3 weeks in a 12-week engagement

Paying someone to Production Manage a show with a 12-week creation and rehearsal period but only compensating them for 3 isolated weeks of work, overlooks the reality of how the role of a production manager works. Once a Production Manager is engaged and the contract is signed, the work doesn’t neatly switch on and off according to weekly rates, or even day rates. There’s a constant need to stay across communications, planning, logistics, and problem-solving throughout the entire process.

Even if those 3 weeks are consecutive (which they in general aren’t) the mental load and ongoing responsibility continues over the full 12 weeks or length of the production, meaning it isn’t truly “3 weeks of work” but rather 12 weeks of accountability condensed into an inadequate pay structure. The job doesn’t exist in clean segments; it is continuous oversight, and the fee must relate and acknowledge that.

Once a show has opened and gone on tour, the work doesn’t stop. Daily show reports to read and review, emails to respond to, and ongoing support required for the touring team. That support can take many forms, whether assisting with a fit-up or get-out, troubleshooting issues on the road, or simply being the person the team can rely on when challenges arise. The job is continuous, not concluded at opening night.

I fully understand that budgets are tight across the industry. However, if a fee has been allocated, it should be offered in good faith. The Production Manager can then assess whether the scope of the production can be delivered within that fee.  I’m happy to be consulted to establish if I can achieve the work required in the timeframe allowed. I don’t do any less work or cover any less responsibilities in a smaller or larger scale production I guess it’s just the complexities that change and the management of the tasks.

Production Management is a skilled role. It is not something that “anyone can do.” It extends far beyond administration and logistics. It is disheartening, and frankly diminishing, to be told that another member of admin staff can “do whatever you don’t have time for” or that the work can simply be delegated elsewhere. The expertise, decision-making, and responsibility carried by a Production Manager cannot be substituted in this way.

A Production Manager has an overview of the production, who needs what, who’s doing what and when – therefore ask the questions, communicate and don’t just spend, plan or sort without checking in first. If you’ve employed a Production Manager, use them.

Crediting Production Teams

This is something I’ve been noticing and talking about for a while now, the lack of Production teams being credited and acknowledged in social media and online promotion. These are the people who have physically built and delivered the show, without them there would be no props, no costumes, no lights, no sound, no set, and ultimately no performance for audiences to see. Their work is not optional or peripheral; it is fundamental to the success of the production.

I appreciate that social media posts sometimes have limited character counts or visual space, but there are still effective ways to ensure everyone is credited. This could be as simple as including a link to the full creative and production team on the company website, using a QR code that directs audiences to a digital freesheet, or posting an additional slide or carousel panel listing the full team.

I once had a conversation with an Artistic Director about this, and something they said has always stayed with me. They explained that only the actors were credited on social media because they are the ones onstage, visibly offering their vulnerability as performers. I completely acknowledge that in a photographic post, it makes sense to credit those pictured and the photographer. However, when the post is celebrating the production as a whole—whether it’s the start of rehearsals, the mid-point, press night, or the end of a tour—there is absolutely space to acknowledge the wider team. Those milestones are achieved through the collective work of every department.  

Recently, I spoke with a colleague — a very experienced stage manager — who had contacted the Marketing Team for the third or fourth time to ask why the Stage Management team for the Christmas show was not being credited on the website or in social media posts that celebrate the whole company while naming only the performers and creative team. In response, her line manager received an email from a senior manager in that department stating that her “threatening to go to Equity” was “unnecessarily combative.”

This Stage Manager had simply quoted the section in the Equity contract (signed by both parties), the section states that: The Manager shall credit the Artist at each performance in a medium which is at no cost to the audience (cast sheet, Projection boards, social media, website etc). It also states that where Cast and Creatives are names in the credits stage management shall also be named.  She indicated that, should the company be unable to resolve this, she would share the situation with Equity. Her message was entirely professional — not threatening or combative in any way. It shouldn’t have to be a point of contention.

Recognising us is not just a courtesy, it is an accurate representation of the collaborative effort that contributes to the entire production. When we are omitted from public credit, it diminishes not only our contribution but also the reality of what it takes to make a show happen.

