{"id":2128,"date":"2017-11-08T11:19:46","date_gmt":"2017-11-08T11:19:46","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=2128"},"modified":"2026-04-08T15:14:42","modified_gmt":"2026-04-08T15:14:42","slug":"how-to-produce-a-theatre-show","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/making-work\/how-to-produce-a-theatre-show\/","title":{"rendered":"How to Produce a Theatre Show"},"content":{"rendered":"<h2><em>Getting started as a producer of your own work with Paines Plough &amp;\u00a0DryWrite producer Francesca Moody<\/em><\/h2>\n<p>Self-producing is a challenge: it requires spinning a lot of plates! To help you get started, we spoke to\u00a0<a href=\"http:\/\/www.francescamoody.com\/\">Francesca Moody<\/a>, producer with\u00a0<a href=\"https:\/\/www.painesplough.com\/\">Paines Plough<\/a>\u00a0on this year\u2019s season, who also works regularly with DryWrite, not least on their runaway hit Fleabag, as well as having been Executive Producer for Undeb Theatre and Associate Producer at SEArED Productions and Look Left Look Right.\u00a0Here are her insights into successfully producing your own work &#8211; especially if you\u2019re considering a trip to the Fringe in 2018!<\/p>\n<blockquote class=\"quoteMacro style1 noAuthorImage\">\n<div class=\"quoteText\">\n<div class=\"quoteTextInner\">You just need to be logical, and a good communicator \u2013 you\u2019re the connection between a lot of different things. You mainly need to be a good people person.<\/div>\n<\/div>\n<footer>\n<div class=\"quoteAuthorInformation\">\n<div class=\"quoteAuthorName\">Francesca Moody<\/div>\n<\/div>\n<\/footer>\n<\/blockquote>\n<h3><strong>How did you end up in producing?<\/strong><\/h3>\n<p>I went to Exeter and did a drama degree, then went to Royal Welsh College of Music and Drama and trained there for a year in the post-grad. So, for a long time I thought I wanted to be an actor. When I left drama school, I felt disillusioned, basically. I had an agent, but I wasn\u2019t really getting any work. I\u2019d been coming to Edinburgh since I was 17 working on street teams, doing work experience with Assembly for a bit, managing front of house, etc. Edinburgh already felt like my stomping ground.<\/p>\n<p>I met an actor when I was 17 who was dipping his toe into producing and asked me if I would be able to give him a hand. I gave him a hand on a little project, and I was doing that thing that all good actors do where they reach out to as many directors and things. There was another director I\u2019d met in Edinburgh who didn\u2019t need an actor right now but did need some help with producing. Suddenly, I was helping the actor take a show to Edinburgh. Within a year I was producing.<\/p>\n<p>I started thinking that I should take myself more seriously, so I started working in a theatre company called Look Left Look Right. It was a bit of a baptism of fire. In the space of about 18-months to 2 years, I got a lot of experience really quickly. After that I was like, \u201cWell, I\u2019m clearly much better at this!\u201d It satisfied everything that I wanted to get and couldn\u2019t from being an actor \u2013 I could work at a theatre, and I\u2019m a bit of a control freak, I love working with loads of different people. All of that.<\/p>\n<p>I was just really fortunate after that, that a director I had worked with in university, Vicky Jones, called me up and asked me if I wanted to work with her on a show. After that we made the show called \u2018Fleabag\u2019, which obviously became very successful very quickly. Then I started working for Paines Plough.<\/p>\n<h3><strong>What is the sort of work you\u2019re most passionate about producing?<\/strong><\/h3>\n<p>Something I really believe in \u2013 that feels like a bit of a cop out. But certainly, when I was freelance the most important thing to me was that, when I read a play, or somebody talked to me about a project, it got me in the heart. There\u2019s a real reason for it to happen, to come to life. The same thing happens at Paines Plough. It\u2019s work by writers who we think people should be seeing the work of.<\/p>\n<p>Before PP, a lot of my work had been around very female-led work, certainly with working with DryWrite, very feminism-led. I think it just comes back to what you\u2019re really passionate about, what you believe in. if you read something and it gets to you, you can be assured that at least some other people will get that as well.<\/p>\n<h3><strong>Going from acting to producing must be tricky \u2013 quite different sets of skills! Would you say there\u2019s anything in particular that makes for a good producer?