Wednesday, June 21, 2017

Start Small, Think Big: Producing Indie Theatre Productions With High Standards

By Victoria Muzzio

Tom Viertel of the Commercial Theater Institute and Shay Gines of the Innovative Theatre Foundation came together for a course on Indie Theatre Productions at the Anne L. Bernstein Theatre on Friday, June 9th. There were eight sections presented by nine people who gave advice, experience, and a basic pathway for those interested in learning how to efficiently produce theatre on a limited budget.

Erica Rotstein from Broadway Across America & Amy Ashton from Colt Coeur

When diving into a career in the arts, you need to first make sure that you’re passionate about your work because it is not an easy industry, and success does not happen over night. It is so necessary to do it for the love and expression, not just the rewards that you wish to reap. As an audience member walking in, I wasn’t exactly sure what to expect from this seminar because my focus was always on performing or assisting in various technical jobs. By the end of the day, I gathered that there would be good runs and bad runs in theatre just like there would be good days and bad days in life no matter how passionate you are or how well planned it all seems. However, this seminar essentially gave its audience a checklist to keep a production on track and running as smoothly as possible to avoid a huge crisis.

Passion is key, yes, but it is unfortunately not enough to bring art to life. Here are some ways you can begin your production process in NYC:

Tim Errickson from Boomerang Theatre Company
 1) BUDGET! This is extremely important because without funding, it is nearly impossible to produce a show worthy of any revenue. Keeping in mind that every show will vary in how much it needs to be a success, create a business model. By creating a business model, you are essentially finding ways to fund your show and there are many different ways, so don’t settle until you thoroughly research and figure out what is best for you and your business. There are legal and non-legal entities. For example, an LLC is a corporate legal structure that gains funding through investors. It also ensures protection on any personal funds outside of your business in case of liabilities or debts. A non-profit, on the other hand of the legal spectrum, does not accept investors because it instead solicits donations and grants. While you are granted some sort of protection from tax and liability issues, it is best to seek a lawyer's advice on the specifics. As far as non-legal entities go and an extremely uneasy way to proceed is as a Sole Proprietor. Responsibility for debts, as well as the actual funding lies on the person who owns the business. Along with all of this are Fiscal Sponsors. This is when you go under a larger organization; however, applying for a sponsorship is very rarely given to individual artists and small companies in NYC.

2) GATHER YOUR RESOURCES! While the arts can seem like a tough place to start, there are a multitude of organizations looking to support or service your business and watch it succeed. I personally believe that research is an important start because here you will find organizations with additional resources that have access to the best of everything on a budget from funding support to performance spaces to costume shops, and so on. This is also where you can begin to find off-stage help (stage management, etc.) and eventually on-stage talent. For example, websites like Backstage and Actors Access are very easy to navigate and can be used to find the necessary help with your production.

Heather Cunningham from Retro Productions

3) SET THE SCENE! What I mean by this is to find a home for your production. It is so easy to google locations and read an inaccurate yelp review. Get on location and support local theatre. By going to shows with a similar vibe to the one you hope to produce, you not only get to see the space for yourself, but you also get to meet the staff and more often than not make a connection with other artists in the community. It is so crucial to find a destination that not only meets the requirements for production but also meets the requirements for a delightful experience by the audience. Getting on location will assure you that everything is up to standard.

4) CONTRACTS! When the time comes that you begin looking for talent and a production staff (director, stage manager etc.), you will find that there are many rules to be followed whether they are hired as union or non-union. As a beginning producer of a small production, it is rare to be able to offer a whole lot but regardless of that, you will want to make sure that there is a contractual understanding of what is being offered in return for the others' work. It protects you, your business, and the production but it also offers no surprises and keeps things afloat.

