At this stage of the game we have production meetings every Wednesday morning. As we get closer to the action they happen more frequently, and when we are up and running they are a daily - or more often nightly - occurrence.
This is the hidden part of the iceberg - where two thirds or more of the activity happens. Productions do not just somehow miraculously appear on the stage. They are the product of an immense amount of talented and deliberate work by a largely invisible team of professionals. We have just three productions a season so it should not be such a big deal. But they are all new. Not just new to us, which is the definition of new with some companies even if the production in question has seen dozens of outings in other places over the years, but actually new, meaning never done before, made to measure, and just for us. And so they arise out of a creative process which includes director, and designers - usually three - one each for set, costumes, and light. So there are lots of issues on a daily basis to be considered and decided on.
And they are all completed within about six weeks. So our wonderful Production Manager Claude Binder, and his assistant Bradley Vernatter, are just entering a somewhat stressful period. But the two of them are as cool as can be, which is reassuring for us all. And they have assembled a multitalented team of freelance staff in all areas, be it stage management, props, wardrobe, wigs, makeup and so forth.
All you professionals out there know this. But it is a fact that the general audience has no idea of the detailed work that is done to get the show off the ground. This is employment for a large number of artists and crafts people, of professionals in a wide variety of disciplines. So that tiddly $50 million for the arts from the stimulus package can be put to work with disproportionate effect.