The secret diary of a theatre producer- chapter 1
Sitting in the depths of a national lockdown in July 2020, it would have been easy to think theatre was on it's last legs. Theatre shows were closing, buildings were being vacated and people were losing their jobs in droves* It was devastating and heart-breaking. But I'm a perpetual optimist, idealist (and some might say idiot) and I could see something else happening.
Alongside free live and pre-recorded digital screenings from the likes of The National Theatre, there were online theatre experiences from companies like Swamp Motel As well as activity packs to experience plays at home and online classes. Unable to leave our homes, we had to get creative and our imaginations were running riot. Tik Toc videos, drawings for the NHS appearing in front windows and chalk games appeared on our streets. ( Yes bin men, we saw you playing hop-scotch!) I particularly enjoyed the "Ministry of silly walks" zone outside one of the village houses and I'm sure the young people inside had many hours of fun watching passers-by take part.
People were even recreating events they usually went to, in their own back gardens with whatever materials they could find (toilet rolls probably) Theatre was everywhere and anywhere.
The beautiful theatre buildings might have closed, but just like the virus that forced the shut down, theatre was innovating, mutating, adapting and spreading to parts of society it had not infected before. And I was hopeful.
Some of the country's biggest and most successful theatre companies began offering free webinars and Zoom! meetings. Not just theatre either, experts from all sorts of industries were opening up, engaging and sharing their knowledge with their communities. I attended writing classes, well-being sessions, webinars with casting directors, artistic directors, marketing experts, voice coaches and chatted to established theatre producers. Things I would never have dreamed of 12 months earlier.
If not now, then when?
Theatre producing is something that I have been thinking about for a few years and it took a pandemic for me to do something about it. There are several ideas swimming around in my head at any given time and more being added everyday, including three really good ones. But when deciding which one to do first; the one that would launch my production company, it could only be this one. This new play is based on a short-film I first saw a few years ago. I thought then that it was a warm and charming story. But watching it again, during those long weeks of lockdown, one of the main character's lines struck a chord.
"All of us have dreams, but too many of us, we hide them away, deep inside our hearts, until one day ...pooof! They disappear"
That was it. Armed with nothing but blind optimism and naivety, I decided to email the film production company and enquire about the production rights. I had nothing to lose.
Start. It doesn't matter where. Just Start.
Everything I have learned so far about producing suggests that obtaining the rights to adapt films, books, plays etc. is one of the most difficult and potentially expensive parts of producing a show. As I type out the email, I'm hopeful, but not expecting much. It is highly unlikely that;
a) The rights are available and;
b) They will let me buy them for an affordable amount.
About a week later, an email pops up from the production company and I'm delighted just to get a reply! A lovely legal representative called Julia informs me that, I am actually the only person to ever enquire about adapting the film into a play! And as such, she is happy to negotiate pretty much everything I want to do with an adaptation, including the deal for the performance rights. She even asks me to suggest a starting price! This is not how it is supposed to happen, but it's bloody brilliant! This producing lark is easy! I immediately reply back - well not immediately - after several minutes of fist-pumping, shouting and running around my make-shift office. I accept her kind offer to begin official discussions.
A couple of days later, her next email arrives. In order to begin the negotiations, all she needs from me is; a rough touring schedule, approximate timeline, number of performances, expected audience capacities and whether it is going to be a national or international production?
Shit.
Well, at least I've started!
*My blog The Future of the Arts Industry. talks about this in more detail
Visit my website to find out more about the project www.elmcooycreative.com
Comentarios