“IT’S POSSIBLE” with the Magic of the Arts
The following article appeared in the January 9, 2012 edition of The New Britain Herald. I wrote it as Executive Director of New Britain Youth Theater to highlight NBYT programs and promote upcoming auditions for Cinderella.
Our Christmas play last month, I’m Getting Nothin’ for Christmas, centered around a group of young friends visiting the North Pole where they met roughly three dozen elves, eight reindeer, and Santa himself. Programs for the coming summer will include the musical Seussical and the magical characters of Dr. Seuss, including Horton the Elephant, the Cat in the Hat, Gertrude McFuzz, the Whos of Whoville, and more. And the next NBYT production, Rodgers & Hammerstein’s Cinderella, is possibly the most magical fairy tale of all. (Both Cinderella and Seussical even have songs titled It’s Possible!)
As a story about a sad girl and her magical transformation, Cinderella exists in thousands of different versions and folktales around the world. (And the main character isn’t even a girl in all of them!) The story has been told by generations of families, written and rewritten, and adapted into plays, musicals, operas, ballets and films. The Cinderella legend is a story the world never grows tired of hearing.
But aside from a fairy tale, does Cinderella mean much to us anymore? Very few of us go to balls or ever have the chance to meet a prince or princess. And we don’t believe that a fairy godmother can magically appear and change our lives with the wave of a wand. But there certainly are things that can change our lives for the better. The arts are one of them—especially for children.
When researchers working with the nonprofit organization Americans for the Arts studied several different children’s programs and activities, they found that young people working in the arts during their out of school hours are four times more likely to have won school-wide attention for academic achievement; they are being elected to class office within their schools more than three times as often; they are three times more likely to win an award for school attendance; and they are over four times more likely to win an award for writing an essay or a poem (Americans for the Arts, 1998). By participating in artistic activities and programs outside of their education, children learn to become leaders and responsible members of their communities, of the organizations they take part in, and of their own families. They learn discipline, respect for themselves and others, self-confidence, and self-esteem. Participation in theater especially teaches children and young adults to be both creative decision-makers and team players working together to reach one goal. Another study found recently that students who participate in arts education programs are less likely to drop out of school than students who do not participate in the arts (The Center for Arts Education, 2009). By inspiring their creativity and giving them a way to express themselves, the arts reach the students who might otherwise become drop-out statistics. And if that’s not magical, I don’t know what is.
Good Growing: Read This Before Hiring Anyone
Recently I’ve spoken with managers from a few small theaters who are adding (or considering adding) employees to their management staffs. This is something that any successful business eventually considers. New employees mean more payroll expenses of course, but at some point continued growth demands it. When a young theater company begins producing more shows or working on more projects, expands its marketing or development efforts, or moves into a new space, often more work is created than its founding members and volunteers can handle. They begin to wonder whether they should hire a managing director or general manager, a production manager or technical director, a business or finance manager, maybe a marketing or development director, or even a consultant to do or help with any of these things.
When I encounter theaters at this point in their growth (and especially if they’re already financially stable) the opportunist in me sometimes wants to shout, “Me! Hire me!” But, as a consultant, I lean toward making them question whether they’re really ready to hire anyone and who that should be.
Certainly a new team member—whether a consultant, contract employee, or staff member—can help in many ways: in carrying out more ideas from directors and board members that time constraints might limit; in contributing new suggestions and systems of marketing, sales, development, or production; and in providing more staff consistency and permanence than volunteers might be able to provide. But, some ground work and careful thought needs to be done before hiring anyone.
When I speak to theaters about hiring new managers, I always recommend creating a formal job description for the position. This document helps to reveal whether a new position is warranted, it creates a list (whether specific or general) of requirements and expectations, and it serves as a tool to establish and continually develop the relationship between a new team member and existing management.
A job description, of course, is not a static document, but evolves as an organization continues to grow. As a starting point, however, I always recommend making three lists. The first list should include management items that should be done, but currently aren’t due to time constraints or other factors. The second list should include jobs that current directors, employees or volunteers are performing, but that should or could be delegated to another person. Finally, the third list should include any additional projects, systems, ideas or goals that the theater would like to implement either soon or as it grows (for example, online ticketing, group sales, or new fundraising events or campaigns). In this last list, some items may be long-term goals, but others may be realistic projects with additional management help. The three lists can then be combined—and edited—to create a workable job description. It doesn’t necessarily need to be in any particular format, just clear to anyone reading it. In addition to responsibilities and requirements, the job description should also show whom the employee reports to and who reports to the new employee.
Once a document exists that outlines the requirements and goals of a new management position, a theater will be best equipped to decide whether it would benefit from hiring a consultant, contract employee, or staff member. And, with the new job description as a guide, the transition for everyone involved will be all the better.
There Are No Small Parts
Researching facts and figures prior to starting my consulting business, I learned several things about theater in Connecticut that I hadn’t know before. Read on even if you’re not in Connecticut—this applies to you too.
