Brian MacMahon, In-house producer for Dioneo, a London based operatic production company, gives us his take on the role(s) of the producer.

When I was a student I made theatre in all kinds of different ways. I acted, adapted, directed, lit, costumed, production managed and marketed shows from page to stage with varying degrees of success. The one thing I never really got a handle on was the role of the producer. Blessed with a succession of talented fundraisers and administrators, producing was never something to which I felt I needed to turn my hand.



Since graduating, however, it’s been an entirely different story. With the paucity of employment opportunities for performing artists in the industry today, often the best approach can be to make your own work: write, commission, fundraise for and stage it on your own terms. This was, after all, the business model adopted in recent years by theatre companies like Kneehigh, Punchdrunk and HighTide, all of which have achieved considerable success as a result of their efforts.



Last year, I decided to take this approach myself, joining forces with new companies and helping them to stage new work. The trouble was, this meant getting to grips with producing, and as disciplines go it’s certainly no easier, nor is it any less demanding, than acting, writing or directing. Producers have a lot of responsibility – often they will be the main go-between, liaising with venues, negotiating on performance rights, trying to ensure a good deal for the company.



With all this in mind, here are a few suggestions I have for anyone starting out as a producer:



1. Be organised.

This is number one for a reason. As a producer the onus is on you to schedule your company’s time constructively. It is never too early to start sounding out performance venues, possible backers, contributors and those who hold the rights to works you want to perform. If anything, approaching people months – sometimes years – in advance creates the impression of assured professionalism, and will serve you well when it comes to negotiating good terms for your company.



2. Be strategic.

Have a long term strategy in mind for your company. By the time one show goes up you need to be hard at work on the next. Make sure you get value for money – if you have invested in a production and it does well, can you arrange a transfer to a larger venue, saving yourself the cost of commissioning new costumes, set and props? Know where the money is coming from for future work and make sure that the company is able to invest when the right opportunity comes along.



3. Be pragmatic.

You can’t achieve everything – at least, not at first. If your budget only stretches to a few hundred pounds you can’t sign up to a contract with a venue that charges you thousands. Approach backers openly and honestly; always remember that you are auditioning sponsors just as they are auditioning you – is this the right sponsor for you? – Are you after the same thing? Think carefully about the structure of your operation – do you prefer to freelance or work solely with one company? How can that company grow over time?



4. Do good business.

All opportunities in the performing arts involve a degree of marketing and good business sense. As a producer you have to balance your own and your company’s agenda against the demands of suppliers, venue managers and publicists. Your aim should be to develop good, long term working relationships. If good people want to work with you again, that sets you up nicely for the future. You should also take care to remain involved with the company’s work – you can’t do your job unless you regularly talk to directors and designers and get excited about the work the company is creating.



Producing your own work can be very exciting: you get to help set the direction of a company, take on the projects you’ve long nurtured in the back of your mind, and do things the way you think they should be done. In order to be successful, however, there’s a lot to get right, and you will have to put in a lot of time and energy, and be prepared to deal with setbacks. Ultimately, if you’re in charge, it’s you who will have to face up to the consequences if things go wrong. Get it right, however, and the rewards are well worth the wait.