One Producer in the City

How convenient are we?

So yesterday I had missed my chance to catch a show out of town and was thinking about what to do. Interestingly enough, I was three blocks from Broadway and I instead decided to go and see this movie

The first show I wanted to see was sold out. Turned out that there was another show an hour later that wasn't. So I bought a ticket.

Broadway was three blocks away and I bought a ticket to a movie.

As I sat there with my huge bag of buttered popcorn and my massive soda, I thought about why I chose to do this and it really comes down to convenience.

Why do we order pizza?

It's convenient. Someone comes to your place and hands you food. You don't cook, you don't work, you just take it and eat. The same is true with a movie. You choose to see it from at least seven or eight different times in the day. If you miss one, another is there to get you to go in. You go in and you watch.

So why did I go watch robots smash the hell out each other rather than watching a Tony winner?

Convenience.

That whole process was easy. If I wanted to see a Broadway show, I could go online but there's only going to be one curtain time. If I'm late, I'm screwed. The same applies for an Indie show or even Off Broadway.

Why? We have a lot of rules to follow. But you have to wonder if someone broke the rules and had 4 or 5 shows running at different times of the day multiple times the way a movie does, if we might get more people in the seats.

I'm sure plenty of folks have asked this before, but why can't theatre be more convenient?

If you're just as annoyed as I am, feel free to comment below.

Also note that PLAE is still accepting applications up until July 1rst!

Apply now!

Excelsior!

Come out and "PLAE"

I've been kicking around an idea for a while to develop a course that focuses on the techniques I've learned as a teacher and artist over the years. A course that encourages a group of self-motivated people to become the arts leaders of tomorrow. Today I begin the process by opening up the applications. I'm going to teach everything I know and bring in others who will teach everything they know. I'm looking for amazing people who have passion and ingenuity. I'm looking for people who will spread the word, twitter, and facebook about this. I'm looking for people who really want to stand out, If you fit the bill, read below.

Excelsior!

Program to Launch Artistic Entrepreneurs (PLAE)
July 13th-August 24th 2009
Every Monday from 7:00pm- 10:00pm
Applications due July 1st, 2009

PLAE:
This is an 8-week development program geared toward equipping arts entrepreneurs with the tools to realize their goals.  The course will meet once a week and will feature guest speakers in leadership positions throughout the field of the arts who will participate in the discussion of each entrepreneurs project and offer guidance and support.  The class will be structured around the selected applicants who will create an 8-week action plan and implement a new task or initiative every week.  Topics covered will include networking, developing structure for businesses, understanding the psychology of the arts leader, identifying unique qualities in projects, and fostering on-going relationships with arts professionals. The course will be interactive and satellite networking events will be suggested each week.  Participants in the course will work together in groups as well as on their own to complete the tasks they have outlined. The class will be strictly limited to 15 members and the class will not be conducted if enrollment is under five people.

Who Should Apply:
Any artists who are seeking to develop a new business idea or company or to restructure a current arts model.  Level of experience in an arts related field is only one factor in the selection process.  If a banker who has never done a show before has a great idea for a dance company, excellent.   The course will thrive if it is full of people who are seriously committed to starting something new and exciting.  Any artist – producer, dancer, visual artist, musician, etc. is eligible to apply.

The online application form can be found Here.

Application deadline is July 1st, 2009. 

Those selected will be notified by e-mail (by July 7th).  If accepted, the full tuition will be $400 for 8 weeks. Payment is Due by July 12th. Your acceptance email will provide payment options and instructions.   This includes the cost of books that will be taught in the course as well as handouts and materials.

The course will run 7:00pm-10:00pm every Monday from July 13th-August 24th 2009.  Location TBD.

E-mail any questions to PLAE2009@gmail.com.

My Bio:

Michael Roderick has produced at Manhattan Theatre Source, Theater Row Studios, Where Eagles Dare, the Dorothy Strelsin Theatre, the Red Room, the Bridge Theatre at Shetler Studios and has produced shows in the NY International Fringe Festival, the Midtown International Theatre Festival, the Samuel French Off-Off Broadway Short Play Festival, among others.  He has worked as an office associate for Davenport Theatrical Enterprises and has Off Broadway producing credit as an Associate Producer of the musical ROOMS a Rock Romance at New World Stages as well as an Associate Producer of The New Hopeville Comics at The Chernuchin Theater at ATA.  Michael recently received the MITF Producer's Award for his show "The Director's Reality" at Where Eagles Dare and he is currently the program director for Self-Producing Artists at Theater Resources Unlimited.  Michael is also a graudate of the Commercial Theatre Institute's 14-week Program as well as the Six-week Creative Intensive Program.  Michael is the organizer of the Independent Producers Alliance of NY and he holds a BA in Secondary Ed English and Theatre Performance from Rhode Island College as well as a Masters in Educational Theatre for Colleges and Communities from NYU.

