Breaching the Fourth Wall

Live productions are timed events.

Time allotted for setup and rehearsal is limited and at the end of the day everything must be ready to go by the time published doors opening time comes around.  Whether on production management level of scheduling how time will be spent from load in to strike or on the individual level of balancing work and personal activities, the organization of time is essential for both success and sanity in the business of live events.

Fortunately for us, technology is of great assistance when managing time.  The introduction of computers, spreadsheet software, and PDAs all aid in our task.

Another recent technological innovation of which we can take advantage is an online scheduling application, Google Calendar.  Unlike Microsoft Outlook or Apple’s iCal, both computer based programs, Google Calendar can be accessed and updated from any computer with an internet connection.  Within one’s account, multiple calendars can be created so that it is possible to categorize events by whatever specifications are set.  For instance, one could have several non-work calendars, one which outlines office time, and another for off-site meetings.  And the best news for organizationally obsessed users?  Each calendar can be titled and color coded!

Most importantly, since calendars are stored online, it is possible to share them with others through their own Google account.  As collaboration is as central to the success of productions as time management, the ability to share calendars with others is the application’s greatest asset.

Google Calendar is an incredibly useful online application for anyone looking to manage their time, and is especially useful for people with odd schedules, like we production folk.  If you haven’t yet used the calendar, check it out!

Over the next few weeks, I hope to explore the commercialization of large-scale theatre and how cutting edge, novel works are being relegated to smaller, low-budget houses.

This topic is hardly news breaking, but rather is the continuation of a trend that has become significant since the 1970s and1980s when large-scale musicals like Les Miserables, Phantom of the Opera, and A Chorus Line opened and remained on Broadway for over ten years.  These mega musicals are much more practical business models than there predecessors.  Granted, there is quite a large initial investment (over six million dollars for 2003’s Wicked), but if the show can run for over a decade it earns back this initial investment several times over.  Add in the earnings that stem from national tours, merchandise, backstage tours and, uber-VIP passes, and the net income is significant.

Although the shows mentioned above were relatively groundbreaking at the time of their openings, many of the shows now gracing Manhattan’s theatre district have either been running for over five years, revivals of older successes, or are recently opened adaptations of movies or books.

Compare a long running show’s earnings to the four in five musicals which fail to earn back their initial investment and it is understandable why producers would opt for reliable subject matter rather than a risky but innovative venture.

Risky innovation is still encouraged among the theatrical community, but an industry that already has slim margins can’t afford to be too risky when large sums of money are involved.  As such, anything that might not be  smash hit with the general public is tested out in smaller venues.  If a risky musical or play succeeds in workshops or off off-Broadway runs, it might then be moved, but rarely are such productions started in large houses.

There are a few exceptions to the growing divergence between what would be classified as artistic ventures and commercially viable live productions, and I would like to explore how the changes in commercial theatre affect the way in which new material is produced.

Searching through the social networking site delicious is like playing six degrees of separation. One search word can lead to a full chain of practical and even entertaining connections.

I began my hunt with “theatre production management” in the search field, which resulted in an advertisement assault peddling everything from speakers to pyro effects. The first diamond in the rough was eProduction, a site that helps to manage many of the paper heavy tasks of production management including contact list and rehearsal schedule distribution, notes for actors and designers, and reminders for deadlines and meetings. This site would be a valuable tool for stage and production managers alike and may also single handedly slow the deforestation of the planet with their intensive love for paperwork….

Through the user who tagged eProduction, I also found the SMNetwork. A social forum for stage managers of all levels of experience, it is a place for members of a very specialized profession to ask questions, establish friendships, and find professional opportunities. Forum topics include everything from what type of flashlights people prefer to use, different types of blocking notation for dance, and how to handle that finicky director that just doesn’t want to cooperate with the rest of the production team.

And for those of us who are interested in sheer entertainment rather than networking or productivity, Broadway Abridged is a fantastic find. A sure love for anyone who is interested procrasting a la YouTube or Facebook, the site contains parodied scripts of shows that are currently on the Great White Way. My personal favorite was the parody of the revival of A Chorus Line, harsh but hilarious look at the show much like an online version of Forbidden Broadway. After all, everyone needs a good chuckle when trying to avoid getting work done…