by Karen Britton
The house lights dim, the music comes up, and the curtain opens. On stage, an adult cast appears before a picturesque set. Captivating dialogue, animated movement, and an inspiring tale introduces a magical world to a theatre filled with excited children. These stories often include original choreographed dancing and live music. Vibrant colors, mixed textures, and dynamic motion set the mood. The theatre company presents a children's play.
There are numerous responsibilities for the producer in children's theatre. According to Roy Beck, a successful play is the result of the combined efforts of the cast, the crew, and the production and technical staff (1). Each has specific independent duties, other tasks they share as a team. The producer manages while the director creates. The director makes decisions based on the group's recommendations; however, the director's word is final. The producer is the right hand of the director. Their mutual respect for and understanding of each other is essential to a successful children's play.
A successful producer is an organized, tenacious diplomat. Organization is necessary to complete all the required jobs within the specified time frame. There are lists for everything: cast phone numbers, vendor phone numbers, things to pick up and deliver, food and beverages to buy, appointment schedules. A calendar with big open blocks, legal pads, pencils, and lots of erasers are a necessity. A home file and a portable file (a spiral notebook works well) ease the frustration caused by these numerous tasks. Responsibilities seem to grow larger as a children's play develops. Quitting is often a temptation so tenacity is mandatory. The producer feels perturbed when the actors are habitually late, exasperated when a significant prop is back ordered for six weeks, and irate when the set builder refuses to honor a time table. Keeping focused on the opening performance refuels a producer's confidence. This same assurance enhances his or her role as a diplomat. Diplomacy is essential not only in dealing with emotional theatre people, but with those who provide the printing services, the rented costumes, and the advertising. Inflated egos challenge the producer, and public recognition and praise must be handed out like beer and popcorn at a baseball game. The producer is the keystone and must be capable of balancing several activities simultaneously.
The producer's initial responsibility is to develop solid relationships with the director and cast. The producer and the director should know each other's responsibilities as they may have to assume those roles at any time. Often it is necessary for the producer to anticipate the director's needs or preferences. A clear understanding of the director's focus is not only beneficial but a time saver. Striving to build a strong relationship with the cast, the producer brings snacks to rehearsals, offers a shoulder to cry on, encourages creativity to the ingenues, and boosts the morale of the entire crew, ever mindful of the cast's individual schedules and respectful of their time apart from the theatre. The production process runs smoothly if the cast is happy.
Scheduling is another vital accountability of the producer. Rehearsal times and locations must be established early. Programming these times is a mental exercise in balancing the availability of the director, cast, and rehearsal space. The cast members aid in this process by completing and turning in to the producer an index card with their availability and conflict dates. When scheduled rehearsals are ready to begin, the producer must also schedule appointments with professionals who video tape the promotional advertising tapes. The coordinates the schedules of the camera crew, studio time, and the actors, and must hand deliver the video copies to the local TV stations for their scheduling process. Radio and the printed media are also used. Working from a concise list of area newspapers and radio stations, the producer prepares a Public Service Announcement (PSA). Most stations will accept PSA's only on a post card. Since it is almost impossible to copy information on a post card electronically, a hand writing session of several hours is required.
During rehearsals, it is the producer's responsibility to record cast blocking and to hold book. Blocking is movement, the term used to define the movement directions of the actors on stage. "The evil queen crosses down stage left of the beautiful princess and points triumphantly to the condemned thief." This kind of blocking occurs frequently in children's theatre. The director will usually announce the blocking before the cast starts to memorize their lines so that they can learn both simultaneously. It is easier to memorize dialogue in association with an action. It is also the producer's duty to record any changes in the script made by the director. The experienced producer will record all these corrections in pencil because changes will occur again! As the cast learn their blocking and their lines, the most tedious part of the producer's job begins. Holding book, or following the script as the actors rehearse, is a boring endeavor. When actors need a line prompt, they will request "Line." The producer will immediately read the line directly from the script. This response must occur quickly so as to keep the actor in character. There will be many nights that the producer will sit quietly for hours with his head bowed as actors rehearse enthusiastically.
Prop acquisition is the producer's treasure hunt. Mom's attic, Dad's workshop, and the neighbor's kitchen are founts of precious objects. Some excursions are more successful than others. The more creative the director, the more difficult the task of finding props. Theatre supply companies are generally a dependable source of inventory, but there is always a strict budget to be adhered to. Other less expensive sources for props are the local "five and dime," flea markets, and antique stores. The producer is always on the lookout for just the right bowl for the table, the perfect straw broom for the cottage, or the proper knitting basket for Granny. The producer who can sew, improvise, and use tools is a valuable asset to any production. Since Rapunzel is a popular choice for a children's play and her long tresses are visually important to the story linem, finding a braid of hair twenty feet long presents a challenge. The producer combines skeins of brown yarn with yards of dyed nylon rope. The yarn provides texture and bulk. The nylon rope, which has been unwoven, dyed, dried, rewoven, and loosely braided, offers a realistic sheen. The old galvanized bucket, the epees, and Gollum's magic ring prompt similar challenging searches. Furthermore, children's theatre props must be realistic. Children will notice and comment upon discrepancies. A Cabbage Patch doll will not pass for the baby of a princess.
While rehearsals continue, the producer is responsible for securing costumes. The director identifies the period of the play and the scramble to gather costumes begins. A note of caution: if an actor professes a size 34 inch waistline, a measurement should still be taken. Outfits may be rented, borrowed from cast's closets, made to order, or bought second hand. Many producers are recognized as frequent visitors to yard and estate sales. More often the producer will use a combination from all available sources. Unfortunately, when using all of these options to find the perfect costumes, one must consider the condition of the clothing. Rented costumes have a tendency to be shop worn, so the producer must be prepared for mending at a moment's notice. The efficient producer has a sewing kit to handle broken zippers, popped buttons, or ripped seams but, the costume is more than a suit or dress. Accessories define the character: muddy spats, gaudy jewelry, and a plumed velvet hat complete the look.
As opening day approaches, the director must give thought to providing food and drink for the cast during performances. There should be sweets and hot drinks in the morning, sweets and cold drinks in the afternoon, and a combination for evening performances. This is definitely one occasion when calorie consciousness is blatantly ignored. Actors crave the sugar that is essential to supply the quick highs necessary for an outstanding performance. The higher the sugar and fat content, the better. Once the performance times have been set, the producer must list the casts' individual food preferences. Producers will buy the designated items, store them until opening day, and then deliver the goodies to the theatre several hours prior to curtain time. Daytime performances usually mean lunch preparation, which gives the producer the opportunity to locate a restaurant that will not only prepare, but deliver, meals. A timely and tasty lunch seals the fate of the producer.
Producing children's plays is not child's play. It is time consuming and often hard work, but the rewards are fantastic! There are signs of appreciation from the children: spontaneous clapping, responses to the questions of the actors, the "oohhs" and the "aahhs." There is no other reward like a child's appreciation and approval. The applause continues, the cast bows, and the producer rejoices. With that, the curtain closes.
Works Cited
Beck, Roy A. Stage Craft. Chicago: National, 1984.