The Enchanted Forest Journey

Renee Liang shares some of her lessons learned from producing a play, including depending on the kindness of strangers.  “I’ve come to believe that the ultimate asset for a producer is a nice, preferably innocent and helpless, smile.”

She garners further insights from Frith Walker, producer at Silo Theatre and one of the ‘strangers’ who helped her through the enchanted forest of theatre producing.

* * *

A while back I wrote down some of my ideas on being a rookie producer.  So, as I’m now the veteran of a production at BATS and about to start a season of Lantern in Auckland, am I any wiser?  Possibly.  More battle scarred at least.  And also more believing of the ultimate kindness of strangers.

You see, I depend a lot on strangers in my work as a producer. It’s pretty much on a daily basis, whether it’s the nice lady in the Middle Eastern takeaway who agrees to host my poster in her window, or the beer advertising rep I email for opening night sponsorship.   (Must have good beer for opening night.) I’ve come to believe that the ultimate asset for a producer is a nice, preferably innocent and helpless, smile.   Not that that is too much different from what works in jobs outside of producing.  For us girls, anyway.

You will of course now argue that a producer also has to be tough.  To make the right decisions where it counts.  And yes, that is of course all true.   And then there’s the business acumen, the ability to instinctively hone in on what to write on a funding application, and knowledge of how to run a meeting efficiently (and skate over thin ice between all the different ‘personalities’).  This brings us to the most important skill, being able to find the right people, talk them into working with you and then keeping them engaged.

Here’s where my belief in a little magic comes in.  The theory?  Passion draws people in.   I’ve lost track of the number of times I start thinking about doing some clearly impossible project, then soon after, meet the people who can help me do it.   And then one day you wake up and you’re in the middle of some big, scary, weird, crazy and altogether amazing project. 

So it is with Lantern.  And the kindness of strangers (and friends) often comes when it is least expected and most needed.  But enough of me.  This week, I interview Frith Walker, producer at Silo Theatre and one of the countless ‘strangers’ who have been there to help me on my way through the enchanted forest (and in Frith’s case, point out certain breadcrumbs to follow).

Renee: How did you start working as a producer?

Frith: I actually started as an actor (an extremely brief career) before becoming a Stage Manager for Theatre Workshop at university. This led me to full time work with Auckland Theatre Company. I joined Silo Theatre in 2004 as Company/Production Manager – a role that saw me work very closely with Shane Bosher on programming and creative decision making. It has been a gradual journey I guess – as I have grown up in the industry my responsibilities have increased. Now I don’t do so much sock washing but I do a lot more typing.

R: What three qualities are most important for a producer to have?

F: Patience, optimism and enthusiasm. And a good friend on the outside.

R: Do you see the producer as having a ‘creative’ role?

F: Absolutely. If the Producer doesn’t understand the creative process then the show will suffer. SO much of what ends up on stage is dependent on the way in which the show is made – if the Producer isn’t working creatively in the selection of the team as well as the subsequent support and leadership required, then there will be holes.

R: What advice would you give to a young producer starting out?

F: Do it! We need more everythings in this business. But if you have a vision and believe in it then find a mentor and do it. Attaching yourself to someone who is in the business is a very good idea. Us grumpy old people have a very strong sense of the youngsters ‘needing to pay their dues’. If you prove that you are enthusiastic and driven then support will not be hard to find. Get a team around you – one that you trust.

R: How do you see the climate for making independent theatre in Auckland at the moment? 

F: Hard but full of opportunity. I think that CNZ’s new funding streams (especially the Quick Response Grants) are an excellent development and, with what Charlie McDermott is achieving at the Basement and the people involved in Stamp (not to mention Josephine and Isla and Thomas and Abigail and Morgana and your fine self and Smackbang and the list keeps going…) there is a huge amount of talent coming through and actual opportunities to see it come to fruition. I grew up in an Auckland that, post Watershed, had ATC and very little anything else. It’s a great time.

R: There's the perception that the role of the producer is unloved and unthanked.  What keeps you going back to the theatre, again and again?

F: Ha! Very true. But only on some levels. I come back because I love the sound of opening night applause. Because I love getting cards from young actors who are still excited and from older ones who know what it is I do. Because, unlike television and film, mistakes have to be dealt with and not managed. Because I get to help people make their ideas and visions into reality. Real reality, not celluloid. And because once the audience has seen it tonight, no audience will ever get to see exactly that show ever again.


So there you have it folks. It’s true that despite the long cold dark treks with a pile of posters, the growing mobile phone bill, the hours spent in front of a computer screen trying to weigh up whether an email sounds too desperate….. the excitement of theatre still prevails.  It’s like a good hard tramp.  Not long after you get back, with your whole body screaming and your brain wanting to sign a contract to never to try that again, you’re telling stories about the awesome time everyone had and promising to organize another trip soon. No, the madness will never end. Hurray!