A day in the life of a Production Manager (sort of)

It’s genuinely true that no two days are ever the same for me. Monday to Friday always starts the same way—with the school drop-off. This time with Martha is a wonderful way to catch up, check in, and stay grounded before the workday begins. 

From there, my schedule shifts depending on the day. Some mornings, I head straight to my office at Out of the Blue, where I share a workspace with two fantastic friends and freelance theatre producers. When I’m there, I try to divide my day between two projects—one in the morning, one in the afternoon—tackling everything from planning and drafting production paperwork to coordinating with builders, suppliers, and handling project-related emails. However, once I dive in, I sometimes find myself dedicating the entire day to a single production, depending on the workload.

Other days, I’m at the Imaginate office, working with the incredible team to plan and deliver the Children’s Festival. This involves everything from meetings and scheduling to drafting plans, liaising with national and international companies, and overseeing the production team. With more than 22 people on that team, I handle contracts and ensure everyone is aligned with the festival’s requirements. 

Then there are days spent in theatre stores, leading fit ups, loading and unloading vans—or even driving them. Writing risk assessments, attending CPD training courses, participating in webinars, and having meetings are also part of the mix. And, of course, I’m always looking ahead researching and planning future work at least 10 to 12 months in advance to keep my calendar on track.

One of the most common questions I get is how I manage to juggle multiple projects at once. It’s definitely not easy, and it’s taken me 25 years to refine the process and tools that help me give my best to every production, no matter the scale. 

The first challenge is maintaining control—both of the projects themselves and my own sense of control. The moment I start feeling overwhelmed, things begin to slip, and anxiety creeps in. Over the years, I’ve worked with counsellors to navigate anxiety and have faced my own battles with depression. Through that journey, I’ve developed tools to help me regain focus when things start to feel unmanageable. 

For me, wild swimming and weightlifting are essential. They clear my mind, bring perspective, and remind me that there’s a whole world beyond whatever project I’m immersed in.

Although it doesn’t always make financial sense, I prefer to be involved in a project as early as possible. I’d much rather contribute to decision-making and problem-solving while there’s still time for meaningful changes, rather than stepping in later when it’s all about damage control. 

My paper notebook is still my go-to tool—I write everything down. For years, I’ve stuck with a full-page softcover Moleskine after cycling through Pukka Pads and old-school jotters. I keep one notebook for all projects, using coloured tabs to mark pages related to each project, where my to-do lists, and priority tasks live. 

My diary, on the other hand, is fully digital and color-coded by project, company, and personal life (including Martha). 

I take pride in being present for tech week and opening night. Because of this, when considering overlapping contracts, I carefully weigh schedules and key crunch points. 

For me, a project needs to fulfil at least two out of three core job satisfaction factors. Think of it as a triangle, with each corner representing a key element: compensation, autonomy, and function.  I break these down into: 

Company – The team, the production itself, and the enjoyment of working with those people. 

Contract – Time commitment, fee, schedule, and whether the budget aligns with the ambition. 

Career – Does this project matter to me? Does it contribute something meaningful to the industry or the audience? 

If a project checks at least two of these boxes, it’s worth my time.

Since Covid, my work-life balance has improved significantly. I’ve learned to prioritize myself, and the occasional midweek wild swim or sauna is now a non-negotiable! I have no plans to give up my career or ambition, but I also don’t want to miss Martha growing up—and the days of constantly running on empty are finally fading. Weightlifting (thanks to Athena Personal Training) and counselling have given me the confidence to say no without guilt, whether in a professional or personal setting. Now, I just need to keep that in mind and not overcommit in 2025!

What skills make a good Production Manager?

There are many different types of Production Managers and each with distinct specialists and approaches. I think of myself as a ‘logistics’ Production Manager, rather than a ‘technical’ one. My approach to Production Management is based around ‘how, when and who’ and managing those aspects proficiently means I rely on Technical Managers and Stage Supervisors to oversee the technical side of things with me.

I feel in order to Production Manage well you need to be diplomatic. Remember that you need to facilitate all of the Production and strive to make it possible. Even if you disagree artistically if its right for the show, in budget, safe and do-able.

