| On the Differences between ADDING MACHINE: Chicago and ADDING MACHINE: NYC... (Just a Few)
by Josh Schmidt on 1/09/2008 01:35:00 PM
When all this talk about ADDING MACHINE transferring to NYC started to materialized, of course we were all excited - but what was this exactly gonna mean? To date, I have never, ever worked on a project that was not the child of some manifestation of a not-for-profit organization (with the exception of the bar bands I played in that drank away the profits). One thing all interested parties should know - the difference could not be more pronounced...
When I put my workload together for the upcoming season, I start the process usually in February, finish flushing it out usually by May or June, and am usually good for gigs until the following summer (essentially one year in advance). This works through the comfort that non-for-profit companies and colleges know the what, when, with who, and how regarding a particular project even before they sign me on, and there is a reasonable calendar of events I can construct with gaps in between for surprises and opportunities. It is the reality of how not-for-profit companies work that make this possible.
In the commercial world - ADDING MACHINE: NYC literally did not materialize into physical focus until 3.5 months ago, when space luckily became available. We were extremely lucky in this as space in broadway and off-broadway commercial venues is booked on a primary/secondary/tertiary basis so that a measure of activity is always maintained. Yes, there had been negotiation and discussion in the form of an option (with details down to the hundredth of a percentile) for a few months beforehand - but the context of that option only revealed a window of dates, nothing specific. Capital had to be raised just as quickly. Schedule and Budgets to my knowledge evolve daily, all in tune with the aforementioned flow of capital. Casting was done all within the last month, as were designer hires. There is always an assumption that timing of events might be moved one way or another. The possibility always existed that what is occurring now would have happened one year from now, earlier, or maybe never. We were given a narrow window of opportunity, and we had to jump on it with all the brute force we can muster. Security, compared to the not-for-profit producing experience, does not exist. Everyone operates from a position of good faith until everything actually happens and things are inked on the dotted line.
When I talk to my colleagues in NYC who work almost exclusively in the commercial theatre realm - they often do not know what is happening three months out, let alone a year in advance...it is an entirely different working experience.
Scary? Yes I am scared. Exciting? Yes, exciting. Risky? When we considered all options placed before us keeping in mid what was best for the show - we made our decision with this thought in mind: The greater the risk, the greater the potential for reward. This time, the financial risk is real - we have investors, not grants. This show is funded by people's own money who believe that it will (through its NYC run and subsequent potential in regional markets) pay dividends. And we are moving toward our objective at lightspeed - consider the fact it often takes YEARS for shows to reach NYC. Musicals + plays often have tryouts in several other cities and venues before reaching the big city. We as a team felt we needed to capitalize on the momentum established in Chicago - so here we go...and we're off!
In Scott Morfee (along with his partners Tom Wirtshafter and Margaret Cotter), we have been blessed with a producing team that has the ultimate confidence in and enthusiasm for the show, our working methods, and our desire to improve upon the whole experience while still maintaining our commitment to a economically feasible, produceable entity. They have allowed us time and freedom to explore improving aspects of the show we wanted to address. In all regards, we have been treated with the greatest of respect and confidence - I am most grateful. Such luck in this department is so difficult to come by.
And as of 1/3/08, rehearsals have commenced. All I can tell you is that it is progressing splendidly.
Note: I would be remiss in not saying how grateful I am to Jeremy Ramey (music director), Ethan Deppe (percussion), Ian Westerfer (Shrdlu), our amazing chorus (Rosalind Hurwitz, Toni Inzeo, Steve Welsh, Kevin Mayes, and Jon Landvick), Michael Vieau (The boss) Matt York (set), Jeff Dublinske (sound) and Richard Lundy and Erin Diener (stage management) - all of whom due to the financial realities of transferring the show outside our control were not able join us in NYC. It is the great sadness and reality of the business that the whole family could not have been reunited. Let me just say from the heart I miss you all and cannot wait to work with you all again on future projects.
All best and more later,
JLabels: Adding Machine
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