Bringing new works to New York is an expensive and risky proposition, and it is a good producer's job to make the development path as painless as possible for the creative artists and company. To sidestep premature exposure while a show is being worked on, current producing models now commonly partner commercial producers with a range of not-for-profit collaborators. A chief strategy is the enhancement deal, though there are other ways of working under the radar. Low-profile workshops are another possibility, though they cost way more than the designation "workshop" might suggest. In general, successful producers need to find a path of least resistance and greatest support for their production and their team. How do they do it?

 

Panelists to include TRU literary manager Cate Cammarata, director, producer (My Life Is a Musical, The Assignment, My Father's Daughter), R. Erin Craig of La Vie Productions (Austen's Pride: A New Musical of Pride and Prejudice, Mr. Rickey Calls A Meeting, Academy, Himself and Nora, Into The Wild, In The Heights, Irena's Vow), entertainment attorney Lee Feldshon (Moulin Rouge, Drama Desk winner Desperate Measures, Who’s Your Baghdaddy, Money Talks, Bloody, Bloody, Jessica Fletcher, Liberty), producer Ken Waissman (original Grease, Torch Song Trilogy, Agnes of God).