Kevin R. Free

5) MARKET! MARKET! MARKET! NETWORK! NETWORK! NETWORK! Promote your work and sell tickets by researching various marketing plans or creating your own. Strategize based on results and further implement successful ideas into your plan to reach your goals. It is a fortunate era of social media take full advantage of it. Facebook, Twitter, and Instagram have grown tremendously and expanded within themselves as a major marketing tool. Create business pages, stay active online, and always interact with those liking or commenting on your page. Perhaps your show is coming up  create an event page on Facebook and send out invites, get creative with Instagram, and post sneak-peek photos, or post Twitter updates regularly and chat with others interested in the arts. This brings us to networking, which can of course be done to an extent online; but the best way to network is to get yourself to an event. There are always networking events going on for artists in the theatre community (CTI happens to hold them as well). This is a comfortable setting because you know there will be people with similar interests but it’s also a great place to get advice from those who may have been in the game a while longer than you, so be sure to ask questions. Another way to network is by regularly attending shows. While Broadway is wonderful, the best way to meet those who eventually make it there are at Off-Broadway and Off-Off-Broadway productions. Support other small productions, and they will for sure support you!

I am a firm believer that what you put out into the universe is what you attract back in  this has to do with your work ethic and your attitude. You have to believe in yourself, your production, your team, and most importantly, you have to believe in the power of art and the effects it has on an inspired audience. Have the desire to inspire and work tirelessly because it all will come full circle. Start small but always think big because eventually your dreams will match your reality.

A huge thanks and credit to the speakers for taking time out of their busy schedules and sharing their tips on Small Productions: Tim Errickson (Boomerang Theatre Company), Mark Finley (TOSOS), Erica Rotstein (Broadway Across America), Amy Ashton (Colt Coeur), Heather E. Cunningham (Retro Productions), Morgan Lindsey Tachco (Creative Consultant, Performing Artist), Akia Squitieri (Rising Sun Performance Company), Nick Micozzi (Innovative Theatre Foundation), and Kevin R. Free (Actor, Director, Producer). I have gained a new appreciation for the people who work on smaller platforms in this huge community.

Akia from Rising Sun Performance Company

Tuesday, June 20, 2017

My Day at The Commercial Theatre Institute’s Indie Theatre Productions Seminar

By Victoria Fernandes

As a young person involved in theatre, my biggest goal is to learn as much as possible, whenever possible. This goal was certainly met at The Commercial Theatre Institute’s Indie Theatre Productions Seminar held on Friday June 9th at The Anne L. Bernstein Theater. With a variety of speakers from all over the Indie Theatre community, the day was jam-packed with information, all presented in a friendly and accessible manner.

Mark Finley, Artistic Director of TOSO

While the whole day was fruitful with information, one of the speakers that made a lasting impact was Mark Finley of TOSOS (The Other Side of Silence.) Through his years of creating impactful theatre that focuses on the LGBT community, Mr. Finley has garnered an impressive amount of knowledge about finding the perfect performance ppace for your production. Will your production have its own private 99-seat theatre, or will you opt for a more unconventional venue like a nearby restaurant or park? The options are limitless! Finding the perfect Performance Space is all about weighing the pros and cons, accessing the vibe and consulting with your budget. Fully equipped with important tips like reading your contract carefully, a plethora of valuable information was given, along with a number of resources.
Morgan Lindsey Tachco
Another speaker that was particularly informative was Morgan Lindsey Tachco, an NYC-based creative consultant and theatrical performer. With her 45 minutes, Ms. Tachco provided course-goers with valuable information about marketing. As someone who is particularly interesting in marketing, especially social media marketing, this session was both interesting and important. When marketing, it’s important to keep in mind, “Progress not Perfection.” The key to a successful marketing campaign is to use a combination of your online community and personal circle of friends and colleges to reach as many people as possible. Accompanied with your statistics of what has or hasn’t worked in the past, the marketing of your Off-Off Broadway production will surely be effective.

Overall, my day at The Commercial Theatre Institute’s Indie Theatre Productions Seminar was an informative and extremely necessary one. I know that the information I learned will carry me throughout my entire theatrical career, serving as a basis for the future.

Sunday, June 11, 2017

Goodbye Dark Knight

"Of what use is a dream if not a blueprint for courageous action?"
                                   ~ Adam West 

"Hand me down the shark repellent Bat-Spray!"
                                  ~ Adam West as Batman

Wednesday, September 28, 2016

City Spaces

One of the biggest challenges facing Indie Theatre artists, is space!

Our good friends at the League of Independent Theatre continue to tackle this issue and are supporting new legislation to help address it. Check out their website for more information.