Obviously one of the first things I looked for was potential clients. I found quite a few web pages with theaters around the state listed and linked. When I started looking closely and combining those lists though, I realized that there are over one hundred theater companies in the small state of Connecticut. (There are only one hundred sixty-nine towns in this third-smallest state.) And that number of theaters doesn’t include many children’s and summer theaters or most of the theaters at colleges and universities. It certainly doesn’t include theater programs at high schools or middle schools or many other drama conservatories or clubs either. A large list of professional and community theaters in Connecticut is now located here at this website. (If you know of one that I’ve missed, please comment or email and let me know.)
I also learned, from a December 2006 study released by the Connecticut Commission on Culture and Tourism, what a significant economic impact the arts have on the state. As a whole, the arts (which includes dance, music, opera and visual and literary arts as well as theater) provide more than 27,000 jobs in the state and support a total of 44,000 other jobs. The gross state product generated annually from the arts is more than $3.8 billion including $2.6 billion in personal income. Combined with other cultural sectors (film, history and tourism), cultural jobs account for ten percent of the state’s labor force and $14 billion in economic activity. That’s more jobs created and more gross product generated than by either the aerospace or the pharmaceutical industries in Connecticut—both of which have a significant presence in the state—but not as significant, apparently, as the arts.
Putting all of this information together, it’s clear that the great economic impact that the arts have on the state of Connecticut doesn’t come only from bigger organizations such as the Long Wharf Theatre or Hartford Stage. It’s not coming only from Yale University art museums or the Wadsworth Atheneum. It’s a combined effort of the hundreds of arts organizations—both large and small—that operate, employ, and culturally and economically impact Connecticut.
Certainly, these facts and figures aren’t unique to Connecticut. In New York, the Alliance of Resident Theatres has long noticed that the fastest growing sector of its membership is smaller theaters with budgets under $100,000. And New York is definitely aware of the economic impact that the arts have in the state as well. Across the country, theaters and other arts organizations are generating income, paying employees, encouraging patrons and volunteers to spend money in restaurants and shops, and circulating those monies in their communities.
Why is this important for every theater to know? Because it’s the information that donors and sponsors and patrons need to hear—that they’re not only supporting culture and a few hungry artists, but that they’re contributing to a significant economic impact in their communities as well.
So, if you’re not in Connecticut, go find some comparable facts and figures for your own state. In any state, mention these facts in a few marketing materials and funding applications. And congratulate yourselves for having made such an impact.
Promoting Past and Current Seasons
The following article appeared in the August 29, 2011 edition of The New Britain Herald. I wrote it as Executive Director of New Britain Youth Theater to highlight past season accomplishments and promote the coming season.
Happy New Year!
No, I’m not four months early or eight months late. It is an odd month for New Year wishes, but for many performing arts organizations a new year is just beginning. Summer programs and performances are over, and a new season of events will soon be underway.
At New Britain Youth Theater, the new season coincides with the start of a new school year. NBYT in-school and after-school programs will be held at as many as five New Britain public schools this academic year—which is NBYT’s second season. Theater programs will return to Smith Elementary School, Jefferson Elementary School, and Smalley Academy. New programs are being planned for Gaffney Elementary School and Roosevelt Middle School. American Savings Foundation has contributed partial funding for school programs, and additional funding is being sought to cover program costs.
Also in the new season, NBYT will add new programs and expand already successful programs. Performances will include the world premiere of a Christmas play, I’m Getting Nothin’ for Christmas; Rodgers and Hammerstein’s magical musical, Cinderella; the whimsical world of Seussical; and Teen Company productions. The Greater Hartford Arts Council has provided partial funding for these performances. Drama classes will be offered on additional days and hours, preschool classes will be added, homeschool and after-school programs will explore new scripts and activities, and new school vacation week programs will be scheduled in February and April. Demand has also risen for outreach programs in new venues and towns.
Of course, any good New Year celebration includes a look back at the year ending too. In its first season, New Britain Youth Theater produced three plays at Trinity-on-Main—A Children’s Christmas Carol, Babe the Sheep-Pig, and I Know I Saw Gypsies (an NBYT Teen Company production)—for a total of nine performances. Year-long programs in three New Britain elementary schools ended with performances of scenes based on folk tales, fables, and legends. A two-month program at Roosevelt Middle School led to a staged reading of Romeo and Juliet. Back at Trinity-on-Main, eight-week Drama Classes and Homeschool Enrichment Programs also concluded with “Share Day” performances. Summer programs included five weeks at Jefferson Elementary School open to all children, five weeks at Smalley Academy for incoming students, and other outreach programs throughout Greater New Britain.
Over the past year, NBYT held a total of twenty-five performances and share days, directly served over 400 participating children and teens, and entertained over 1800 audience members. Children and teens in NBYT programs came from eighteen different towns in Greater New Britain, Greater Hartford, and throughout Connecticut. Much of the audience attended performances at Trinity-on-Main—bringing many new visitors to downtown New Britain.
