Protect Your Reputation

Protect Your Reputation

Note: This is the second in a three-part series this month in how to network, build and maintain important professional relationships in theater.

Your Reputation is Everything

 

In an industry built heavily on relationships and reputation, as a theatermaker, your reputation is everything. 

You must present and maintain a professional ethos around you and your work, your collaborations, your work ethic and your aesthetics.

Networking is essential for all theatremakers to build connections, gain visibility, and create opportunities for themselves in the theater industry, but your reputation as a professional will sustain those opportunities over the long haul of your career.

 

Some Ways to Build and Maintain Your Reputation

 

First, I always say that the “work speaks for itself.Always strive for excellence in your scripts, presentations, and in your collaborations. Your work may often be people’s first impression of you, so make sure to deliver and maintain high-quality work in everything you do or are associated with.

Second, make sure that your work ethic is professional. What do I mean by this?

  • Be reliable and punctual. Be prepared for your rehearsals. Show up on time for all rehearsals, meetings and events, where others often depend on you. The theater world values dependability and professional conduct.
  • Communicate professionally. Respond to emails promptly (my personal nemesis), do what you say you’ll do, respect other’s opinions and always clarify expectations in collaborations.
  • Be open and gracious to all feedback. Accept constructive criticism; listen, and use it to improve your craft. Remember this response, “Hmm, that’s interesting. Let me thing on that for a bit. Thank you.”
  • Be open to changes. When three different people point out the same scene with differing criticisms, you may have to look at that moment again with an open mind. Your audience is catching something that you should know. Nothing should be precious.
  • Always acknowledge the contributions of others and express gratitude for opportunities, advice and support. It’s a small sandbox, and everyone likes a team player.
  • Maintain your integrity at all times. Your honesty and transparency in your dealings with others in this industry will serve you well over your career. People have long memories, and everyone knows each other.
  • Support your peers. No one advances alone, and by attending others performances, readings, and workshops you’ll be making those collegial friendships that often pay off later in innumerable ways.
  • In other words, build relationships and meaningful connections in this industry, not transactions. People are never to be viewed as “stepping stones.”
  • It takes time. It always takes longer than you think, and costs more than you planned.

Respect other’s time and boundaries. As artists we never have enough time in our lives; understand that with every request you make of a colleague, you’re asking them to part with a precious bit of their time to give to you. Show your appreciation and accommodate their schedules.

Stay positive in your outlook. We all have bad days, even bad years (or decades). We may feel like a cloud of misfortune has permanently taken up residence in our life. Yet, still remember that we chose this life, and being a part of this industry isn’t easy. You may need to supplement your life (and income) with another pursuit for a while. Whatever you do, being a “Debbie Downer” will never help in doing anything except isolating you from others.

Finally, a pro keeps growing. Attend workshops, masterclasses, and seminars. Read books to spur your creativity or to learn something new. Demonstrate your commitment to learning and honing your skills. Not only will you be a more interesting person, this is how you meet other professionals who will respect your knowledge and experience.

 

Community is Important

 

You will be known by the company you keep. Make sure that your circle is known for their professional integrity and for their good work. One of the good things about adulthood is that we can choose with whom we spend our time and our collaborations.

Choose wisely.

And if you’re interested in learning more about the community here at CreateTheater, get on our email list to participate in our professional theater company.

Checklist: 12 Best Networking Practices for 2025

Checklist: 12 Best Networking Practices for 2025

 

New Year’s resolutions are so positive and uplifting!

 

But maintaining, implementing  and sustaining them throughout the year is a challenge!

This third installment for networking yourself as a theatre professional post is a practical checklist to put into your notes, online task list, or wherever you keep your list of yearly goals.

Building a reputation and networking go hand in hand—focus on being authentic, supportive, and passionate, and opportunities will follow!

Here’s to a productive 2025, my friend!

 

Your 2025 Networking Checklist

 

  1. Show Up Consistently

     

    • Attend theater festivals, performances, and workshops regularly to make yourself a familiar face in the community. Consistency counts.

2.  Join Local and National Theater Communities

    • Participate in groups like the Dramatists Guild, local theater collectives, or online platforms like New Play Exchange or CreateTheater.
    • The more you participate, the more you’ll get out of it.

3. Introduce Yourself Confidently

    • Prepare a short, compelling pitch about who you are and what you do as a playwright.
    • Remember, theaters need playwrights to continue to survive. Share who are you and what you do with a smile.

