Why Every Theatre Writer Should Hire A Producer (Even for a Reading)

You've written and revised (and revised and revised...) your play or musical, and now it's ready for its first public step: a staged reading. No set. No costumes. Just actors and music stands. So do you really need a producer or general manager?

Yes. Absolutely. 100%. Even for a reading.

Why? There are a hundred reasons. Here are just a few:

Because You Deserve to Be the Writer, Not the Event Planner

As a theatre writer, your job is to focus on your script: shaping the story, refining dialogue, listening with clarity. But when you're also managing studio rentals, wrangling contracts, printing scripts, and handling scheduling, you're not only burning out, you're not doing the job you're best at. 

Producing is a full-time job. So is writing. Doing both compromises both. You don't need to know how to run payroll or negotiate with vendors or handle rehearsal logistics. That's not your job.

We manage all the moving parts that ensure your work is presented professionally. We build and maintain a realistic budget, handle contracts and payroll, and make sure you're operating within legal and union parameters. We protect your process and your product. That alone is an invaluable investment you can't afford not to make. 

Because "Doing It Yourself" Doesn't Save Money, It Often Costs You More

This is where so many emerging artists make a well-intentioned mistake and self-produce with a vague idea of spending "a few thousand dollars," but don't know how to properly break down line items, track spending, or forecast cash flow. You think: "It's just a reading. I don't need to hire anyone. I'll do the scheduling, find the space, call my actor friends, and order some sandwiches."

Without experience in budgeting, timelines, or vendor negotiation, small mistakes add up fast:

• Overpaying for rehearsal or event space

• Booking the wrong hours or misjudging union requirements

• Overspending (or underpaying) talent due to rate inexperience

• Missing insurance, payroll, or contract details

• Paying full price for things a producer could source at a discount

• Burning through your budget without knowing it or fixing last-minute issues at a premium

A good producer knows the landscape. We know what things cost and where to get better deals. We understand timelines, industry norms, union rules, and how to stretch a budget while still presenting your work with artistic and financial integrity.

Instead of saving by "figuring it out", you may be spending more to fix what could've been done right the first time.

Because "Just a Reading" Still Has Real Stakes

Whether it's a developmental reading for rewrites, an industry presentation (or a showcase for producers and agents) a reading is never just a reading. It's a proof of concept. It's your show's first chance to step into the world and say: I belong here. 

And people aren't just watching the material, they're watching how it's presented. If the show feels professionally managed, it builds trust and momentum. If your reading feels unprepared, chaotic, or unpolished, your material may not land, and your intended audience may not see its full potential. You could lose the confidence of key allies and may even need to redo the reading later, costing even more time and more money.

A seasoned producer brings credibility. We've built relationships with venues, press reps, casting directors, and investors. We know how to get people in the room and we know what those people expect. If you're thinking ahead to future productions, agents, development programs, or grants, having a producer involved at the ground level sends the message that you're serious about your work.

A professional producer brings credibility and structure, ensuring your work is seen in its best light and taken seriously.

Because NYC Logistics Are Not for the Faint of Heart

If you're presenting your reading in New York City, the logistics are ten times harder than you think:

• Budgets, expenses, schedules, payroll, and other administrative duties

• Union contracts (especially with SDC directors and AEA actors)

• Rental and venue agreements

• Hiring a creative team, press representative, and stage manager

• Printing, shopping, and binder prep

• Graphic/web design, pitch decks, and programs

• Guest reservations including invitations, confirmations, feedback, and "thank yous"

• And in some cases, room and tech set up

And that's just some of it!

"Christopher, it's just a small reading. We don't need a whole lot." 

You may not need a Broadway-sized team and budget, but you still need structure. Your small reading or developmental workshop deserves to be organized, budgeted, and run with professional standards. I specialize in early development and can scale my services to match your goals and budget. I live and breathe this stuff. Let me navigate the red tape so you don't get buried in it.

Because You Want to Attract the Right People to the Room

Having a producer attached to your reading instantly gives your project credibility and clout. It signals to agents, actors, and industry insiders that your show is being taken seriously and handled professionally. You're more likely to attract higher-caliber talent. And when respected artists say yes, people pay attention. 

A well-produced reading becomes an event, not a favor, and that momentum can open doors to future collaborators, producers, and opportunities. And I know how to create the kind of reading that draws the right kind of attention by:

• Inviting the right industry contacts to meet current and future goals

• Put together professional-looking materials (like bios, programs, and pitch decks)

• Hire the right team and cast the right actors

• Shape the event as a platform to launch the next stage of development (and that's really the point, isn't it?)

Your job is to write the best show you can. My job is to make sure people get to see it the right way so it becomes a platform for growth, not just a one-off presentation.

A personal incitation I designed for the industry reading of NEW WORLD COMIN', April, 2025.

Hire A Producer!

Hiring a producer isn't a luxury, it's an investment in the quality, visibility, and momentum of your work. When you treat your reading like a real production, others will too. And that energy attracts opportunity.

So the next time you say, "It's just a reading," ask not "Can I afford a producer?" but "Can I afford not to have one?" Remember: every opportunity to share your work is a step toward production. And every step deserves the support of someone who knows how to build it with you.

Ready to talk about producing your next reading or workshop? Let's chat!

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