Monday, September 26, 2016

In the Heights

Written by Lin-Manuel Miranda, and Quiara Alegría Hudes.
Directed by Michael Bello
Produced by The Gallery Players

Nominated for: Outstanding Director, Michael Bello

Photo by Scott Cally & Bella Muccari

About the Production
In the Heights is a vibrant, touching, and thought-provoking musical that tells the story of the changing cultural landscape of Washington Heights. It makes us ask, what is home? We follow a young bodega owner, Usnavi, his cousin, and the rest of the neighborhood as they navigate the times in Washington Heights. This modern musical engages the audience, and makes them consider their own role in their families, their neighborhood community and in all of New York City.

Director Michael Bello and Producer Jonathan-Bruce King talk about staging with modern musical that is a true celebration of New York.


What attracted you to this production?

Michael: As a Cuban-American theater artist In The Heights holds very special meaning to me. More personally, my grandparents and father immigrated from Havana, Cuba to 183rd Street in 1952, my parents met on the 181st St A stop that was upstage left, and I was born in Washington Heights. My family and I saw the show off-Broadway and Broadway, I saw the National Tour in Boston the day after my Abuela passed away, and it was the only Broadway musical by grandfather and I ever saw together. The story of In The Heights is one that speaks to me in a profound way and has a very special place in my heart. After working on the show, it became clear from the amazing group of Latino/a artists that gathered around the piece that Lin Manuel Miranda's writing spoke to us all and each of our family's culture, sacrifices, communities and love. When The Gallery Players asked me to return to the theater, after directing last year's NY It Awards nominated Next to Normal, I simply couldn't pass up the chance to bring my family and my culture to life on stage.

Jonathan-Bruce: I wanted to work on this musical because it explores a wonderful concept: what is home in the face of adversity? The theater wanted to explore the concepts of the play given the changing backdrop of our part of Park Slope. We have seen so much change in the past few years, the bodega is now a juice bar, starbucks and artisan coffee have opened up, and rents have risen astronomically. It is a musical about Washington Heights, but it could be about Park Slope.
Photo by Scott Cally & Bella Muccari

What did you want the audience to come away with after watching is production of In the Heights?

Jonathan-Bruce: I hope the audience came away with a sense of what home was to them, how their choices in living and life affect others, and how to find home within themselves.

What was your favorite part of this production?

Jonathan-Bruce: I loved working with an amazing cast and crew. Everyone had some kind of connection to the neighborhood or the culture, and were so excited to bring these characters to life.

What was the most challenging aspect of this production?

Jonathan-Bruce: This is a very big musical, and a very realistic musical. We had to make sure we were firmly rooted in realism but also could stay within budget.
Photo by Scott Cally & Bella Muccari

What was it like working with Michael Bello?

Jonathan-Bruce: Michael Bello is an incredibly adept and skillful director. His vision and specificity showed throughout the production and led to a cohesive, well thought out, and enthralling production.

You can follow The Gallery Players on Twitter - @tgpbrooklyn


Written by Laura Zlatos
Directed by Devin Brian
Produced by Next In Line Productions LLC

Nominated for: Outstanding Lighting Design, Govin Ruben

About the Production
Exposure is inspired by the life and work of American photographer Francesca Woodman, who created a critically acclaimed body of work before killing herself when she was only twenty-two. Exposure has become more than a play about Woodman and her work however - it explores the ideas surrounding Art, and the myths of the "Tortured Artist".

Lighting Desginer Govin Ruben talks about working on this OOB production.


What attracted you to this project?

Govin: I've worked all over the world on different productions with various companies, festivals and organizations. Exposure was the first productions from America that I was offered and I thought it would be exciting to work in New York City.

What was your favorite part of this production?

Govin: It was a very passionate group of artists who were all very dedicated to their craft. It’s always great to be a part of a team where everyone works and wants to work towards a common goal.

What was the most challenging aspect of this production?

Govin: Budget and technical limitations of the space were very challenging. However I think that that sometimes makes most designs more interesting. Exposure is a great testament to that.

What was the most noteworthy aspect of this production for you?

Govin: I was flying in from Istanbul; fresh from doing a large government festival in a 3000 seat theatre; then walking into the beautiful 60 seater Gene Frankel Theatre on the Lower East Side was a quick reminder of how varied this industry can be. From spectacle and scale to visceral and intimate.