<\/strong><\/h3>\n<p>That\u2019s true, but it\u2019s not rocket science. Even the money stuff, you just need to know how to use Excel. You don\u2019t really have to be good at maths! You just need to be logical, and a good communicator \u2013 you\u2019re the connection between a lot of different things. You mainly need to be a good people person. You need to enjoy spinning all the plates. Otherwise it\u2019s a bit tricky, as there are so many things to do.<\/p>\n<blockquote class=\"quoteMacro style1 noAuthorImage\">\n<div class=\"quoteText\">\n<div class=\"quoteTextInner\">\u2026more often than not, I think being a producer is about problem solving, whether you\u2019re doing that in advance or in the moment. I think the most important thing is to never see anything as a \u201cproblem\u201d only see solutions.<\/div>\n<\/div>\n<footer>\n<div class=\"quoteAuthorInformation\">\n<div class=\"quoteAuthorName\">Francesca Moody<\/div>\n<\/div>\n<\/footer>\n<\/blockquote>\n<h3><strong>Do you think a theatre producer has to be mostly capable at foreseeing problems, or problem solving on the fly?<\/strong><\/h3>\n<p>If you can have foresight on problems, that\u2019s amazing. But I\u2019d say that more often than not, I think being a producer is about problem solving, whether you\u2019re doing that in advance or in the moment. I think the most important thing is to never see anything as a \u201cproblem\u201d only see solutions. I think that really streamlines the way you work as a producer.<\/p>\n<p>More often than not you are dealing with problems whether you anticipated them or not. People can get so stressed out all the time, especially in the context of Edinburgh. You have to be so reactive as a producer, you have to go with it. You have to be that positive person, absorb that and go, \u201cWhat can I do?\u201d It\u2019s about assessing after the fact too and saying, \u201cWhat are the steps I could have taken prior to that happening, to make sure it doesn\u2019t happen next time?\u201d<\/p>\n<h3><strong>Do you think there are common misconceptions about taking a show to Edinburgh specifically?<\/strong><\/h3>\n<p>No one should be under the illusion that you\u2019re going to make money in Edinburgh. It\u2019s very\u00a0<em>very<\/em>\u00a0hard to do. I think you can always have an aspiration, but I think one thing I always tell people when they ask me about Edinburgh is to make sure you know why you\u2019re going. You have to have a clear purpose.<\/p>\n<p>The main problem I think is that people get swept up in the romanticism [of Edinburgh] \u2013 the amazing social engagements, the partying, the shows, etc. That\u2019s all amazing and a big, important part of what makes this festival great. But if you don\u2019t know specifically what you\u2019re trying to achieve then you\u2019re going to get swept up. It might just be as simple as \u201cI want to get a new agent,\u201d or \u201cI want a theatre to give me development money for my next piece.\u201d It might be several things. But be mindful, otherwise there\u2019s not much point \u2013 you\u2019re more than likely to not make money out of the experience, so there have to be other reasons.<\/p>\n<h3><strong>Are there any key tips that you would have for those trying to get their heads around how things are programmed at the Fringe? What should people be aware of?<\/strong><\/h3>\n<p>I think whatever you\u2019re bringing to the festival, you need to ask yourself some questions: who is it for? Why am I doing it? What\u2019s it going to be? Where am I going to do it? If you\u2019ve been to the festival, you might already know and appreciate that venues each have their own personalities. That\u2019s connected to who your audience are \u2013 some shows might feel way more Summerhall than Underbelly. Some shows might feel way more Assembly. Talk to people who have taken shows here before, ask them.<\/p>\n<p>Investigate the physical space for the show as well if you can. Think: do I want to do it in a big cavernous echoing room, or in a 60-seater? Be realistic too about the audience size, especially when you\u2019re bringing a show for the first time to the fringe.<\/p>\n<h3><strong>Do you have any tips regarding the Roundabout specifically?<\/strong><\/h3>\n<p>We try to be as clear as possible about the limitations, but also the liberations within that space. It\u2019s a really beautiful space, and I\u2019m not a director, but I think the best way to use it is when you don\u2019t fight against it. It\u2019s a very exposing space, so loads of props don\u2019t really work. It\u2019s in the round, it\u2019s only 4.5m squared in diameter.<\/p>\n<p>When it comes to visiting companies, we try to be as collaborative with them as we can be. We can have those really lovely bespoke conversations, build relationships with the companies that we programme. We also programme shows that we believe in and are passionate about \u2013 they have to be 10 really good things! Not that any venue would programme anything that they didn\u2019t think was brilliant. It just gives us a bit more time and luxury to do that. To have those conversations, and feel like we can support them.