Miranda Gohh found her dream role when she first saw “Fun Home” on Broadway. But she didn’t want to play a role on stage.
“I was like, ‘How great is it that a producer is responsible for putting this all together and making it happen?'” she recalls of the Tony-winning musical in 2015. “The producer is the person making the decisions Renting, casting, marketing, whatever it takes to bring this art to life for thousands and thousands of people to see. This is the person I knew I wanted to be.”
Being a commercial producer “is like being a CEO, where every show is its own startup,” says Suffs producer Rachel Sussman. But compared to other positions in the theater industry, the paths to becoming a producer are very different and tend to be particularly nebulous. The barrier to entry is particularly high for people of color; It’s not uncommon for a Broadway production with a diverse cast and underrepresented creators to have an all-white production crew.
“When it comes to production, there was a real iron curtain—a lot of information withholding, a lack of mentoring, and a lot of gatekeeping,” adds Sussman. “It’s a job that involves who you know and also requires that you can take on a lot of work for very little money for years until the show has a commercial life and there’s an opportunity for revenue. So, being independently wealthy and within a certain circle can make things a lot easier. But that’s also why historically this space was very white.”
Gohh consumed articles and podcasts about producing theater and started her career in the non-profit sector. As the pandemic put the industry on a collective hiatus — and the theater faced pervasive criticism for his systemc maintaining white supremacy – Gohh “started meeting other young BIPOC producers who also had ambitions to one day produce on Broadway,” she says. “We were frustrated with the barriers to entry into commercial production and why some people can jump over it and others can’t. And I realized that it’s really just a lack of education.”
Gohh has since founded the program Theatrical Producers of Color to diversify the decision makers bringing art to life on the Great White Way. In the name of accessibility, inclusivity and equity, his 10-week educational initiative on the basics of commercial production is offered virtually and thanks to the support of the organization Broadway for everyone — completely free of tuition. Since the program’s launch, four cohorts have made their Broadway debuts and three have secured jobs with or through visiting faculty. Last month, 25 students, selected from hundreds of applicants from around the world, graduated from the second class.
“This is a group of people of color who are trying to change not only the stories we tell, but how we tell those stories,” says Rob Laqui, producer of A Strange Loop, who has assisted with the cohort selection. “The pause in the pandemic has created space for much-needed conversations, but if we don’t activate those conversations, it’s too easy to go back to what always was. This is a very real opportunity to give these new voices the tools to participate in this industry and shape how things can be in the future.”
Each week, an industry expert enters the group’s Zoom room and generously shares the secrets of their craft: Doug Nevin of the Nevin Law Group walked through the logistics of negotiating rights deals, Dessie Moynihan of the Shubert Organization discussed the basics of renting a venue, Rashad V. Chambers, producer of Ain’t Too Proud, outlined the unique duties of executive producers, Maria Manuela Goyanes, artistic director of Woolly Mammoth Theater Company, shared tried-and-true strategies to encourage the wealthy to take the stage invest.
“We equip people with what they need to take the next step in their careers, but we also have open and productive conversations about what we’re learning, and sometimes even question the information that’s offered,” says Gohh of die sessions. “This industry has relied on systems that have been in place for decades, and they may have been successful and useful at one time, but many of them no longer support our needs as manufacturers.”
Additionally, program mentor Sammy Lopez offered a radically transparent look at his ongoing production, Gun & Powder, as a case study for theater making amid the pandemic. “Often we don’t see the people we admire until they win the Tony Award or when their productions have paid for themselves [their initial investment],” he says. “We’re not here to just talk about success stories; we want to be honest about the process of building a show from its earliest stages of development, especially when we’re trying to do it at this really difficult moment , where the industry still feels a bit bleak.”
The program’s cohorts said they particularly benefited from being in an affirmative environment with other paint manufacturers, in addition to the wealth of often-sought-after information and a newfound network of industry professionals. “So many of us are usually the only people of color in the room, and we’ve been conditioned to shrink into systems that don’t accept us and don’t embrace us,” says entertainment advocate Ariana Sarfarazi. “Many times during this program I was emotionally overwhelmed by the idea that I don’t have to downsize to be here – something I’ve done my entire life.”
Adds Shernā Ann Phillips, longtime nonprofit producer, “I was overwhelmed by the hurdles that producers in general, and color producers in particular, had to overcome to see their work on the biggest theater stages. can ask Black commercial theater professionals very specific questions and getting such rich insights from people who looked like me meant the world to me.”
Theater Producers of Color is one of many educational initiatives aimed at addressing racial inequality in the industry: The Black Theater Coalition has partnered with Broadway Across America offer grants in commercial theater administrationBlack theater united secures summer internships started with advertising and marketing agencies for live entertainment and baseline theatrical an intensive course in general, company and stage management. Gohh hopes that together these efforts will create and strengthen connections between the next generation of theater makers.
“For a long time, the focus was just getting the job done — which of course is important,” she says. “But this work can be difficult, and it’s really difficult to make a sustainable living. But I’ve found so much joy in the community of everything: being able to have authentic conversations about our trials and tribulations, learning that we’re not alone in our experiences, and truly supporting each other in our endeavors .”
It’s already happening, says cohort Anant Das. “Meeting other BIPOC producers who are also hungry to learn and do the work to make this industry better was the greatest gift I got from this experience,” he says. “Not everyone on this program plans to be the next big Broadway producer; Some people have realized that they want to apply what they’ve learned to the legal field, or licensing, or some other part of the theater industry.”
“It’s so valuable because the more people have that knowledge, the more people can use that knowledge to really make a difference,” he adds. “And we are willing to change things.”
https://www.latimes.com/entertainment-arts/story/2022-06-16/program-training-theater-producers-of-color Theatre Producers of Color opens doors to Broadway and beyond