The Production Shuffle

Every quarter I produce a new show, with lots of smaller bookings in between. There is a method to my madness, a controlled chaos if you will.  I usually book the year out with large productions by October of the previous year.  At that time I settle on show themes, and within weeks I've assigned music or themes for both group numbers as well as solos, all the while being mindful of costuming costs, and what numbers can cross over to varying themes.  I then usually begin cutting music, and working out choregraphy for both group numbers and solos.  While working out choreography, I work out what costuming and props will be needed, and the search for said things begins.  I begin marketing...first figuring out what we want the image to look like, then shoot and edit the advertising.  I consign tickets, and start marketing via social media.  I settle on a workshop song, choreograph it, figure out costuming, and begin advertising that as well. I set dates for dress rehearsal, tech rehearsal, and group and solo auditions. All of these things happen 2-3 months before a show.  A month prior, I'm weekly dropping off money to the venue from ticket sales.  I'm checking with my girls every few days to see how many are remaining, and who needs what.  I put the lineup in order, and work out sound and lighting cues, as well as notes for the stagehands.  I put together notes for my MC, and double check that my vendors are in order and have everything they need. I drop off our music, and sound and light cues to the venue. I choreograph and write out curtain call cues.  I check, repair and clean costuming. I put together check lists of costuming for the girls, and put together "Kitten Tags" (notes and a tagging and bagging system for the person who collects our discarded clothes off the floor after each number).  I put together the Shot and a Kiss schedule, and print out signage for my workshop ladies so they don't get lost backstage.  The week of the show, we run dress rehearsal and tech rehearsal.  I turn in any unsold tickets and money to the venue.  I pack my gig bag, going off of a checklist prepared specifically for that show.  I pack up merch, and make sure I have change for those buying merch with cash.  I charge my Notebook for credit cards.  I make sure I have an empty bag to put the Go-Go for charity cash in at the end of the night.  I make sure I have the Shot and a Kiss sign and tip bucket.  I confirm my stage hands, kittens and merch booth attendant.  I make sure all of my paperwork is packed: merch pricing sheet, stagehand directions, kitten tags, and 6 copies of the lineup to tape up in various locations. The day of the show I put on my stage makeup, do my hair, apply my lashes, and pack up the car.  I unload and set up the merch booth.  I set up the Shot and a Kiss table.  I put up Workshop signage and lineups back stage.  I put together the stagehand's clipboard.  I put the kitten tags in order with the bags and set them stage left with a lineup and stapler.  I lay out my costuming and pre-load my pasties.  I put up any reservation signs on seating or tables that are needed.  I have a light meal, a couple of Tylenol, a bottle of water and a bourbon.  I walk through my choreography on stage.  I stretch.  I double check the order of props.  I go change into my meet and great dress and heels, and check in with all of the girls and go over any changes and the Shot and a Kiss schedule.  I go grab the booze and glasses for Shot and a Kiss.  The doors open.  My girls start Shot and a Kiss while I check in with the merch attendant, vendors, the sound and light techs, the stagehands, the kitten and the MC.  I put out the few ticket/seating fires that arise. I do Shot and a Kiss.  I close it, pay out the bar, turn in any unused booze, and pull tips and signage. I dress for my first number, and check in that the girls are close to being ready.  I do one last check with our light and sound guys.  The girls all kiss and hug.  I cue light and sound to start the show.  During the show I continuously cue the performers, which are down a giant flight of stairs, the curtain man, the MC, and the stagehands, speeding up, slowing down, or updating as needed.  We do Go-Go for charity, and count the totals during intermission for the reveal in the second act.  I cue the second act.  We pack used costuming and props as the show progresses, sometimes even packing the cars with props before the show has even ended.  The second the curtain call ends, I finish sorting and packing costuming and props and pack up the car.  I go up and close up and pack up the merch booth.  I try to say hello to as many people as possible while still packing.  I pay out my bar tab that I cover for my merch attendant and stagehands.  I finish packing the car.  I go have several drinks across the street with the crew, while barely moving or speaking.  My pay for the amount of time I am actually on stage is outrageously high.  My teaching rate is way above average.  My pay for non-stage time is nearly nonexistant, which is why I need a clone.  I do this on top of 6-10 classes a week, as well as various other performances and appearances.  I have to be extremely well organized, and extraordinarily dedicated.  I have had many other performers ask recently how it is I keep a troupe running so smoothly.  I have to tell you...it's at the expense of my time and energy.  But it's worth it.

G