You, the producer, are the very first person to start the process of creating a play. Before anything else can happen, you (and/or your staff) need to decide which play to produce. You may decide to put on a theatrical classic, like Les Miserables, Death of a Salesman, Ms. Saigon, or A Raisin in the Sun - well-known plays like these frequently receive stage productions decades after their debuts. However, you may also decide to debut a new play. If this is the case, you should make a point to seek out quality scripts from talented writers, who may be found in a variety of places, including college campuses, theater companies, or via an agent or publisher.


Note that plays are intellectual property and, as such, will often require royalty fees for their use. Be sure to contact the playwright, his or her agent, or the rights owner if the script you've chosen isn't public domain.;
, The director is the "boss" of the play as far as creative decisions are concerned. S/he directs the actors as they rehearse, has the final say on aesthetic decisions like prop and set design, and, ultimately, will receive much of the glory (or derision) that the play garners upon its reception. The producer is responsible for finding a director who will be a good fit for the play - this can be a friend or professional partner or a promising newcomer. Keep in mind, however, that the director can always decline the invitation to direct or attempt to negotiate for a higher fee. As a producer, it is your job to find replacement directors and/or participate in negotiations as necessary.


Some producers take on the role of director as well. This puts an enormous amount of responsibility on one person's shoulders, so be cautious about tackling this double-role unless you have plenty of experience.
 One of the producer's most important functions is to pay for the play. If you are wealthy enough to pay for the play on your own, you may choose to be its sole financial backer. However, many plays are financed by a group of investors - wealthy individuals hoping to claim a slice of the play's profits. In this case, it's your job as the producer to "pitch" the play to investors, whether they're personal friends or rich strangers, in an attempt to get them to agree to pay for the play.


It's also your job to keep these investors happy and up-to-speed throughout the production, notifying them of production changes, new sales projections, and the like.
 Plays need a physical space for rehearsal and performance purposes. As the producer, it's your job to secure this space for your production. The venue should accommodate the technical aspects of your production (in terms of stage size, lights, sound systems, etc.) and should be large enough to fit your projected audience. Other aspects you may want to consider are:


The cost of using the venue - different venues will have different profit-sharing rules for ticket sales and so on
Whether or not the venue provides its own front of house staff (ticket takers, etc.)
Whether or not the venue provides liability insurance
The aesthetic and acoustic qualities of the venue
The history of the venue

, Every play needs a cast - even one-man shows do. If you're well-connected, you may have certain actors in mind for certain parts in your production, in which case you can contact them directly to offer them parts. If not, you should schedule auditions. Be sure to promote these auditions so that prospective actors will know where and when to be for a shot at a role in your production.


Focus your promotion efforts on places where actors are likely to be, like theater companies, art schools, etc. and groups they're likely to be in contact with, like talent agencies.
 Actors are far from the only people who work on a play. Stagehands, light and sound technicians, costume designers, choreographers, and countless more support staff collaborate to make a successful production. As a producer, you'll need to oversee the hiring of the support staff, though you won't necessarily direct them in their day-to-day duties, as this is usually delegated to various managers.


Note that, while many venues provide their own front of house staff, some don't, and, in these cases, you'll need to hire your own in addition to the other crew members.
 Generally, the director has the final say when it comes to casting, as s/he is the person who will ultimately work with the actors to create the finished product. However, depending on your relationship with the director, you may still have some input on the casting process,especially if you have previously worked on the creative aspects of theatrical production.
 Plays require extensive preparation and rehearsal to be ready to perform in front of a live audience. Collaborate with the director to create a rigorous but reasonable schedule that gradually increases in intensity as the opening night approaches. Keep in mind the price and availability of practice space and the dates of other events at the venue you've chosen. Some theater resources recommend scheduling at least one hour of rehearsal time for every page in the script.Be sure to reserve time at the end of your rehearsal schedule for technical rehearsals and at least one dress rehearsal. Technical rehearsals give the actors, director, and crew a chance to run through the play and work out any kinks in the technical aspects of the production - lights, sound cues, costumes, and special effects. Dress rehearsals consist of performing the play in its entirety as if an audience was watching with no breaks or stops. For instance, if an actor forgets his or her lines, the play must continue, as it would during an actual performance.
 Some venues will handle liability insurance for their theatrical productions, while others do not. In the event that an actor or audience member is injured during the play, theatrical liability insurance packages cover the cost, protecting you or the venue from paying out of pocket. Thus, liability insurance is a wise idea for many productions, especially ones involving high-flying acrobatics, pyrotechnics, and the like.
 Specially-designed props, sets, and costumes can take lots of time to produce. The construction of especially-complicated set pieces, for instance, may even need to begin before the actors start rehearsing! As the producer, you'll need to hire, coordinate, and delegate designers and technicians to bring your play to life.


If your production is strapped for cash, you don't necessarily have to create every physical aspect of your play from scratch. You might, for instance, organize a drive for old, out-of-fashion clothing as a source for costumes. You might also petition for volunteers in the local community to help you build your sets. Theater can be a great opportunity to bring your community together towards one fun, entertaining purpose.
 Usually, theatrical productions aren't just performed once. Large productions at major theaters can play several days a week for months at a time, but even smaller productions usually have a theatrical "run" consisting of multiple performances. As the producer, you'll need to decide on a schedule of performances that takes into account holidays, your staff's commitments, and market forces like seasonal theater attendance and so on.


Try to run your play for as long as you believe you'll be able to sell enough tickets to make a profit - if your play sells out, you can always add extra shows.
 Promotion is an essential part of the producer's job and perhaps the most important factor in determining whether your venue is packed on opening night. You'll want to get the word out about your play with every method that's within the limitations of your budget. You might, for instance, buy ad time on the radio or television, rent out a billboard, or distribute flyers at local universities. Depending on how "big" you're willing to go with your promotion efforts, the amount of money you spend on your production's advertising budget can range from insignificant to enormous.


Not all of your options for promotion cost money. If you can attract a newspaper or local news channel to your production to do a story, for example, you'll get publicity for free. Also, the internet offers plenty of zero-cost options for promotion, as social media and email are completely free.
 Your duties as a producer don't end after opening night. Though little, if any, preparation or planning should remain, you still remain the person who's primarily responsible for nearly every aspect of the play's production. Be ready to solve problems as they arise. You may need to arrange for failing props to be repaired or replaced, eliminate schedule conflicts by rescheduling shows, and the like. It's in your interest for your play to have a smooth, problem-free run, so don't shift to an inactive role after your play's debut.


As noted above, one thing you'll almost certainly be required to do is to keep your investors up to speed on the status of the play - particularly with regard to its financial success. You may be expected to present financial reports to these investors, which can be a stressful experience if the play isn't making money.
 When your play has (hopefully) begun to turn a profit through ticket sales, you'll need to start paying any financial investors back a percentage of the money you make. Often, the venue will demand a substantial chunk of ticket sales as well - as producer, you'll need to handle distributing the money that you make so that it finds its way to the right hands. Whether or not your play turns a profit, you'll also need to make sure that your hard working actors and production staff are paid what they are owed.
Find a script.
Find a director.
Secure funding.
Find a venue.
Schedule auditions.
Hire support staff.
Cast your play.
Set a rehearsal schedule.
Secure liability insurance.
Arrange for the creation or purchase of sets, costumes, and props.
Create a performance schedule.
Promote the play.
Oversee the play throughout its run.
Reimburse your staff and investors.
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