Budget Planning:
"budgeting entails using the best judgment, based partly on past experience, combined with an investigation of current cost factors"
Any business needs a budget to keep track of the funds they have now, and to plan the use of the funds that will be coming in. An institution must know how much each department will need. There also needs to be a variable account that can be used in case a department uses more than budgeted, or if not enough funds come in.
there are three important "don'ts" when it comes to budgeting:
1. Don't Spend Income Before It's Earned.
a very logical idea - a business doesn't want to have a bill that they can't foot - it could influence the upcoming season, or the status of the building.
2. Don't Spend or Budget the Same Dollar Twice
this is very hazardous - if doubled up, the institution won't have enough money.
3. Don't Get Into the Boat Unless You Can Afford to Sink
a general rule of thumb, don't risk it if you can't afford to lose it.
estimations need to be made of the income, and of the expenses. getting a general idea of what is coming in will help the theatre decide how much to generally budget for the expenses. budget planning is one of the most important issues of the theatre. "variances between estimated and actual figures will directly affect the tenure of employees, which productions will be produced, and ultimately whether or not the organization will succeed or fail. hence, it is important to think long and hard when making budgets and financial plans."
Friday, February 27, 2009
Chapter 9 Summary
Presenters and Presenting Organizations:
While not the producer of the show, the presenter is as important in the theatre realm. They are responsible for presenting the show to the public and making sure that the production is prepared for the audience, the audience is excited about the show, and that the show is doing well (enough tickets are being sold) Other main points of presenting are:
*many theatrical presenters sponsor all types of performing arts events.
*administrators of presenting organizations must be particularly skilled in marketing, finance, personnel supervision in addition to having a broad and current understanding of the various performing arts disciplines. Presenters at not-for-profit organizations must also have a keen understanding of fundraising and managing a board of trustees.
*some of the larger and more ambitious presenting organizations may occasionally commission and produce a production that is included among their presentations
* some of the producers who supply product to various presenters are themselves presenters.
the chapter also gives a background of where the presenter position and its diversity and its expansion. a presenter is the person who organizes and prepares for a production to go on a tour. The presenter must secure venues and contracts between the venue and the cast/crew of the show.
the presenter is the one responsible for the booking of a show, and it is the presenter that it reflects on if the show runs smoothly or not.
"the history of presenting is virtually a history of the road, those theatres, opera houses, and performing arts centers all over the country where attractions take on yet another life, after or even during their initial runs in New York or elsewhere."
A presenter is responsible for getting the show prepared, and transported quickly, safely, and cheaply.
While not the producer of the show, the presenter is as important in the theatre realm. They are responsible for presenting the show to the public and making sure that the production is prepared for the audience, the audience is excited about the show, and that the show is doing well (enough tickets are being sold) Other main points of presenting are:
*many theatrical presenters sponsor all types of performing arts events.
*administrators of presenting organizations must be particularly skilled in marketing, finance, personnel supervision in addition to having a broad and current understanding of the various performing arts disciplines. Presenters at not-for-profit organizations must also have a keen understanding of fundraising and managing a board of trustees.
*some of the larger and more ambitious presenting organizations may occasionally commission and produce a production that is included among their presentations
* some of the producers who supply product to various presenters are themselves presenters.
the chapter also gives a background of where the presenter position and its diversity and its expansion. a presenter is the person who organizes and prepares for a production to go on a tour. The presenter must secure venues and contracts between the venue and the cast/crew of the show.
the presenter is the one responsible for the booking of a show, and it is the presenter that it reflects on if the show runs smoothly or not.
"the history of presenting is virtually a history of the road, those theatres, opera houses, and performing arts centers all over the country where attractions take on yet another life, after or even during their initial runs in New York or elsewhere."
A presenter is responsible for getting the show prepared, and transported quickly, safely, and cheaply.
Chapters 6 & 8 Summary
Community Theatre:
community theatre is a compilation of amateurs who love theatre, and may or may not be gifted in the realm. community theatre is the modern version of the way theatre has been for years. a community theatre will need a supportive community, and a board of directors to keep the theatre running. Because it's a non-profit organization, the community theatre depends on the sponsorship and goodwill of people. sometimes a community theatre is affiliated with a highschool, a college, or a civic organization. sometimes a community theatre will sponsor a professional acting troupe to put on a show at the community theatre. the community theatre is sometimes the first step into the world of theatre, or a young person's first experience. the community theatre is not done growing yet, and has much potential, but due to america's movement and lack of a permanent community, the theatre may never reach it's full potential.
