Producer Best Practices
In KidStuf, our producers are calling the show. This means they’re calling in cues for lighting, audio, backstage, graphics, and videos. Sometimes they’re calling in cues to our Video Director as well. It’s a daunting job because KidStuf doesn’t move slow! It’s generally a 40 minute show with a 35-40 page script, and you’re on the whole time. We have tons of lighting and graphic/video cues, and there’s usually a few big moments for the backstage crew.
I’m always on the lookout for new producers who can handle staying calm in the chaos and communicating clearly. As I’ve trained producers over the years, I wrote out a one page Best Practices and Preparation sheet that I give to all our new producers.
Best Practices
Memorize Basic Stage Direction Terminology: (Stage Left, Stage Right, Upstage, Downstage, Left of Center, Right of Center, etc.) These need to be second nature to you so you don’t hesitate in your calls.
Stay Calm in the Face of Chaos: Chaos is bound to happen. No matter how well rehearsed you are, something will inevitably come up. Be prepared to stay calm. The rest of the crew will go off of your tone. If you’re anxious, they’re most likely going to be anxious. Think of it like pilot. In the face of turbulence the pilot often talks over the intercom. In that moment, depending on the pilot’s tone of voice, you can either feel at ease or panicked. The producer is the pilot of the crew!
Communicate Clearly: I can’t say this enough. You have to be extremely clear about the direction you want others to take. In the heat of a live show, they’re not looking for you to get opinions, they want strong direction. Take a deep breath, quickly think it through, then communicate as clearly as you can.
Don’t Assume on Com: Have you ever used com and started talking to someone and then realized that person didn’t hear a thing you said? I learned the hard way to never assume everyone is setup to force listen to all of your calls. Every time I need to talk to a person I hold down their button on com. Make sure you’re always clear on com as to who you’re calling the cue for. I always start my call with saying the name of crew’s position. Example: “Lights, Stand by for…”
Stay One Step Ahead on Cue Calls: This one is hard for people because sometimes you want to live in the moment of what just happened, especially if it’s a funny moment in the show, but often you can’t! As soon as you call a cue, flip to the next one. I constantly have one hand on the com and one on my notebook to flip to the next cue.
Get Ready for Mistakes: It’s okay! We’re all human! You and the crew are going to make mistakes at times. Don’t let them rattle you. How you recover from a mistake is what makes or breaks the moment. You have to shake it off, keep going, and stay calm for the team reminding them that we’re gonna make it through. They need to know you have faith in them. There’s plenty of time after the show to evaluate.
Before the Show Day
Watch the Rehearsal Video We provide a video of the rehearsal to every producer. Even if you just get to watch it once, it will give you a better understanding of the whole show in one flow. My recommendation is to have the script with you as you watch the rehearsal, and take notes of parts that may be difficult or that will require a lot of cues from you.
Practice Calling Cues: I know this sounds weird, but if you’re new to producing, the best thing you can do is get used to the way it feels to call cues out loud. Find a place where you won’t feel crazy to talk out loud. Take one of our old shows and scripts and literally practice calling the cues in real time out loud. This will help you feel more comfortable and familiar with the verbiage, and you’ll learn your own flow for the show before you’re in the trenches of a real live show.
Prep Your Script: Every producer is a little different. I’ve seen some that like to highlight, underline, or add sticky notes to their cues. You have to find the method that works best for you. Personally, I like to fold down the pages that don’t have cues on them so that I can quickly flip passed those to the next page. I often write big notes in my script if I know it’s a difficult moment. Then I always have a pen with me in rehearsal, and if I miss a cue, I mark it really big so I don’t miss it the next time. Don’t be afraid to write all over your script.