast parties held for your show. Occasionally, there are mid-rehearsal parties and parties with the cast of the next show, if shows are overlapping in the SLOC schedules. These are usually spontaneous ones and are done at the expense of the cast/staff members.
SLOC pays only for the Opening Night Party and the Strike Party.

12. Meet with V-P, Public Relations, and the Show Public Relations chairpersons to review:

a.   Publicity requirements for your show (Le. arranging for publicity photos, articles, radio and/or TV spots. Keep in mind the SLOC newsletter editor and playbill editor need photos approximately 2-4 weeks prior to publication of the newsletter and playbill. Obtain "deadlines" schedule from the editors so you will be informed of "press deadlines."

b.   The number of complimentary tickets needed (coordinate with the ticket chairperson).

13. Arrange for the sign outside of the Opera House to be updated with your show's information.
There is a person in charge of this; check the Board/Committee Heads list to see who it is.

14. Assign numbered scripts and scores to staff and cast, making a duplicate copy of the list.
Collect, erase all penciled-in markings, and return all rented materials to the publisher/royalties house. Direct the Treasurer to send bills to people who have lost materials. If SLOC actually pays for the scripts (to keep), the actors are usually told to keep them.

15. Instruct the cast about the importance of keeping the Opera House clean, especially the kitchen. Instruct them about the "House Rules." Soda cans are recycled, so they should not be thrown away but instead returned to the boxes beside the soda machine. Smoking is to be done outside of the building, and butts should be thrown in proper receptacles.

16. Check on building security:

a.   Lights out when leaving. Check restrooms, downstairs, upstairs, backstage.

b.   Thermostat set at 60 degrees F. when leaving (usually is on an automatic timer). Don't needlessly burn fuel when few or no people will be around, or the building remains unused for a few days at a time. Don't leave windows open.

c.   All doors and windows should be closed and locked, with the security system on. Always check the backstage door (especially during production run). When you're downstairs and no one is upstairs. keep the door upstairs locked. If anyone who should be coming in wants to come in, there's a door bell they can ring, to gain entrance.

17. Remind your cast and staff that they need to be aware of their personal property safety.
Late at night, they should avoid going to their cars alone. They should be aware that personal items, equipment, and tools have been stolen from both the Opera House and cars parked on the streets during rehearsals. Telephone calls should be limited, and limited to local calls.

18. Arrange for T-Shirt design and order with T-Shirt chairperson.

19. Maintain a list of all volunteers, particularly those who volunteer from auditions. Distribute this list to show chairmen and appropriate company Vice-Presidents.

20. The following notices must appear in all programs/playbills:
a.  "no taking of photographs or recording (either audio or video) during the performance is permitted.”
b.  The proper credits must be listed for the author, play write, etc., as required in the contract."
The playbill editor usually takes care of this. The producer provides the playbill editor the information for the playbill at least 4 weeks prior to opening night (see a previous playbill for "content" requirements.