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Navigating the logistics of a performance can feel as demanding as the creative process itself. Whether you are a first-time performer or a seasoned professional, understanding the role of a producer—and how to effectively self-produce—is the key to elevating your Show from a creative concept to a sustainable professional venture. This guide breaks down the essential logistics and strategic thinking required to succeed at the Adelaide Fringe and beyond.

Contents

Watch the Session

Filmed: 28/08/2021

Key Takeaways

  • Producers are problem solvers: Beyond just finding money, they elevate work through logistics management, timeline development, and strategic networking .
  • Self-producing is a standard path: Many artists start by self-producing; the key is to formalize your process by treating your Show like a small business .
  • Budget from the venue out: Always start your financial planning with venue costs and work backwards from a conservative estimate of 30% ticket capacity .
  • The Producer-Artist relationship is a partnership: Success relies on clear, upfront conversations about expectations, responsibilities, and long-term goals .

What Does a Producer Actually Do?

While many associate producing strictly with funding, the role is far more holistic. A producer acts as the bridge between the creative vision and the practical reality of the Show. Their duties typically include project and financial management, grant writing, timeline development, and artist contract negotiations . In a touring context, they also handle the complex coordination of moving a Show between different regions and venues .

There is also a distinction between a 'creative producer' and a 'logistical producer'. A creative producer often provides input on the artistic direction and helps find the right gaps in the market for the work to thrive . Regardless of the specific title, a producer’s primary goal is to facilitate the artist’s needs and ensure the project is as successful as possible by its conclusion .

Do You Need a Producer?

One of the most common misconceptions is that you engage a producer simply to save time. In reality, a good producer will often make you work twice as hard because they interrogate the project to extract the information needed for success . You should consider engaging a producer if you need someone to elevate the work, utilize existing industry contacts, or find 'buy-in' situations where venues pay an upfront fee to mitigate your financial risk .

If you are starting out with a small budget, self-producing is a valid and common option. However, even when self-producing, you must designate who in your team will handle the 'producer' tasks—such as Show registration, budget management, and Show Guide deadlines—to ensure nothing falls through the cracks .

Planning and Staying on Track

Staying organized is the difference between a smooth run and a stressful season. Successful producers often use mind-mapping or Excel templates to track deadlines across the entire creative team, from set designers to lighting technicians . Key logistics to map out early include:

  • Copy and Marketing: Have at least three versions of your Show description ready: a one-sentence hook, a short paragraph for the Show Guide, and a longer version for web listings .
  • Target Audience: You must know exactly who you are selling your 'product' to. If you don't know your audience, it is significantly harder to secure funding or sell tickets .
  • Delegation: If you are self-producing in a group, divvy up the work based on individual strengths. Don't try to do everything yourself, or you risk burnout .

Budgeting, Venues, and Financial Risk

Budgeting should never be based on a best-case scenario. Instead, identify your 'must-haves' versus 'nice-to-haves' and determine your break-even point . A professional approach involves calculating revenue based on roughly 30% capacity and an average ticket price (factoring in concessions) .

Your venue contract is the most critical document in your budget. 

Actionable Tips

  • Draft an Elevator Pitch: You should be able to distill your Show into a compelling 15-second pitch. If you can't explain it quickly, you don't know the work well enough yet.
  • Create a 'Co-op' Agreement: If you are working as a collective without a set fee, write down exactly how ticket profits will be split and who is contributing what initial funds. Sign it before rehearsals begin to avoid future grief.
  • Research Venues for Two Months: Don't settle for the first available space. Spend time researching which venue fits your Show's genre, technical requirements, and target audience location.
  • Always Have a Plan B: Whether it’s a team member needing to isolate or a change in creative direction, always have a contingency plan and know how you will recoup costs if things shift.
  • Use Templates: Don't reinvent the wheel. Seek out templates for artist contracts, budgets, and marketing strategies from resources like Adelaide Fringe AVR or Carclew.

Additional Resources