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

You get what you pay for.

Someone said to us the other day, "You get what you pay for." That's true...and it's not. Some people think $85 for one girl to dance one 4-minute routine is outrageous. What you don't see: That costume cost her $85-$200 and 8-10 hours stoning, fringing, and altering it. That number was rehearsed 20-30 hours (of unpaid time, mind you) before it ever hit the stage. The performer spends anywhere from 90-120 minutes doing hair, makeup, and packing up costuming and props. The performer spends an average of 90-120 minutes at the venue, doing sound checks, spacing the stage, getting dressed (usually in a closet or office somewhere), dancing, repacking, and collecting the paycheck. So that 4-minute number you're watching that girl dance cost her an average of $142 and 37 hours worth of unpaid work. For big group numbers, multiply that by about 15. So you're actually getting a LOT more than you're paying for.

Pay varies based on each number, but the most we get per number is $50 for a solo, and anywhere from $10-$30 per group number. So in order for us to recoup the cost of the costuming for a solo usually takes 3-4 times of dancing it just to break even, and group numbers (depending on the amount of girls dancing in it) takes us dancing it 10-15 times to recoup the cost to produce it. The advantages of having 11-15 girls on staff are great: We can put on longer shows with a LOT more variety, and have the capability for big Vegas-style group numbers. But it costs a LOT more money to run a group this size, and we'd hate to ever have to cut back on the amount of performers we hire!!!!

Total cost for costuming for a closing number at Bogart's? $1200. For 4 minutes. For one number. Yup.

G

The secret of my success...

I spoke to a small business owner the other day who was heart-broken that their business wasn't able to support them financially. They then proceeded to tell me that they were taking two days off a week...one of which is their biggest day for business. Ummmm....what? As a business owner, you MUST work 7 days a week for many years. You MUST pay your staff and bills on time. You MUST put in many hours of "unpaid" time to market and organize your business. You MUST determine where your money is best spent. You MUST be a hard-ass when it counts. You MUST lay out clear expectations for both your staff and your clients. You MUST treat your staff like gold, because without them you're nothing. And you MUST deliver what you promise EVERY time.

I think the key to success is hard work. I don't get "set" time off! That's what happens when you open a business...you're constantly on the clock. I have a serious problem with business owners that pass the buck. When something, ANYTHING goes wrong with my business, it's on ME. If my employees fuck up, I take the heat and give them a warning. They do it again...they're gone. But it all comes back to personal responsibility. I have a contract that my employees sign every year in which (amongst MANY other things) it states that they are to check their emails daily. Turns out...they don't. So when I send them an important email, I follow it up with a text letting them know. It is MY responsibility (as it is MY business) to make sure they know what their jobs are, what is expected of them, and give them the tools to succeed. If they screw something up, that is a reflection on ME, MY business, and MY training! I also don't EVER ask them to do things that I won't do. As the owner, it is MY job to do the "un-fun" and "un-glam" stuff, so that they can do their jobs. When my staff shines, I shine. I work my ass off for them, and they work their asses off for me.

There are a lot of "starving artists" out there for a reason. The reason is threefold: 1.) They're not good enough at what they do to earn a living at it, and should instead pursue it as a hobby. 2.) They're talented, but they struggle to market themselves and run a business. 3.) They're unprofessional, and think they can get by with their behavior because they're "an artist". If you are late to gigs, unprepared, don't show up when you say you will, don't deliver what you promise, carry yourself unprofessionally, do it for free for your buddies (with no return on your business), discount your pricing, copy other peoples work, don't run it like a business, don't invest in your craft and business, party with your patrons, THEN YOU WILL NEVER EARN A LIVING AS AN ARTIST!!!! Just because it's a "fun" job, doesn't mean you can treat it like playtime.

G

Group routines...Difficult, but worth it.