Special Sunday Post: Reach out and "Touch" somebody

As producers we need to think about more than just the show we're doing. We need to think about "why" we're doing the show. I personally only get behind something that touches me. I have to either want to cry, laugh hysterically, or grit my teeth in anger, before I decide that something is worth getting involved with. As a result, I have become pretty discerning about what I go and see. I am especially wary of shows with children.

I have always felt that when a show has kids in it, I'm watching "theatre-lite"

There's very little truth, a lot of the kids seem to be posturing their way through the material, and I'm usually pretty annoyed at the end of it all. I'm glad to say I had the exact opposite reaction to the show I saw last night.

Michael Pizzi runs a great organization that has a unique mission. His organization is finishing up the run of a production of I Never Saw Another Butterfly that has two performances left and yes, after two recommendations folks, I'm making another one.

Michael's handling of incredibly serious subject matter is exemplary and everyone who runs a childrens theatre, needs to come and take notes. I have not in all of my years of seeing shows with young people seen anything like the truth and honesty this production achieves.

 I once used to make a joke that I would start my own dance company where the kids would just wear cute costumes and stand around picking their noses and singing off-key and I'd make millions, because none of the adults seem to care.  This should give you an idea of how I feel whenever I get invited to something with kids in it.

I was really impressed. No matter how young each actor was on stage, they each were so committed to the material that this story was heartbreaking and beautiful all at the same time. The staging was also expertly executed and used very little in the way of set and props, so that we as the audience could just focus on the story. I heard some sniffles in back of me at the end of the show, and must admit that I was also a little misty myself. In a world where people have huge million dollar sets and thousands of lights  making for a laser show, it's great to see that so much power can come from a cast of all ages, with a few platforms and some cloth stars of David, in the auditorium of a church. Info about the last two performances is below. Check the production out and make sure you swing by to say hi to Michael after. That is if you can hold it together after the last number.

So if you want to accomplish  great things in thea arts, the first step is obvious:

Find something that touches an audience and the rest will fall into place.

Excelsior!

Host:	Michael Pizzi
Type:	Music/Arts - Performance
Network:	Global

Start Time:	Thursday, June 4, 2009 at 7:30pm
End Time:	Saturday, June 27, 2009 at 8:00pm
Location:	Assembly Hall at the Community Church of New York
Street:	40 East 35th St
City/Town:	New York, NY
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Email:

touchhumanity@aol.com

Description

Touching Humanity presents compelling children’s Holocaust Tale
New York, NY June 4-27 - Touching Humanity, Inc, a not-for-profit 501(c)3 arts and educational organization promoting disability awareness and social justice is presenting a fully staged concert of I Never Saw Another Butterfly with a 5 piece orchestra throughout select dates in June. The musical is adapted from the heartrending book of poems of the same name and the collection of children’s artwork created while imprisoned at the Thieresenstadt concentration camp. Theperformances will be held at the Assembly Hall, Community Church of New York at 35th and Park on June 4-6, June 20 and June 27th (2 shows on each of the Saturdays).

I Never Saw Another Butterfly is a beautiful and poignant musical play about love, hope, empowerment and remembrance set against the backdrop of the Holocaust. This compelling story is based on historical research and inspired by the poetry, drawings and lives of the children imprisoned between 1942 and 1944 at Terezin. It is the tale of a woman who instills creativity and imagination in the encamped children and allows them to live their childhoods as fully as possible, even while staring into the face of evil. It is the tale of two young people who embrace their love without fear. It is the tale of family sticking close together against forces trying to rip them apart. The story illuminates how one can conquer adversity and promote living life to the fullest. The uplifting music and unforgettable story will stick with you long after the final bow. A truly inspirational tale!

I Never Saw Another Butterfly is based on the play by Celeste Raspanti. Book and Lyrics are by Joseph Robinette with music by E.A. Alexander. Directed by Michael A. Pizzi and Alexis Fishman with musical direction by Casey Erin Clark and movement/choreography by Sonya Hamlin.

