Theatre Production and Management
Domain 4 tests how a production moves from rights to opening night and through the run: budgeting, contracts, stage management, front of house, marketing, and safety.
Rights and money
- Performance rights are licensed for plays; musicals usually require grand rights; public domain status depends on jurisdiction and edition.
- Royalties are paid per performance or as a percentage; rental may cover scores, scripts, or materials.
- A production budget covers sets, costumes, fees, and rentals; an operating budget covers running costs.
- Break-even = fixed costs ÷ (ticket price − variable cost per ticket).
- Comps are free tickets; they affect house count but not revenue.
- Contracts should specify billing, rehearsal access, recording, and cancellation.
Stage management and front of house
The stage manager builds the prompt book: script, blocking, cues, contact sheet, schedules, and reports. During tech, the SM records lighting, sound, fly, and scene cues; during performances, the SM calls cues with standby, warning, and go. Front of house manages seating, latecomers, accessibility, concessions, and emergency procedures. A production calendar works backward from opening: auditions, design deadlines, build, tech, previews, run, strike. Marketing identifies audience, message, and channels; fundraising may use grants, donors, and sponsorships. Risk management includes evacuation plans, first aid, and minor consent. Union contracts shape hours, breaks, and crew sizes: AEA (actors/stage managers), IATSE (technicians), USA (designers), SAG-AFTRA (recorded media).
Worked example
Fixed costs are $12,000; tickets are $20; variable cost is $4 per ticket. Contribution per ticket is $16. Break-even is 12,000 ÷ 16 = 750 tickets. Reasoning: only the contribution margin reduces fixed costs. If 200 comps are distributed, they do not count as revenue, so the paid house must still reach 750.
Traps that cost marks
- Confusing gross box office with net revenue.
- Treating royalties as a one-time script purchase.
- Calling cues without a standby or warning.
- Using 'house' for the stage rather than the audience area.
- Assuming comps improve break-even.
- Ignoring union and safety rules for load-in and strike.