Zero Mostel as Max Bialystock in The Producers (1968).
You don’t have to look hard in the arts sector to find numerous unkind clichés about producers. Bossy, greedy, venal, monstrous – from Kirk Douglas’s much-loathed Jonathan Shields in MGM melodrama The Bad and the Beautiful and Zero Mostel’s avaricious Max Bialystock (described by the accountant Leo Bloom as ‘the most selfish man I have ever met in my life’) in Mel Brooks’ The Producers, to Tom Cruise’s parodic Les Grossman in Tropic Thunder, producers generally get a bad rap. But they play a vital role in realising artists’ dreams; nor is their role just about raising money, as the following producers tell us:
Annette Vieusseux, Executive Producer, Lucy Guerin Inc
‘I spent many years at uni sitting in corners of theatre rehearsal rooms all over the world observing shows being created, noting every generous offer, wild bum-steer and moment of alchemic magic until somehow, from that room and that process, a theatrical production emerged. I’m not sure I knew what ‘real world’ job that research might lead me to, but it turns out it was the most useful training context for me as a producer: it showed me how to open my ears and eyes to collaboration and networks, that all art is political because it’s about choices, how much respect and care artistic processes need, the golden value of production staff, and the necessity for enough distance to smell bullshit. Most importantly, I learned that good art takes time, love and money. Being a producer is about creating the conditions for these essential elements. That means not being shy about asking for money, gambling when you don’t have it, and fiercely protecting what makes you adore the work and how it’s made.’
Cat Dibley, Artistic Director/Producer, Catnip Productions
‘Without a dedicated school or handbook for producing, most of us end up learning on the job. This is the list of traits I’ve compiled over the years from those producers I’ve admired and worked with across festivals, tours, mainstage and independent theatre; the common skills for all producers, regardless of their platform.
1. Have a very clear artistic intent. Choose your work well, know why you’re creating it, do your research and engage in the conversation.
2. Have incredible foresight for potential speed humps and correct the trajectory early. This is probably part experience and part instinct.
3. When times get tough, feel completely overwhelmed on the inside, but channel a Zen Panda on the outside. Focus on solutions, not problems.
4. Don’t apologise for asking for money for your work. It has value; recognise its currency.
5. Know you are only as strong as your team. Engage artists you admire and trust them. Support them emotionally, physically, and financially.
6. Harbour an intense curiosity about how people make theatre in your community, and in others. Reach out to those you admire and learn from them.
7. Possess unwavering passion, humour and professionalism at all times.
8. Know the value of a cup of tea, or a glass of wine at the end of a long day.’
Daniel Clarke, Creative Producer, Theatre Works
‘A producer needs to have energy. Lots of it. You need to be able to do a wide range of tasks but essentially have the passion for and belief in the artists, companies or projects you are working on. You are an enabler. You really care for artists and want to ensure they have what they need to create the work that they want to create. You must be driven, have an ability to see the bigger picture, be able to communicate with lots of different stakeholders; understand people’s different needs. You should be able to understand where a work sits in the market place and strong marketing skills are must. Budgets! Of course a producer should also have good financial skills and know how to use Excel! You are a doer. From getting coffees, to booking flights, sorting accommodation to organising distribution, negotiating contracts, writing schedules, booking ground transport to arranging opening nights. You are constantly asking people for things – from coming to see a show to asking them to book a show or give money to a show. You must be able to excite people about projects; about ideas. You should be able to offer an outside eye and dramaturgical support as required. You should be able to understand different ways of working; different creative processes. You must be able to problem solve, stay calm, and also mediate any conflict or challenges. You can work as part of a team but can also work autonomously. You are a leader.’
Danielle Harvey, Senior Producer, Sydney Opera House
‘The traits that I have found most valuable as I move along my journey as a producer are the ability to say yes, the joining of the dots and the ability to talk underwater.
While a producer’s role often is associated with the person who has to give the reality check and pay the cheque, I have found that I’m a “yes producer”. I think it’s important in the early stages of a project to see the potential and encourage all and any ideas to be laid on the table, with no censoring due to budget, time, scale etc. If everyone is on the same wavelength and if people are engaged, the need to say “no” is often circumnavigated and pesky discussions about money happen a lot less!
See as much as you can across a range of art forms. Read widely, talk to people from different backgrounds and ages. It is from a diet of variety that you will see dots that can be joined to create new, energetic, and relevant projects.