Many burlesque troupes are a collective of solo artists.  They travel and dance together, but rarely if ever share the stage with one another.  On occasion you'll see duets or trios, but even that is fairly rare.  Dancing large group numbers with 5-10 women like we do at Cin City Burlesque takes dedication, hard work, and some cahones. When someone screws up choreography in a solo, as long as they keep a poker face and keep moving no one will ever know. When just one person is slightly off time, out of place, or screws up choreography during a group number it stands out like a sore thumb. When just one girl misses rehearsal it throws the rest of the girls off of spacing and formations.  It takes endless hours working together, and lots of cash to put together all the costuming and props.  We have to find the right music, the right concept, the right costuming, the right stage, and the right girls for each and every separate group number.  Choreography is frequently changed based on formations, ability level, stage size, number of women, and to adjust the overall effect.  You have to stand back and let your eyes blur a bit to look at it as an entire piece, versus individual dancers sharing the stage.  If anyone stands out for any reason, we have to adjust it.  You have to develop a "group thought" process.  You start adjusting to each other instinctively.  You're more concerned about how the number looks overall...not how you specifically look.  We depend on each other, trust one another, and push each other. The choreography or costuming may not be the most difficult or intricate as some of the solos, but those are the numbers that the audience remembers.  They are what they come to see.  It is certainly not for everyone, but we love the end result.

G

A word on performer etiquette...according to yours truly.

I refuse to ask other performers and venues to "guest" perform in their shows...I just really think it's kind of pushy. I understand that in the burly business it's kind of standard practice, especially since there are mostly solo artists and small troupes out there, but I personally just don't like it.  We get booked because WE'RE asked to perform...either by a venue, or by other performers.  I would NEVER ask to "insert" myself into someone else's show they're putting blood, sweat, tears and money into. That being said...on the rare occasions we DO travel to other cities (we don't usually travel...that's a differnt blog post as to why not!), we ALWAYS ask in-town performers to guest star.  Why on earth wouldn't you?  They know the crowd, and will bring in fans.  We would never go to someone else's home city and just ask a performer, who's usually well-known in that city, to "kitten", or just promote our show.  I have never understood that...it just seems like an intentional "shitting on" of the home-town girls.  Are people intimidated?  Are they worried that people will like the home-town girl more than them?  I've got news for you....They will.  They know her and love her already.  And if you put on a good show, then why ever be worried about being "out-shone"? I've also traveled to perform in charity events, where I've spent my own money on gas, meals, hotels, and I've had numbers "cut" from the show because it was getting too long.  Now mind you, the producer of said show didn't cut a single one of her MANY numbers, but she felt ok cutting her guest performers who donated time and money.  NO.  Anytime we've had guest performers come in town, we've made DAMN sure they dance as much as possible.  We've cut our own numbers to assure it happens. Be pleasant backstage.  Share space.  Compliment each other.  Bring snacks for everyone.  Just don't be a diva.  It's not acceptable to be an asshole to your Sisters in Shimmy.

G

So you think you can CCB - UPDATED on 1/14/14

I weekly field emails from women who tell me they want to (or that I NEED them to) join Cin City Burlesque.  85% of the time, they have no real idea about what it is we do.  They have no idea what "burlesque" encompasses ("How much will I make in tips per night?"), and - possibly even more offensive - they've done no research on CCB at all.  They've never seen a show, they've never spoken to one of the dancers, and they've not looked at the website, YouTube videos, or even Googled us.  They have no dance experience, they want to "be sexy", their email is worded like a text to their BFF (you're trying to apply for a JOB, people!), they're only available on Thursdays from 3-6 p.m., etc.  I have no real problem training a natural dancer that works hard, but I can't STAND laziness or this sense of entitlement because you're a certain age or certain dress size.  But they INSIST that I NEED to hire them.  Sometimes, depending on how the email is worded, I'll send them an application:

Cin City Burlesque

Application

Name: ________­­­­­­­____________          Phone:_____________________

Email:______________________       Age:______________________

                                     

Height:____________________          Dress Size:_________________

Dance Experience:

□ Tap- # of years_____  □ Hip Hop-# of years_____     □Salsa-# of years_____

□ Jazz-# of years_____   □ Ballroom-# of years____     □Other____________

□ Contemp-# of years__ □ Latin-# of years_____                    

□ Ballet-# of years_____□ Swing-# of years_____                  

Availability:

□ Mondays – Hours: 

□ Tuesdays – Hours: 

□ Wednesdays – Hours: 

□ Thursdays – Hours: 

□ Fridays – Hours: 

□ Saturdays – Hours:

□ Sundays – Hours: 

Have you been to a Cin City show? Where & when?

Define what burlesque means to you:

What makes you want to be a burlesque performer? 

If they actually answer this (only about 50% of them bother at this point), and they sound like even a remote possibility, I then send them this:

Pink Productions, LLC

DBA

Cin City Burlesque

Expectations, Rules and Guidelines

Revised – 8/4/2013

1.Group rehearsal time runs from 11-1on Sundays for groups, and 6-8 on Wednesdays for solos with NO exceptions, plus additional time on your own to memorize your choreography.  Ginger CANNOT spend those precious 4 hours of group time trying to help you remember choreography – you MUST do that on your own time. Girls must be available from 10 a.m. – 2 p.m. on Sundays, if we need to run long.