As a new NBYT season begins, we’re also making New Year resolutions. We promise to continue the mission of NBYT: “to enrich the lives of children and young adults by encouraging creative thinking, fostering self-confidence and self-esteem, and developing general life skills through involvement in low-cost programs in the performing arts.” How about you? Will you resolve to make the arts part of your or your child’s life in this new year too?
It’s probably happened to every theater producer. You think your expenses are under control. Ticket sales may be booming or they may need a kick in the seat, but production costs at least are manageable. Then—like bad Shakespeare—expenses come out of nowhere. Petty cash is nearly disappearing out of the box. Receipts for reimbursement are piling high. Your designers want to order ostrich feathers, moving lights, fog machines, and goldleaf paint—or they have already. And your director is adding costumes, sets, cast members, and talking about flying characters that you never imagined leaving the ground.
How does a producer get back in control of expenses? It’s possible, but it takes moving back a few steps to do it best. Here are some ideas for managing production costs.
- Read smart. A producer should be able to read a script and estimate production costs. It’s easy to count the characters and set locations, but there are dozens of other clues in a script too. Is the show set in a specific period or location? Anything other than modern costumes and common locations may cost more than expected. Are there costumes changes? Is any special make-up necessary? Are there any unusual set pieces or props that may need to be bought or built? How about special effects? Even without plotting a light design, it may be possible to guess if any specials may be needed. How about things like fog, haze, pyrotechnics or flying? Each of these effects can drive up a production budget. Knowing what costs to expect when first reading a script is the first step in avoiding surprises.
- Get the director involved early. A producer should have a good idea of what sets, props, lights, costumes and special effects may be involved in a production, but it’s the director who actually decides how the show will look on stage. To ensure that a producer and director are on the same page (and have the same production in mind), get a director involved in planning and budgeting early. Budgets of course may be limited or already decided and approved, but carefully reviewing a production budget with a director lets both parties know what to expect. If the production budget is already set, give the director a copy and ask about any possible shortfalls. Nine times out of ten, the director will say that it’s not enough. In that case, talk about plans for casting, sets, lights, props, costumes, and effects and how the budget can best be used. If possible, borrow from one production area to fund another—taking money from lighting for example to add to costumes. Having the director aware of the budget, and being aware of the director’s vision, could save some conflicts later on.
- Attend production meetings. Meetings with a director and budget discussions shouldn’t stop after a first budget review. Once designers and other artistic and technical staff are involved, part of regular production meetings should involve reviewing the budget. If any new production elements are asked for or added, discuss whether the remaining budget will cover the cost. If one element of production appears to be going over budget, discuss whether there may be savings available in another area. Staying in contact with the director and designers is the best way to estimate how production costs may end up—and there’s no better time or place to do that than at production meetings.
- Set—and follow—strict guidelines for petty cash, purchase orders, and receipt reimbursement. Chances are that even with budgets set, reviewed and approved, someone will need, order or buy something unexpected that threatens to throw off the budget. This is what rules are for. The first production meeting should include a discussion of how petty cash is distributed, how purchases are to be made, and how receipts may be reimbursed. If there are limits to how much petty cash is given at once or to whom, say it up front. If purchase orders are required, emphasize that and explain the system—and (this is important) communicate to regular vendors when purchase orders are required so that nobody can go around the rules. If reimbursements are made only up to a certain amount, say that up front too. A producer shouldn’t be responsible for a team member who spends more that what was authorized and expects reimbursement. Set rules and explain them—whether it’s that the guilty party must return the item, be responsible for the cost, or be reimbursed only if budgeted funds are available at the end of the production.
- Go to rehearsals. Like attending production meetings, going to rehearsals is one of the best ways to track and estimate costs. If the director is talking about scene changes, costumes changes, or effects that a producer didn’t know about, bells and whistles should go off. I don’t recommend confronting a director about this during a rehearsal or in front of the cast, but there should certainly be some discussion later. Very likely though, if a producer has been meeting with the director and attending production meetings, there won’t be any surprises. Going to rehearsals has other benefits too—it communicates to the director that you’re involved, supportive and available. It sends the same message to the stage manager, designers who may be at rehearsals, and production staff, cast and crew.
- Hold post-mortem meetings. Whether everything has gone perfectly right and come under budget, or gone horribly wrong at many times the expected cost, a post-mortem production meeting is a good idea. If there have been problems, everyone involved should discuss what went wrong and how to avoid it happening again. The meeting shouldn’t be about finding or placing blame—it should be about finding solutions. If communication was a problem, be honest about that and ask for input on ways communication can improve. On the other hand, if something went especially right—particularly if some new problem was worked out or a new way to do something was involved—that should be discussed too. In that case, you want to be sure that you can repeat what happened. A post-mortem meeting is also a great time to thank everyone involved and to stay in contact about possible future projects together.
These are just a few suggestions for controlling production costs. Obviously there are other ways—ways such as researching prices, buying things like lumber or paint in bulk when possible, borrowing items, or seeking out donations. To keep the production team budget conscious though—and feel supported—frequent communication is the overriding suggestion.
