of Operations Management of Theatre Selected Outside Production: I would suggest ‘Pride and Prejudice’ for outside production. The reason for this selection is that its story revolves around a small town. People can relate themselves to the characters of the story and will come to watch it. From the marketing point of view, it would be a nice attraction and bring people to the theatre thus generating revenues. Selected In-house Production: For in house production the summer children play would be based on the story of Robin Hood as it will be a source of inspiration for the children.
The musical will be arranged as a small concert in which local participants will be encouraged. This activity will strengthen the people’s commitment to the theatre as a community centre and a place to socialize. The two plays will be based on novels from contemporary literature. 1. There are seven directors who have to share the responsibilities of operating the theatre. There is a link between back-office information systems, the presentation system, the delivery system, and the security system to overall maintain the operations of any theatre (Swartz 271).
All these functions are distributed among the directors accordingly. DIRECTORS RESPONSIBILITIES Director 1 In house production Director 2 Outside production Director 3 Marketing, promotions and advertisement Director 4 Theatre operations and administration Director 5 Ticketing and budgeting Director 6 Human resource management Director 7 Creative art, dance, etc 2. The ticketing policy will be based on two criteria: firstly the seats of the theatre will be divided into two categories as it would become difficult to make more than two divisions. One category will be the ‘economic’ class with nominal ticket charges and the second will be ‘luxury’ class which will be priced significantly higher than the economic class.
Economic class will be made of seats in the front of the screen up to the middle. ‘Luxury’ class will include the back seats of the theatre which are higher than the front seats. Within this ‘economic’ and ‘luxury’ classes, further division will be made not on the basis of seating arrangements but rather on the basis of age groups. Like within the ‘economic’ class, children and adults’ tickets will be priced much less than the normal ticket and same will be the case with the ‘luxury’ class. 3.
In order to change the status of this community theatre from a local town theatre to LORT program, it is necessary that the theatre must contact certain unions and it must make contracts with these unions. It would also have to inculcate to following strategies in its plan: The theatre must join the labour union and should provide special offers to the members of this union, the reason being that LORT basically encourages the public welfare in general and joining this labour union will help provide quality entertainment.
The quality entertainment ultimately increases the labour productivity which is beneficial to entire society. The theatre must coordinate with union of cultural and social development to work in coordination with them to portray local issues. Through this coordination, the theatre would be used as an education medium for creating awareness in the community regarding special issues. The theatre must also support union of amateur artists to introduce and nurture new talent. This will encourage local population to move towards art and its appreciation. This will create acknowledgement and respect for the artistic work in general. LORT encourages the theatres who work as non profit welfare centres in a local community and by joining the above mentioned union it would be a possibility that the theatre may get its status improved by becoming a member of LORT.
4. The budget for the theatre is limited and we have to consider the insurance policies which are extremely important for the theatre to properly allocate budget among rest of the budget heads. Some of the insurance policies are necessary for theatres as required by law like employers’ liability insurance when you employ people, public liability insurance when dealing with members from the public etc.
Such kinds of law for insurance policies differ from region to region, so insurance policies specified by law are obligatory. Other than the above mentioned insurance policies the theatre must get ‘all risks’ insurance policy to cover any accident or emergency situations created by various types of reasons that would be in positive interest of the theatre. Then there are other kinds of insurance policies for theatre but due to budget constraint only one other insurance policy is recommended for this particular theatre.
The property and theatrical floater policy is also recommended. In the world of business and commerce, property insurance that covers the building is purchased by the theatre owner, but the property owned by the show (such as sets and costumes) can also be insured and protected and such kind of property insurance is called a theatrical floater policy (Stein & Bathurst 145). Works Cited Swartz, Charles S. Understanding digital cinema: a professional handbook. New York: Elsevier, 2005. Web. Stein, Tobie S.
and Bathurst, Jessca. Performing Arts Management: A Handbook of Professional Practices. New York: Skyhorse Publishing Inc, 2008. Web.