Getting Produced on the Fringe

As I have wittered on at inordinate length here over the last few months, P-P has been well-represented lately when it comes to getting produced on the Fringe, not just at Camden but elsewhere. To cash in our collective wisdom, John Morrison has persuaded a number of stage luminaries to come along on Monday 20th to give us the benefit of their experience.

These are our panellists: Tim Gill, joint AD of the Courtyard Theatre in Hoxton, Jessica Swale, AD of Redhanded Theatre and current director of Bedlam at Shakespeare's Globe, Adam Spreadbury-Maher, AD of the Cock Tavern and the King's Head, and Eamon McDonnell, of this parish, who has produced three of his own plays in London in the last 15 months.

It's about fringe everywhere. We've heard enough about how to write plays, and what theatres want. But this is the stage two, the practical bit where you have to start worrying about sorting out flyers, getting scenery, pesuading the local press to run a feature on you, and trying to find that special actor aged fifty to play that part you'd originally written for Ray Winstone. Can you make a profit, is it possible to break even, can you even put the play on without having to take out a second mortgage? What is the difference between profit share and box office split? Is there one?

Some of these questions may be answered.