4. Be Active on Social Media 

    • Use platforms like Facebook, Instagram or YouTube to share your work, comment on theater trends, and engage with industry professionals.
    • Love it or hate it, promoting your ideas and your work is necessary for every artist today, so schedule time for it.

5. Attend Talkbacks and Panels

    • Participate in post-show discussions or panel talks and ask insightful questions.
    • Not only will the writer appreciate your smart feedback, others in the room who could be influential will notice too.

6. Host a Reading or Workshop

    • Invite others to a casual or staged reading of your work to showcase your script.
    • A Zoom reading is still helpful, especially if you are able to bring together artists and audiences from various regions.

7. Volunteer at Theaters or Festivals 

    • Offer your time to assist with productions or events, which can lead to organic networking.
    • Theater everywhere are impacted by the post-pandemic economy, and will be grateful for experienced supporters who would like to volunteer.

8. Collaborate Across Disciplines

    • Work with directors, actors, or designers on small projects or readings to form deeper connections.
    • Theater people know other theater people, so you will not only advance your general knowledge of theater but will come into contact with more industry professionals.

9. Follow Up

    • After meeting someone, send a thank-you note or email to keep the conversation going.
    • Only a relatively small percentage of people actually follow up after events, so your doing so will be noticed and appreciated.

10. Seek Out Mentors

    • Build relationships with more experienced playwrights or industry professionals for guidance and connections.
    • Relationships with possible mentors takes time, so realize this and seek to make it a two-way friendship.

11. Ask for Recommendations

    • If someone enjoys your work, ask them to introduce you to others who might appreciate it.
    • An even easier request is to ask someone who has complimented your work to put their comments in writing to post on your website or social media channels.

12. Celebrate Others’ Successes

    • Congratulate peers on their achievements publicly and privately, fostering goodwill.
    • Positive energy and encouragement of others is sure to reflect back on you.

 

Here’s to Making Your Theater Dreams Come True 

 

Happy New Year!

What are your dreams for 2025? If you’re thinking of really taking action on your script this year, sign up for a free consultation with me here to see if I can help.

I hope 2025 becomes the year of your dreams. Take action NOW to make sure it happens!

8 Ways to Grow Your Theater Network

8 Ways to Grow Your Theater Network

Note: This is the first in a three-part series this month in how to network, build and maintain important professional relationships in theater.

Your Inner Circle

Theater is an industry built heavily on relationships and reputation. And for a theatermaker, your reputation is everything. 

But first you must develop your own “inner circle” of relationships – theater insiders who know you, like you and support your work. There’s no way around it – everyone in theater must know how to network effectively.

Networking is essential for playwrights, directors and producers to build connections, gain visibility, and create opportunities in the theater industry. Ditto for actors, designers, stage managers – basically everyone who works, or wants to work, in this industry. The good news is, now it’s easier than ever before to network from anywhere in the world and connect with theatremakers worldwide – and it’s almost as effective as being there in person.

Here are some of the best strategies that I use for effective networking:


 

1. Attend Theater Events

  • Play Readings and Workshops: Attend readings of other playwrights’ works, as these often draw industry professionals. Engage with them after the event. Plus, these events are usually free.
  • Premieres, Galas and Festivals: Attend regional premieres near you, and definitely support your local theaters by attending their galas. The people you meet at these functions are the people you need to know. Also attend the regional festivals like the Hollywood Fringe Festival. the South Carolina New Play Festival and the CreateTheater New Works Festival in NYC to network and meet other industry professionals.
  • Talkbacks and Q&A Sessions: Participate in post-show discussions to meet directors, actors, and audience members interested in theater. Not only will you meet other local theatremakers, it’s a chance to be seen and heard in your community.
  • Seek out events specifically for playwrights or theater professionals.
  • Join networking mixers hosted by arts organizations like CreateTheater, or theater festivals.

 

2. Join Playwright Groups and Organizations

  • Local or Professional Playwright Groups: These provide a supportive community and opportunities to exchange feedback. CreateTheater’s Experts Theater Company is a way to fast-track the development of your script or new musical.
  • National Organizations: Join groups like the Dramatists Guild of America or Playwrights’ Center, or CreateTheater, which offer networking opportunities, grants, and workshops.
  • Online Forums: Participate in platforms like New Play Exchange, where you can showcase your scripts and connect with industry professionals.