Stock and Dinner Theatre:
these are a nearly dying art. most of them now are nonprofessional, and many are not for profit. they had their hayday right around 1935. dinner theatre consists of a stage, and instead of chairs lined up for the audience, there are tables and chairs. the audience enjoys a meal while the show is preformed. only certain types of shows can really do well in this type of theatre. it's the same with outdoor shows. not every show (such as shows with elaborate costumes or sets) will be able to be preformed outside. mostly the changing of stock caused the demise of the stock theatre, but it served a vital introduction to the art, and the work of a theatre.
community theatre is a compilation of amateurs who love theatre, and may or may not be gifted in the realm. community theatre is the modern version of the way theatre has been for years. a community theatre will need a supportive community, and a board of directors to keep the theatre running. Because it's a non-profit organization, the community theatre depends on the sponsorship and goodwill of people. sometimes a community theatre is affiliated with a highschool, a college, or a civic organization. sometimes a community theatre will sponsor a professional acting troupe to put on a show at the community theatre. the community theatre is sometimes the first step into the world of theatre, or a young person's first experience. the community theatre is not done growing yet, and has much potential, but due to america's movement and lack of a permanent community, the theatre may never reach it's full potential.
Stock and Dinner Theatre:
these are a nearly dying art. most of them now are nonprofessional, and many are not for profit. they had their hayday right around 1935. dinner theatre consists of a stage, and instead of chairs lined up for the audience, there are tables and chairs. the audience enjoys a meal while the show is preformed. only certain types of shows can really do well in this type of theatre. it's the same with outdoor shows. not every show (such as shows with elaborate costumes or sets) will be able to be preformed outside. mostly the changing of stock caused the demise of the stock theatre, but it served a vital introduction to the art, and the work of a theatre.
Chapter 5 Summary
Not-for-profit Professional Theatre:
A branch off from the commercial theatre, a not for profit theatre doesn't seek to make money for itself. it only needs investors to contribute enough to keep the building running and to get the show up and running. A not for profit theatre wouldn't necessarily charge for tickets, and if they do, it's a lower price than regular commercial theatre because they are not seeking a profit. this type of theatre is more prevalent in recent years than it was back during the start and growth of the commercial theatre. a not for profit theatre would desire to bring art to the people, to just be involved rather than have it as a career. some people can have a career in not for profit theatre, but not many. a not for profit theatre is run very similarly to a regular theatre, but sometimes on a much leaner budget, and sometimes with fewer people. the not for profit theatre is very successful and it's growth is astounding even though it still has its share of issues with money and shrinking audiences.
A branch off from the commercial theatre, a not for profit theatre doesn't seek to make money for itself. it only needs investors to contribute enough to keep the building running and to get the show up and running. A not for profit theatre wouldn't necessarily charge for tickets, and if they do, it's a lower price than regular commercial theatre because they are not seeking a profit. this type of theatre is more prevalent in recent years than it was back during the start and growth of the commercial theatre. a not for profit theatre would desire to bring art to the people, to just be involved rather than have it as a career. some people can have a career in not for profit theatre, but not many. a not for profit theatre is run very similarly to a regular theatre, but sometimes on a much leaner budget, and sometimes with fewer people. the not for profit theatre is very successful and it's growth is astounding even though it still has its share of issues with money and shrinking audiences.
chapter 4 Summary
Commercial Theatre:
A chapter of history on the commercial theatre.
Centered in New York (think Broadway and off-Broadway) the commercial theatre is influential to the city, and to nearly all entertainment media. first acting company came to N. America in 1752. It was one of the leading forms of entertainment up until about 1914 when electronic entertainment began to grow in popularity. it was much easier to view a television in your home, than to go out to the theatre. Up until about 1960 theatre declined in popularity and consequently, many theatres closed. but during the 1930s, when the theatre was at its lowest point economically, many of the greatest works were produced (Maxwell Anderson, Elmer Rice, Robert sherwood and others) 1960-1990 is considered the "retrenchment" period of the theatre. The commercial theatre has always had a high failure rate (it wouldn't be stage theatre if it didnt) in current times, one of the most significant happenings was the stage version of Disney's "beauty and the beast" it brought major corporations and the stage together. the late 90s was also a time of closing for a number of long running shows such as "Cats", "Les Miserables", and "Miss Saigon."
An issue theatre can encounter is copyright laws. A stage may not be able to produce a show that it desires to, due to price to purchase royalties for the show. a good description of some federal copyright laws and points to keep in mind are found on page 86. other aspects of the show to be considered are the royalty pools, the actors guild, and putting the show on the road for an off broadway tour. plus many many more things.
A chapter of history on the commercial theatre.