2. Girls must me on time and READY TO DANCE (i.e., shoes on, warmed up, and mouths zipped) at EXACTLY those times with NO exceptions unless previously cleared with Ginger.  For every minute you are late, you will take the entire flight of stairs up and down.

3. If you miss more than 1 rehearsal per month, you will not be relegated to the G-string for the next two months. NO EXECPTIONS.

4. If you miss ANY Sunday rehearsals 4 weeks before a large show, you’ll be pulled from the show. NO EXCEPTIONS.

5. If you are slacking off in rehearsal, Ginger reserves the right to send you home.  If you are sent home, it WILL count as an absence.  Do not bring your personal issues to rehearsal or performance.

6. You are expected to “check out” for every group number in our arsenal.  If we are working on a number or numbers that you have already “checked out” of, you may skip that rehearsal without being penalized.  You will be required to come to rehearsal 6 weeks prior to dancing it at a booking to “audition” it, and will, if picked to dance said number at that upcoming booking,  need to come to every rehearsal leading up to said booking.

7. Every girls is responsible for purchasing and maintaining/replacing as needed the following: 1 nude and 1 black pair of ballroom shoes, 1 nude and 1 black pair of fishnets, their own RELIABLE brand of pastie adhesive, eyelashes and eyelash adhesive, and bra and underwear for all numbers. These things can be acquired over time, but MUST be acquired. This is non-negotiable.

8.You are not paid for rehearsal time.

9. You are expected to do some of your own costume and prop work, with the guidance of Ginger.

10. We will supply you with the “sparkle” for your costuming, but you must apply it.

11. If you borrow a prop or costume from another girl or from CCB, you MUST return it the following rehearsal.  For every rehearsal you forget it, you will be charged $5.

12. You MUST be available on Friday and Saturday nights for bookings.

13. ALL burlesque bookings (i.e., you strip, or use your CCB name or ANY CCB routines, including your solos) MUST go though Ginger.  If you book an outside gig, it may NOT be burlesque in nature.  It may be belly, hoop, ballroom…but NOT burlesque.  If a “friend” or acquaintance wants to book you for burlesque for a show, they MUST contact Ginger directly.  She will handle the booking.  If someone is requested by said booker, we will try to accommodate them as best as possible.

14. Ginger will notify girls IMMEDIATELY when receiving a possible booking via text.  You are ALL expected to respond yes or no, and she will determine whether or not to take the booking depending on who is available.  If she books it, she will let you know where, when, what you’ll be dancing, and how much pay you will receive.

15. You will be required to attend at least one costume fundraising event per year.

16. Pay will vary from show to show. We only dance for free for charity events.  Pay is always based on the number of routines you perform, and the type of routines you perform.  Solos pay the most, but group numbers are what the audience remembers and loves the most.  The more difficult and longer the routine, the more the pay.

17. Ginger will always try to rotate who dances at bookings, but only those who are stage ready get to go on.  The more time and effort you put in, the more likely you are to get booked, and the more money you’ll earn.

18. Ginger has the final say in who dances what for each booking.

19. All choreography, music, costuming, and portrayals MUST go through Ginger first.

20. Girls must be willing to go down to pasties, although not every number requires it.

21. Each girl must have at least 2 solos on the opposite ends of the spectrum…i.e. one “classic” and one “neo”, one “fast”, and one “slow”, one “silly” and one “sultry”. Etc.

22. Pink Productions, LLC  DBA Cin City Burlesque retains all rights to your stage name, character traits, choreography, costumes, portrayals and images.

23. You will have one or two specific stage “looks” for hair and makeup determined by Sugar Plum.  You must be able to replicate this on your own.  Sugar or Ginger can help you “check out” of this.

23. During “downtime” at bookings, you are expected to mix and mingle with the crowd, NOT sitting in the corner with your sisters, or looking at your phone.  No wallflowers.

24. Be gracious to our fans (PARTICULARLY our female fans!).  Be friendly and approachable, but be PROFESSIONAL.   Remember – we are ALWAYS on stage!

