Saturday March 14th, 10am to 5:30 pm
Clinton Cameo Studios, 307 W. 43rd Street, Studio A - workshop postponed due to the current health crisis
CLICK HERE to fill out the registration form.
What often holds playwrights back is that they rarely consider the person who will buy and produce their product: the producer. With all the work, hope and sweat they invest in considering character, theme and plot, playwrights rarely take into account producibility.
This one-day intensive will be taught by TRU Literary Manager Cate Cammarata and commercial producer Patrick Blake (The 39 Steps, My Life Is a Musical, Bedlam Theater's Hamlet/St. Joan, The Exonerated, In the Continuum, Play Dead) founding artistic director of Rhymes Over Beats, with TRU's Bob Ost and Gary Hughes offering marketing insights. With guest speakers including producers Margot Astrachan (The Prom, A Gentleman's Guide..., Nice Work If You Can Get It, On a Clear Day... revival, The Realstic Joneses), and producer/consultant/former general manager R. Erin Craig of La Vie Productions (Himself and Nora, Stalking the Bogeyman, Mr Rickey Calls A Meeting, Austen's Pride, Academy); and entertainment attorney Lee Feldshon.
• WHAT IS PRODUCIBILITY? The fact that producers always ask this question, and playwrights hardly ever do, causes a serious disconnect between the commercial producer and most playwrights.
• WRITING TO A MARKET - We will ask each playwright questions he or she has probably never considered before: What is your market? Who is going to buy tickets? Who is this play written for?
• HOW TO SPEAK "PRODUCER" - Understanding the producer's point of view, and learning to look at your work from a more objective perspective may increase your chances of getting produced.
Schedule (subject to change):
- How your creative choices influence your budget
- Producible where? What makes a property commercial? What are other markets?
- Managing expectations and knowing who your audience is
- What producers look for in a play, and a partner
- Avoiding encumbrances
- How collaborations work, and what to expect from your composer and co-writers
- The role of the dramaturg in development
- Balance of power: communicating clearly and working with a director
- Steps of development
- What goals to set at each step
When do I need a lawyer?
How to get an agent, and do I need one?
Outline of a reasonable option agreement
- Understanding your producer
- What is your show really about: identifying your strengths
- Making your best elevator pitch ever: essential components you need to know
- The day ends with a panel of commercial producers who will offer feedback on writers' pitches as well as suggest appropriate markets for the works.