Centered in New York (think Broadway and off-Broadway) the commercial theatre is influential to the city, and to nearly all entertainment media. first acting company came to N. America in 1752. It was one of the leading forms of entertainment up until about 1914 when electronic entertainment began to grow in popularity. it was much easier to view a television in your home, than to go out to the theatre. Up until about 1960 theatre declined in popularity and consequently, many theatres closed. but during the 1930s, when the theatre was at its lowest point economically, many of the greatest works were produced (Maxwell Anderson, Elmer Rice, Robert sherwood and others) 1960-1990 is considered the "retrenchment" period of the theatre. The commercial theatre has always had a high failure rate (it wouldn't be stage theatre if it didnt) in current times, one of the most significant happenings was the stage version of Disney's "beauty and the beast" it brought major corporations and the stage together. the late 90s was also a time of closing for a number of long running shows such as "Cats", "Les Miserables", and "Miss Saigon."
An issue theatre can encounter is copyright laws. A stage may not be able to produce a show that it desires to, due to price to purchase royalties for the show. a good description of some federal copyright laws and points to keep in mind are found on page 86. other aspects of the show to be considered are the royalty pools, the actors guild, and putting the show on the road for an off broadway tour. plus many many more things.
Wednesday, February 25, 2009
Chapter 3 Summary
Personnel for the Theatre:
Humphrey Bogart said: A professional is a guy who does his job well - even when he doesn't feel like it!
A professional in regards to this chapter is someone who is paid to work, and their work is of a high quality. A nonprofessional is someone who works without monetary compensation (despite other rewards.)Theatre productions and companies are comprised of three levels of personnel and three divisions of labor:
1) leadership level (producer/board/theatre owner)
2) management level (artistic/managing directors)
3) staff level (artistic, production, administration)
a minimum staff requirement is a healthy idea for all theatres. A theatre should know the minimum people that it needs to run, and in times of hardship job doubling can save money for the theatre. To attract applicants a eye and attention catching ad must be written. It should explicitly describe the job position so an applicant knows what will be required of them. The job should be broadcast in many localities - newspaper, internet, word of mouth, and places specific to theatre. A standard interview and subsequent training should follow. Personnel should be supervised according to their realm of work (a concessions worker over seen by a concessions manager). communication is important to let employees know how they're doing. job reviews should be held on a regular basis. U.S. labor laws should be taken into account and followed for all workers. The book goes into much technical detail about the union and labor laws - not very pertinent to my current theatre experience. Other people who need to managed carefully are the volunteers, interns, apprentices, and students. They are a unique worker, and need to be handled so. Any person who is in charge of others in the theatre dept should be aware of the artistic temperament, and know how to deal with "a diva."
Humphrey Bogart said: A professional is a guy who does his job well - even when he doesn't feel like it!
A professional in regards to this chapter is someone who is paid to work, and their work is of a high quality. A nonprofessional is someone who works without monetary compensation (despite other rewards.)Theatre productions and companies are comprised of three levels of personnel and three divisions of labor:
1) leadership level (producer/board/theatre owner)
2) management level (artistic/managing directors)
3) staff level (artistic, production, administration)
a minimum staff requirement is a healthy idea for all theatres. A theatre should know the minimum people that it needs to run, and in times of hardship job doubling can save money for the theatre. To attract applicants a eye and attention catching ad must be written. It should explicitly describe the job position so an applicant knows what will be required of them. The job should be broadcast in many localities - newspaper, internet, word of mouth, and places specific to theatre. A standard interview and subsequent training should follow. Personnel should be supervised according to their realm of work (a concessions worker over seen by a concessions manager). communication is important to let employees know how they're doing. job reviews should be held on a regular basis. U.S. labor laws should be taken into account and followed for all workers. The book goes into much technical detail about the union and labor laws - not very pertinent to my current theatre experience. Other people who need to managed carefully are the volunteers, interns, apprentices, and students. They are a unique worker, and need to be handled so. Any person who is in charge of others in the theatre dept should be aware of the artistic temperament, and know how to deal with "a diva."
Chapter 2 Summary
Place of Performace:
Every person who wants to open a theatre must consider the place of performance. Where will a theatre do well? There must be a building for remodel, or a plot of land to develop. there must be an audience potential. not many people will go to a theatre out in the middle of no where. it's shown that metropolitan areas provide higher amounts of traffic to a theatre. People must have accessibility to transportation. If there is already a large, successful theatre in the area, it might not be a good idea to open a smaller theatre there, unless the theatre would be offering something completely different than the first theatre. The media must cooperate with the theatre so that appropriate advertisement for the theatre is possible. other factors such as the economy, weather, and the populations attitude will affect the success of a theatre. When buying a building or building a new theatre, there must be designers and architects to make the space beautiful and functional. Another major factor for builders to consider is the acoustics. People won't come to see a show if they can't hear. A budget must be kept, and watched closely when building a new theatre. The size and seating capacity of the theatre will be dependent upon the size of the local population, and the locality of another theatre. A team of designers and board members are important to keep the theatre renovation or construction project on track.