25. Always carry your business cards.

26. No more than 1 drink prior to a performance.  If at an appearance, no more than 1 drink per 80 minutes.  Remember – we are a good time, but we are NOT sloppy drunk college girls.  You are on the clock.

27. Any friends or family that attend the show must understand that you are there to WORK, NOT to hang out with them.  If Ginger thinks that you are neglecting your work because of your friends or family, she will ask you to ask them to leave.

28. You will be provided one free CCB t-shirt.  Some appearances will require that you wear it, and some will require more of a pinup/rockabilly look.  You are required to find suitable clothes to be approved by Ginger for those appearances.

29. Pink Productions, LLC is not responsible for any injuries sustained during rehearsal or performance.

30. RESPECT the reputation of Cin City Burlesque.  We’ve spent years building it.

31. REPSECT the time and money Ginger puts into this to allow you a platform to perform.

32. RESPECT your sisters. If you have a problem with one of them, you are expected to sit down like grown women and talk it out. 

33. RESPECT the people who hire us.  Be professional, easy to work with, and deliver what you promise.

34. REPSECT fellow performers.  There is plenty of cattiness in this business.  It is NOT tolerated in Cin City Burlesque.  We may not love what other people do, but you must be professional.

35. RESPECT our fans.  They are why we do this.

36. RESPECT the amount of blood, sweat, and tears it takes to produce 3 minutes of magic onstage.  For every short solo you see onstage, there is likely 30+hours of work that went into it.  For every group number?  Try 60+.  If you are in this for the money, you’re barking up the wrong tree.  If you think this is a glamorous business, you need to get out now.  This is HARD WORK.  We dance through injuries and illness.  We often have 10 different pieces of choreography we’re working on at any given time.  We spend hours hunched over a bra sewing on fringe or gluing on crystals. You are constantly packing your costumes, repairing them, and then repacking them, all while listening to your music over and over again.  You will take the same piece of clothing off 67 times, just to straighten in back out, put it back on, and do it all over again. This is the life of a burly-girl, and something you’re choosing to take on of your own free will.

______________________________________________                                        

Name                                                                                                                          

______________________________________________               

Signature

This usually scares them off.  For the few that still hang in there, they're expected to learn choreography on the quick during an audition. Out of every 100 emails I field, I may pick up 2 girls.  The right fit for us is few and far between.  It's expensive to get started.  The amount and difficulty of choreography is overwhelming.  They need to have an innate intelligence, a good business sense, a strong sense of self, extreme confidence, overt friendliness, and an exceptional sense of humor. It's not for everyone.  Keep this in mind before writing an email.

G

*****And then there was this posted in response.  It made me happy.

http://www.reddit.com/r/cincinnati/comments/1pm7lz/think_that_your_boss_is_an_evil_demon_from_hell/

:

We've been fielding SOOOO many inquiries about this, we thought we'd create an event page and send you here. In order to be considered for audition, you'll need to fill out an application and submit a dance resume and headshots. We are only looking for folks between the ages of 22-32 (yes, we're accepting men as well!) with 5 or more current, consecutive years of dance experience, with up-to-date training (No, that tap class you took for 3 months when you were 5 does NOT count, nor can you claim you have 20 years of tap experience with it!) If we accept your application, we'll send you a contract that will lay out expectations that you'd have to sign before you audition. Then auditions will consist of learning 4 8- counts of choreography and performing it in small groups in front of a judging panel. YOU ARE EXPECTED TO HAVE SEEN AT LEAST ONE SHOW BEFORE YOU AUDITION....YOU WILL BE QUIZZED ABOUT IT!!!! Still think you want to audition? Read this CAREFULLY. You'll need to send a proper email (remember...you're applying for a job, not sending a text to your friend) stating so: CinCityBurlesque@gmail.com. The subject line should read POTENTIAL AUDITIONEE. You'll then want to request an application from us, fill it out, and return it with a headshot and full body shot. If it meets with our requirements, we'll keep it on file, and contact you when we have auditions. IF after the audition we feel that you may be a good fit, you'll be an intern for 90 days. You will be required to be at rehearsal, learn choreography, and help kitten and stagehand at any shows during that time. You will NOT be dancing in any shows, be given a stage name, be allowed to use CCB social media, or be in any CCB photos until after the 90 days are up. If after the 90 day "probationary" period we still believe you are a good fit, you'll then be a full-fledged troupe member.

Oh...And the new promo video!

With this...we travel.


http://www.youtube.com/watch?v=E0P14Zrueew&feature=youtu.be