For additional information visit: www.touchinghumanityinc.org or www.ineversawanotherbutterfly.com Reserve now! Limited seating!
Performances: Assembly Hall at the Community Church of New York
40 East 35th St. , NY, NY 10016
Thursday, June 4, 7:30pm
Friday, June 5, 7: 30 PM
Saturday, June 6, 4:30 PM and 8:00 PM
Saturday June 20, 4:30 PM and 8:00 PM
Saturday, June 27, 4:30 PM and 8:00 PM


Adults: $30, Children under 10 and Seniors over 65 with ID: $25; Equity actor discount $20 with ID
At door: Adults-$40, children under 10 and seniors-$30.
Tickets: Paypal and credit cards accepted at www.touchinghumanityinc.org and click on performances or through Theatermania at 212-352-3101 orwww.theatermania.com.
Group Sales (Presale only):
$25 per person for groups of 10 or more. Call 212-533-5166. No refunds or exchanges. Checks or money order only.


TOUCHING HUMANITY, INC - The primary goal of THI is to produce theatre and develop and present educational health care workshops that inspire, instill hope, engage people’s minds and hearts and encourage communities to be more inclusive of people with disabilities, no matter the disability, and promote social justice. We educate through our artistic endeavors and through straight forward presentations about disability, particularly workshops that focus on wellness and prevention strategies and strategies to improve one’s quality of life. Our art educates audiences through our motto: “given opportunity, always able”.

See this "New" show or "Everybody Dies"

So I'll get this out of the way right now.

I am NOT a reviewer.

I am, however, a producer who is always looking for fresh and exciting work, so I do occasionally use this blog for recommendations.

Today I have two:

My good friend Glory Bowen along with Frank Calo and a host of talented people created their own Theatre Festival. How's that for awesome?

What's even cooler is the fact that they have managed to pull in some major writing, directing, and acting talent. When you start in this business, it's all about finding amazing projects and moving them. This festival is full of them and for any producer starting out, this is a chance to discover people who most likely will be working on Broadway in a few years.

Also, if you're a fellow member of the ITBA, these are shows worthy of blogging about.

Alright so on to My comments:

New Beulah by Dan Moyer and produced by The Shelby Company is like watching a Christopher Guest movie on stage. The Characters are incredibly quirky and the story is hilarious, clever and heartwrenching all in one sitting. 8 actors play over 30 characters which is no small feat. Especially impressive is each actors ability to translate age through posturing and vocal quality, so a twenty-something becomes late 40's and the audience is completely willing to believe it. The shows use of projections combined with live action is quite inventive and fans of literature will have a warm chuckle over Moyer's nod to the classic short story The Gift of the Magi using a jock and a nerd (Their terms not mine). One really amazing piece of writing is Moyer's allegorical mermaid monologue that has stuck with me since I saw the show. See it and you'll see what I mean. So again, I'm NOT a reviewer, but I see ALOT and something this clever only comes along once in a while. See the show. Nuff' said.

Everybody Dies by Molly Rydzel and produced by Edible Brains Productions features writing, acting, and direction that is absolutely top notch. This is a show that combines slapstick farcical humor that is reminiscent of Christopher Durang with the intensity of Neil Labute. Rydzel is defintiely a writer to watch as she had me laughing one second and cringing the next. The play is such an amazing commentary on our desire to be part of something whether it be the cool crowd, our nation, or a revolution. The acting is so spot on and the performers so committed, I bought everything no matter how outrageous, and believe me, it gets outrageous. There's a full review here, my personal suggestion though is to see it knowing nothing about it. It's much more powerful that way.

So there you have it. If you're looking for creative talent, get on down to this festival. You won't regret it. Trust me.

Excelsior!

Catching up

Often as a teacher, I have months where the papers pile up on my desk and there ends up being a pile to correct that is slightly daunting. As a producer, the same thing will happen. You will get offered projects, jump on board with something new, raise money for something existing, or start your own new program. All of these things will take time and all of these things will pile up. There's just one important thing to remember:

The pile has to eventually go away.

Nothing is worse than handing off work to someone and having them not do what you've asked. If I don't finish something I start, that's a problem.

But like all new producers, I am still learning. So in the past few days I've fallen behind on this blog and I plan to catch up.

This is the first post today, but there will be a few more to get caught up. I may even (gasp) do a weekend post.

Stay Tuned....