<\/p>\n<blockquote class=\"quoteMacro style1 noAuthorImage\">\n<div class=\"quoteText\">\n<div class=\"quoteTextInner\">I would advise people to just be methodical and aware of what you need to tick off. Have a clear timeline for yourself, for when things need to be done.<\/div>\n<\/div>\n<footer>\n<div class=\"quoteAuthorInformation\">\n<div class=\"quoteAuthorName\">Francesca Moody<\/div>\n<\/div>\n<\/footer>\n<\/blockquote>\n<h3><strong>Do you have any advice for negotiating the more serious legal stuff a producer does \u2013 like working with contracts?<\/strong><\/h3>\n<p>Things like venue contracts are actually really simple: read through everything, make notes on anything you don\u2019t understand &#8211; you\u2019re more than entitled to go back and ask questions. You can always get qualification from the venue. If you want to, you can ask the advice of someone who has been to Edinburgh before, because a contract should be mutually beneficial.<\/p>\n<p>I would advise people to just be methodical and aware of what you need to tick off. Have a clear timeline for yourself, for when things need to be done. Make notes of deadlines, fines, contras in any contract \u2013 that\u2019s why it\u2019s so important to read the contract basically, a lot of that stuff is in there. It often will answer a lot of questions that you might have later on. You need to read it thoroughly, read it a few times.<\/p>\n<h3><strong>How negotiable do you think anything is in a contract you\u2019re presented?<\/strong><\/h3>\n<p>I think it\u2019s a case of \u2018nothing ventured, nothing gained\u2019. You should ask the question. I think it\u2019s really important for people to feel empowered, whether it\u2019s their first show or their tenth show that they\u2019re bringing to Edinburgh. They are bringing something that the venue can make money from, and therefore they have a certain amount of leverage. It might be met with a no, and that is fine, but if you don\u2019t ask, you\u2019ll never know. I would say always go for your \u2018dream\u2019 ask, and work backwards from that. Start with the top and work backwards!<\/p>\n<h3><strong>Any final advice on things that you\u2019ve learned from in the past, that you\u2019d advise others against or to be aware of?<\/strong><\/h3>\n<p>I think my top mistakes have been around things like not planning enough in advance. Working in an organisation means I can be more methodical about this stuff \u2013 stuff like production timelines. By the time I was doing Fleabag, I was doing that sort of stuff. But when I started we were just sort of going for it, reacting to things. You don\u2019t want to be reacting constantly though. A bit of advance planning, open communication between parties, is really important.<\/p>\n<p>I haven\u2019t had any really bad experiences with communication breakdowns, but in hindsight I would say be really clear with people you\u2019re working with about who is responsible for what \u2013 if you\u2019re making a show together, be clear on what your roles are. Of course, they can switch and change, but a gentle contract between people collaborating [is important]. Talk to people who have done it \u2013 most people are very willing to sit down and have a coffee to chat about it.<\/p>\n<p><em>Thank you to Francesca and to Paines Plough. See their Fringe work on tour at the\u00a0<\/em><em>Orange Tree Theatre\u00a0from 25 January \u2013 3 March 2018 (including Out of Love\u00a0by Elinor Cook, Black Mountain\u00a0by Brad Birch and\u00a0How To A Be Kid\u00a0by Sarah McDonald-Hughes).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Getting started as a producer of your own work with Paines Plough &amp;\u00a0DryWrite producer Francesca Moody Self-producing is a challenge: it requires spinning a lot of plates! To help you get started, we spoke to\u00a0Francesca Moody, producer with\u00a0Paines Plough\u00a0on this year\u2019s season, who also works regularly with DryWrite, not least on their runaway hit Fleabag, [&hellip;]<\/p>\n","protected":false},"author":31,"featured_media":3188,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[57],"tags":[85,118,189,81],"class_list":["post-2128","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-making-work","tag-christina-care","tag-edinburgh-fringe","tag-producing","tag-theatre"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>How to Produce a Theatre Show | Spotlight<\/title>\n<meta name=\"description\" content=\"Get expert advice on how to produce a theatre show. 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