Every person who wants to open a theatre must consider the place of performance. Where will a theatre do well? There must be a building for remodel, or a plot of land to develop. there must be an audience potential. not many people will go to a theatre out in the middle of no where. it's shown that metropolitan areas provide higher amounts of traffic to a theatre. People must have accessibility to transportation. If there is already a large, successful theatre in the area, it might not be a good idea to open a smaller theatre there, unless the theatre would be offering something completely different than the first theatre. The media must cooperate with the theatre so that appropriate advertisement for the theatre is possible. other factors such as the economy, weather, and the populations attitude will affect the success of a theatre. When buying a building or building a new theatre, there must be designers and architects to make the space beautiful and functional. Another major factor for builders to consider is the acoustics. People won't come to see a show if they can't hear. A budget must be kept, and watched closely when building a new theatre. The size and seating capacity of the theatre will be dependent upon the size of the local population, and the locality of another theatre. A team of designers and board members are important to keep the theatre renovation or construction project on track.
Rehearsal Reports
My collection of rehearsal reports from The Importance of Being Earnest. chronological.
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1277
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1285
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1286
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1292
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1333
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1352
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1358
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1377
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1384
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1395
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1406
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1409
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1413
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1414
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1421
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1427
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1433
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1434
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1436
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1277
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1285
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1286
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1292
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1333
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1352
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1358
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1377
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1384
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1395
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1406
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1409
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1413
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1414
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1421
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1427
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1433
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1434
http://moodle.waldorf.edu/mod/forum/discuss.php?d=1436
Tuesday, February 10, 2009
Chapter 12 Summary
I read chapter 12 of the Management book "Box Office, Ticketing Systems, and Other Earned Income." The box office is the prime ticket selling place. it is a classic sign of theatres everywhere. More and more companies are taking ticket selling to the internet. the purchase of tickets through the internet is very convenient for the customer. A box office can end up being more of a "will call" pick up spot, and the selling point of tickets the night of the show. It is important to keep the box office secure as it usually stores some equipment and money. theatre ticket stubs are great memories for personal use, but also great for use in the box office to tally the total amount of patrons who visited. Some tickets are called box tickets and are the "best seats" in the house. they are usually reserved for the producers or season ticket holders. usually on opening night there are press tickets so that members of the media may take record of the opening of the show. regardless of how they are sold (internet, phone, or box office) tickets will be an important part of any event. it takes some skill to be able to run a box office.
Chapter 7 Summary
I read chapter 7 in the Management book. It was about the college theatre. I was glad to see that Iowa was one of the first states to support college theatre. It was very interesting to read about the growth of the theatre arts through time in the collegiate setting. It went from a small sector of not very successful groups, to many many campuses all across the nation and world. The different programs of the college theatre are different levels of involvement mostly. there's extracurricular theatre activities, elective theatre course offerings, liberal arts theatre programs, and both vocationally oriented undergrad and grad programs. Some colleges have committees and boards that run the theatre, others are mostly student and professor driven. despite the obvious need and growth of the theatre departments, many go underfunded and underappreciated.
Wednesday, February 4, 2009
Activity/Work Log – January 25-31.
Total hours: 13
Sunday, Jan 25 – 3 hours (2-5pm) stage managing for The Importance of Being Earnest.
Monday, Jan 26 – 3 hours (7:30 to 10:30pm) stage managing for The Importance of Being Earnest.
Tuesday, Jan 27 – 1.25 (10:30-11:45am) hours class time.
1.50 hours (6-7:30pm) stage managing for The Importance of Being Earnest.
Wednesday, Jan 28 – 1 hour total of production meeting/rehearsal.
Thursday, Jan 29 – 1.25 hours (10:30-11:45am) class time (prepped backstage for the show, moved furniture etc)
3 hours (7-10pm) stage managing for The Importance of Being Earnest.
Sunday, Jan 25 – 3 hours (2-5pm) stage managing for The Importance of Being Earnest.
Monday, Jan 26 – 3 hours (7:30 to 10:30pm) stage managing for The Importance of Being Earnest.
Tuesday, Jan 27 – 1.25 (10:30-11:45am) hours class time.
1.50 hours (6-7:30pm) stage managing for The Importance of Being Earnest.
Wednesday, Jan 28 – 1 hour total of production meeting/rehearsal.
Thursday, Jan 29 – 1.25 hours (10:30-11:45am) class time (prepped backstage for the show, moved furniture etc)
3 hours (7-10pm) stage managing for The Importance of Being Earnest.
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