Good organisation and planning is key. I take time and space to write production schedules, keeping them up to date and ensuring the entire team is kept in the loop. I’m often brought into a project early in the process, allowing me to write the schedule early and not leave it to the last minute. This helps enable the Producer, the Creative and Production teams to plan and design accordingly.

Risk Assessments and Method Statements are an increasingly important part of the Creative and Production process. The Covid19 Pandemic has increased this further. I’ve spent a lot of time on training courses in Health and Safety and Risk Assessment Management. I believe most activities can be achieved with correct Risk Assessment Management and control measures in place. It’s important that the entire company know the actual Risks and how to Manage them effectively.

It helps to be able to talk openly to people and manage awkward conversations and conflict. Nobody enjoys confrontation however it will likely be inevitable. I've completed training on Managing Difficult People to help with this part of the role. In theatre we often line manage our peers, this is when emotions and personal relationships can become fractious. Finding the balance and knowing what is professional and what is personal comes with experience and knowing the individual.

Knowing your way around a budget and how to record and keep track on spend is paramount when production managing. You don't need to be an accountant but knowing how to use a spreadsheet is a required skill. Keeping on top of receipts and all the individual departments spending will help to keep everything financially on track. Prepaid company debit cards are a great way to do this. It means the team can spend to the agreed limit on the card and then the Production Manager can download the spend to keep track. Keeping certain departments in budget can be tricky and we all have our techniques for that - which of course I’m not going to share!

It can be hard sometimes, but knowing how to deal with your own stress and understanding when you need to take a break is vital. If things 'go wrong' remembering, it's not your fault (when you have done all you can) is hard, and unforeseen problems are just that. Losing your temper could effect the way you deal with the situation, increase stress levels and relationships between you and the team could become difficult.

Communication with the entire team is key to a smooth and successful Production. Ensure everyone is kept in the loop, especially with schedule and process changes. It’s better people are told things twice rather than not at all, and remember your production manager is there to help sort out potential problems. Team dynamics are stronger if everyone feels valued, important and understood.

What does a Production Manager do?

I am often asked this question. The Production Manager is an integral role in any company and runs the Production team/department.

I studied Stage Management and Theatre Production at Queen Margaret University College. I spent a term in each department – Lighting and Sound, Set and Construction, Stage Management, Audience Development and Wardrobe. This gave me an insight and grounding in the various departments. Production Managers don’t necessarily need to be able to programme a lighting or sound desk or focus a light, but it's important they know what is required for those teams to do their jobs effectively. This allows the Production Manager to plan and schedule accordingly, ensuring that everyone knows what’s happening, when and how is integral to the successful delivery of any production.

The Production Manager should work closely with the Producer to identify the roles required for the production, then employ and line manage the team dependent on the scale of the production. This could be one Stage Manager or Technician right up to a team of twenty.

Production Manager Responsibilities include:

• Oversee and coordinate all aspects of physical production and the production process from initial design stages to the final performance and returns.

• Prepare job descriptions for each member of the Production Team.

• Engage and line Manage all production staff and crew.

• Organise and manage production design, including deadlines.

• Source scenic builders to cost on designs submitted.

• Manage the Production Budget, accounting for commitments and expenditures from all production departments.

• Establish technical schedules and coordinate all activities related to the productions.

• Oversee set builds and manufacturing of scenic elements.

• Overseeing the organisation of rehearsal props, sets, and costumes.

• Preparation of all show paperwork.

• Coordinate and oversee the installation, maintenance and inventory of technical equipment and facilities.

• Facilitate communication between Designers, Directors, and staff.

• Lead on all Health and Safety guidelines and Risk Assessments.

• Ensure schedules and technical requirements are communicated to tour venues.

• Prepare crew calls for fit ups.

• Run fit ups ensuring Best Practice working conditions.

• Ensuring accurate ground plans are drawn.

• Booking transport where required during rehearsals and touring.

• Ensuring each department has suitable touring boxes, cases, bags etc.

• Managing and overseeing returns at the end of the production.

• Ensuring the production archive is complete and up to date at the end of the project.