You also need to be able to sell, and to sell, and to sell. You need to talk and talk and talk. It’s important to make each pitch specific to the person you’re talking to as there is no one pitch that fits all. What you say to an artist about the project, versus what you say to a sponsor, versus to a venue etc are completely different stories. Then you have to shut up and listen!’
Ian Scobie, Director, Arts Projects Australia
‘Being able to write concisely and clearly, which is a skill I see diminishing, but it’s even more important because email communication is so instant. Developing a tour often involves conveying details to people with English as a second language, so being able to communicate effectively in writing in a clear and concise way I think is key. And being able to do and run and update a budget; they would be the two main things, I’d say.’
Katrina Torenbeek and Jo Thomas, Managing Producers, Metro Arts
‘Producing is a creative partnership with the artists, the audience and community, the financial backers, the presenters and the work itself. It’s a commitment to making things happen! Producers create a list of impossible tasks and then tick them off one by one. Eternal optimism and an inventive and entrepreneurial spirit are vital; a canny sense of stretching a dollar; the ability to help people say “yes” to all requests; a thick skin (!) and an even thicker little black book.’
Linda Catalano, Producer, Briefs
‘Producing is essentially about vision, identifying talent and opportunity, problem solving and risk taking. You need to be able to imagine something completely, plan for it in great detail, and then adapt when invariably things don’t go to plan. The role is more creative than people imagine.
As a producer you are the obstacle slayer. Communication is key. You’re the ‘middle guy’ that turns a creative idea into a practical reality. To do that you need to listen, observe, and learn to trust your own instincts. It’s very important to be able to admit when something isn’t working. You must not be afraid to have difficult conversations. As you are often explaining things it is important to be concise and clear. You can’t worry about being liked or judged. It’s vital to have a good sense of humour and a thick skin. The Producer is the good cop and the bad cop all rolled into one.
Producing can be really tough and there’s not much glory. Nobody stands to applaud your work and often it is lonely. When things don’t go well you get the blame. When things do go great guns you’re not the one in the spotlight. You are not part of the cast. You are not part of the venue team. You are not crew. You bring all these elements together to bring the project to life. You also need to be prepared for the worst. Just as you imagined it all going well you also need to be able to imagine the worst – and to live with that scenario if it all goes wrong.
If you want to be a Producer you must gain your satisfaction from the realisation of the vision. In many ways it’s like gambling. You back a horse and the reward is seeing it come home. I get such a kick out of seeing projects come to life. If I was not passionate about seeing dreams realised I simply would not do the job.’
Rick Heath, Executive Producer, Perth Festival
‘Working with different art forms and sectors requires different skill sets but some of the following apply across the spectrum:
Tenacity – the ability to start with the end in mind and maintain focus on the outcome.
Connecting the dots – “if that person speaks to that other person, and we link up with that initiative, then we can make this thing happen”.
Curiosity – a natural tendency to ask questions and to explore what’s possible: “what if we…?”
A high ‘care-factor’ – when you’re working in a producer role, it’s for someone else. Genuinely caring about the work, the vision and the artists is an essential part of success.
Lateral thinking and an ability to anticipate, prevent and solve problems. Being on the front foot is fundamental to producing.
Get your right and left brain working together – a ‘pragmatic idealist’ is often how I see my role – being simultaneously practical and innovative, realistic and entrepreneurial seems to be a unique trait of producers.
Relationship management – rarely will a producer be successful on their own. Bringing other people along with you and realising you’re not the smartest person in the room will serve you well.
A strong understanding across all areas of the arts; business management, marketing, production, ticketing, development/fundraising and the art. Producing is a high risk business – know your stuff and preferably other people’s stuff too!
The ability to operate effectively with very little sleep.’
Susannah Day, Producer, The Blue Room Theatre
‘The essential skills of a producer are numerous and varied. The traits common to the best producers I’ve worked with are:
- Clear, concise and creative communication (They’re always the best communicator in the room)
- A perceptive and discerning nature– a great producer knows what opportunities are a great fit and which one’s aren’t.
- A lightness in tone which means people want to give them what they want/need, and a strength in tone which means they get what they want/need even if it’s not easy.
Above all, a great producer will know how to ask the right person for advice and delegate responsibility responsibly.’
The previous article in this series is The essential skills of a great director.