Excelsior!

If you want to be big, think small

So last night, I made the trip to Brooklyn (I know. I know a whole whopping 20 minutes) to see A Gathering, which is a piece of theatre that challenges conventions and makes the audience part of the experience. I got the chance to chat with director, Melanie Armer, after the show and as we rode the subway back to Manahattan we had a great conversation about what seems to work best when you're asking an audience to go out of their way to see you. I came away with something very valuable that I'm going to share with you all now and it is this:

Independent Theatre Productions rely on the same audience as other Independent Theatre productions, therefore the building of relationships is absolutely crucial. Don't focus on the thousand or so people you've got on your mailing list who may or may not have signed up because they had a passing interest. Instead, focus on the ones who came to your last show and who you have personal connections with.

When I first arrived, at the Lyceum last night, I was sitting there talking to Melanie about "audience development" which to most of us translates into butts in seats, and hopefully many butts in seats. She looked at me and smiled a wry smile, and pointed to her husband Chance having an engaged conversation with two friends who came to see the show.

"That's audience development" she said.

She's right. Those two people feel valued. They'll most likely be back and probably bring friends.

To put this in sharper perspective, I'll use my Facebook account:

I have 2,867 friends on Facebook.

Out of those 2,867....... 515 have opted in to a group called "I want invitations to Small Pond shows"

I focus on the small groups who have given me permission to talk to them. I do everything I can to support those small groups when they come to my shows. And over the years, I've built a larger permission base, but as Seth Godin will tell you, that takes time and a lot of effort.

I can tell you this though: It was my relationship with Melanie and Chance that got me out of Manhattan and over to Brooklyn and I will always do my best to come and see their work because they supported me in many of my initial endeavors and networking events. You may not get the size audience you're hoping for every time and truth be told, it may be rare to have a sold out house, but what you do with the people who are there is crucial.

Sure your audience may be small now, but keep working at developing meaningful realtionships with those who do show up, and don't be surprised if one day it turns out to be bigger than you ever imagined.

So get out there and focus on your permission base, no matter how small, and I'll see you in the big time.

Excelsior!

You have to stand out

Now more than ever, it is essential to stand out. People are being very careful about what they are buying tickets to and as producers we need to be aware of that. Some producers are doing some really great things right now to stand out, so I thought I would take a second today to tell you about  a show I saw on my facebook feed and what is purple about the project.

My friend Josh Randall over at the Vortex Theater Company came up with something really excellent

So let's talk about why people will buy tickets to this.

1. Your top marketing tool is your title. He's going to come up in every google search that is connected to Midsummer because of the neat twist on the name.

2. The fact that only a certain number of people can go through at a time encourages consumer panic and hits on the Scarcity principle described in , Influence which if you're producing and you haven't read yet, buy it now.

3. A haunted house in June? It just makes you curious right?  Also, just imagine how much cheaper it is to buy things like fake blood and props while out of season and kudos to them, for getting a sponsorship at Halloween Adventure!

The list could go on, but I think the main thing to remember is that we learn by example. Look at this project and how it stands out and think about your own show coming up. How are you going to cut through the clutter of the market place? How will you stand out?

Because now is the time to either stand out or step down.

Excelsior!

"Reasons" to push the envelope...

So I just hopped on my computer here at the school on one of my off periods and saw this posting.

Now everybody had their predictions as to how long this show would run for, and I spent a lot of time surveying the landscape and I started thinking about the type of show we're dealing with. Recently we've seen a shift in the commercial market. The edgier pieces that usually only got produced in small theatres are starting to creep in to the mainstream in a much bigger way than ever before. I would argue that now we're seeing more pieces that challenge our idea of what is "commercial" (if we can even say that it's possible to define that term) than ever before. The thing I'm curious about is:  Who gets left out?

We never know what's going to be a smashing success and that's one of the crazy things about this business, but we can look at stats and make educated guesses. So sharpen your pencils kids, because I want to start digging in to this. If no one comments, then tomorrow, on to the next thing.

But....

If you're feeling bold,then let's talk about what makes a non-conventional commercial production successful or unsuccessful. Would you invest in something that didn't have a happy ending? Where does N2N fit in all of this? Is it about content or is it about form? We're seeing more plays on Broadway, but are they grossing more than the musicals? Let's hear it producers of tomorrow. What do YOU want to produce?

I look forward to your responses.

Excelsior!

Where have I gone?

