On Monday I announced LTYM:2013 ‘s call for submissions, and have already sent out 30 applications for over 20 potential new LTYM cities. I answered an email this morning that I thought other applicants might benefit from knowing the answer to. I’ll include a few more tips I think you might find useful if you’re working on an application.
Also, feel free to leave questions in the comment section.
Q: What’s the difference between the local director and producer roles?
Traditionally the director heads up the artistic side–auditions and casting, rehearsals and determining show order, etc. The producer heads up more of the event planning– all the logistics with the budget and venue, tickets, subcontractors (videographer, photographer), scheduling etc.
However, in the case of LTYM typically both parties–or everyone–needs to pitch in to find local sponsors (or other funding), advertise and promote, and share in the social media storytelling and sharing--unless you decide to delineate otherwise.
In order to make a show a success, it makes a huge difference if everyone involved remains open and willing to help out wherever necessary. However, the titles are necessary so that you don’t have too many cooks for any one decision, and so I know who my one or two point people are. As you can imagine, there’s a ton of communication among the local shows and between the local shows and I.
Q: How many people can I have on my production team?
For small to midsize cities, one director/producer or two sharing the roles works very well. Note: if one person takes on the role of sole director/producer you will need a stage manager or assistant to help you–even if it’s an unofficial role.
Some teams for larger cities decide on a structure that includes a director and a producer (or 2 co-director/producers ) and an associate producer (s) and/or asst. director.
The one thing I ask is that no more than two of your team are guaranteed to read. With such few opportunities, I don’t like the idea of a third of the show being precast. The others–of course–are welcome to audition. Better people know this upfront so they don’t base their decision to work on the show on their desire to read. This can get awkward, but believe me–so does casting among your friends and peers, neighbors and coworkers that come to auditions and share their hearts. One of the hardest parts of the job, but it’s vitally important to be able to prize the needs of the show over our need to please/not hurt our friends. That’s why it’s called an audition after all, and not an invitation.
Q: Will you take multiple applications from the same city?
Yes, but I encourage you to join forces if you think you could work together well. I’ve tried to match people up accordingly along the way.
Q: How many cities will you take for 2013?
I’ll determine the number of cities by looking at all the applications when they come in. I’ll take into consideration the strength of the application (actively involved both online and IRL communities because LTYM is 50/50 live event/social media project) as well as look for an overall mix of region, size of city, demographics etc.
My goal is for you–and anyone else who wants to–to host your own LTYM show. I look forward to building this infrastructure to the point that I can facilitate hundreds of LTYM shows per season. Umm? Not there yet. Thank you for your patience.
I plan to announce the new season line-up the first week of November.