So some of you have been wondering why you haven't  gotten my blog for a few days, and the answer's quite simple.

I've been swamped.

I am finishing up all the paper work for the TOTSEB shows, have signed on to be the ACR for a FRINGE show, been raising money for a new commercial venture, and finishing out the year at my day job.

In addition, I have been out every night at a networking event or a show. At first I was feeling a bit guilty about all of this, then I read Seth Godin's latest blog post. He has a great point.

I am here for one reason. To share what I've learned as a producer with everyone who wants to give this blog a read. Last week, I was out DOING SOMETHING so there was no time to blog about it. But now I'm back to start in on some of the lessons I've learned in the past few weeks. The first one is:

"Just have the Experience"

I was sitting with a colleague who is in his first producing and directing venture. He was a bit concerned about how things would turn out. Would he have big houses? Would people like the show?--All questions we all worry about. When I thought about this concern, I realized that when it comes down to the show going up, we no longer have much control.

It may be good. It may be bad. But it will always be an experience. Too often we're governed by our expectations and feel we have not done something important if our show doesn't live up to those expectations. The truth of the matter is: It will never be as amazing as it is in your imagination, so just let that go and have the experience.  So get out there and have an experience and believe me you'll learn something. I promise you that. And speaking of things to experience, go see my colleague's show. Info below:

Excelsior!

 I Never Saw Another Butterfly is a beautiful and poignant musical play about love, hope, empowerment and remembrance set against the backdrop of the Holocaust.

 

If you cannot make the show we hope you will email those on YOUR email list to spread the word about the show, and about the new organization "Touching Humanity" www.touchinghumanityinc.org.

 

 

For additional information visit: www.touchinghumanityinc.org or
www.ineversawanotherbutterfly.com  Reserve now!  Limited seating!

Performances:   Assembly Hall at the Community Church of New York
                       40 East 35th St., NY, NY 10016
Thursday, June 4, 7:30pm
Friday, June 5, 7: 30 PM
Saturday, June 6, 4:30 PM and 8:00 PM
Saturday June 20, 4:30 PM and 8:00 PM
Saturday, June 27, 4:30 PM and 8:00 PM

Adults: $30, Children under 10 and Seniors over 65 with ID: $25.

AEA and College students with ID $15 June 4-6 ONLY

At door: Adults-$40, children under 10 and seniors-$30.

Tickets: Paypal and credit cards accepted at
www.touchinghumanityinc.org and click on performances or  through
Theatermania at 212-352-3101 or www.theatermania.com.

Group Sales (Presale only):
$25 per person for groups of 10 or more. Call 212-533-5166. No refunds
or exchanges. Checks or money order only.

Go to http://touchinghumanityinc.org/ for information about the organization

 

TOUCHING HUMANITY, INC -

The primary goal of THI is to produce theatre and develop and present educational health care workshops that inspire, instill hope, engage people’s minds and hearts and encourage communities to be more inclusive of people with disabilities, no matter the disability, and promote social justice.   We educate through our artistic endeavors and through straight forward presentations about disability, particularly workshops that focus on
wellness and prevention strategies and strategies to improve one’s
quality of life.  Our art educates audiences through our motto:

“given opportunity, always able”.

The landscape of evolution

I just saw this article in Playbill, and it got me to thinking about what has happened recently in the world of producing and technology. Like it or not, technology has changed the way we do business as well as the way we present ourselves.  Picking up a phone is such a rare occurrence that I'm actually surprised when mine rings.

I have raised most of my money through emails and facebook and sold many of my shows through twitter and other outreach tools. At the bootcamp this weekend, someone made the bold statement that social media was useless in selling tickets. I would argue that we're dealing with evolution. We as producers are asked to evolve with the times and this time period relies on social networking and technology. I think one of the biggest mistakes one can make regarding the use of technology is to think that it will do it all for you. If facebook or twitter or any other networking tool could just sell tickets on its own, then we'd all be very rich. All of these things are tools and we need to learn how to use them, if we expect to get anything out of them. That's evolution.

If you are producing and plan on using any of the new technology that's out there, you should also be reading books about marketing and subscribing to Seth Godin's blog and the other marketing media out there. Technology is a tool that you either choose to use as a producer or not use, but don't complain that facebook and twitter won't sell your tickets. It won't do it for you. The times are changing. We either adapt or we die.

My advice would be to adapt.

How do you use technology for your producing? Feel free to comment below:

Excelsior!