 

3. Network with Theaters Near You

  • Volunteer at local community theaters, or offer to help with reading their scripts. Theaters will always appreciate their volunteers, and they will get to know you personally.
  • Working behind the scenes at theater organizations can help you build connections and gain insight into the industry.
  • Make a database of theaters near you, and whom you spoke with and when. Then – follow up! (It’s all in the follow up.)
  • Seek out directors, actors, and dramaturgs in your area, in order to build collaborative relationships with them. Talk about their creative process, and ask what they like to work on. This will drive creative discussions that may lead to new opportunities that you may not be aware of.

 

4. Attend Writing Conferences and Residencies

  • Apply for well-known residencies like Yaddo or MacDowell for a chance to network with other artists.
  • Attend conferences like the Association of Theatre in Higher Education (ATHE) or regional theater conventions.
  • Mindset is important. Not only will these frienships that you make open doors, they will help you see yourself and a theatre professional.

 

5. Leverage Social Media and Online Presence

  • Use social media platforms like Facebook, LinkedIn, and Instagram to share updates about your work, engage with fellow artists, and to promote yourself and your work.
  • Create a professional website or portfolio online to showcase your plays and achievements.
  • Update your NXP account. Read others’ work so they will be inclined to read yours.

 

6. Collaborate with Other Creatives

  • Partner with directors or actors to develop a new script, to participate in your readings or to participate in upcoming performances of your work.
  • Form a collective of playwrights to share resources and produce works together.
  • Gather together an email list to keep your network updated on your recent work. Try a free Email Service Provider like MailChimp or Constant Contact to start out with.

 

7. Submit Work Widely

  • Submit Submit Submit! I tell my writers that this is the best way to create your own opportunities.
  • Submit your scripts to playwriting contests, festivals, and development programs (e.g., O’Neill National Playwrights Conference or Sundance Theatre Lab).
  • Sharing your work on platforms like the New Play Exchange (see above) will also give you  wider visibility.
  • Submit your work to local theaters, especially ones that focus on developing new work.

 

8. Stay in Touch

  • Follow up with people you meet by sending thank-you notes, connecting on LinkedIn, or inviting them to your shows or readings.
  • Build genuine relationships, not just transactional ones.

 

I founded CreateTheater in 2016 to develop new work and to connect writers from all over the world with NYC Industry people. Our community is free to join! Start networking at our monthly online Happy Hours, or attending some of our other events.

There is no better way to get your work onstage than by growing your personal network.

Find a Mentor

Find a Mentor

THE WORKING PLAYWRIGHT: a monthly blog column by Melissa Bell 

Find a Mentor

Sometime after I wrote my first musical, I attended an alumni event. While waiting for the elevator, a well-groomed woman and I picked up a conversation. When I asked her what she did, she said “I’m a Broadway producer.” Although at that point I had never heard the expression, the proverbial moment was about to come true – you meet a producer in an elevator, what do you say? I smiled and said that I had just written a musical that had been optioned by a film company, then added “so we can talk,” meaning I wasn’t going to try to sell her my show. She responded with a smile, “I would love to hear about your show.”

Thus began a 14-year mentorship – and friendship – with legendary Tony-winning producer Stevie Phillips, who singlehandedly produced THE BEST LITTLE WHOREHOUSE IN TEXAS from its Off-Broadway beginnings to Broadway, film and beyond. I recommend reading her amazing auto-biography Judy & Liza & Robert & Freddie & David & Sue & Me for the details of her career as high-powered agent, manager, and producer.

So how did this amazing producer become my mentor? Over time.

 

Cultivate the Relationship

After our initial meeting, Stevie attended another alumni event I hosted called the “Writers Forum.” We were reading scripts and screenplays, and she showed up. Giving only her first name as an introduction, she joined the group, read parts, offered feedback, and listened to 5 sets of 10 pages of new work. Near the end of the meeting, one participant innocently asked, “so how do we get our scripts out there?” I looked at Stevie to answer that question, whereupon she introduced herself to my stunned participants. Her answer was simple: “You do it just like this. You go to readings, submit your work, if you don’t know where, get your friends together, do a reading, and invite people. When I was at Universal, I read the first 10 pages of everything that made it to my desk. That’s how you do it.” She added it was hard work, but everything worthwhile is hard. I took that advice to heart and still follow it with my own work.

A few days later, Stevie reached out to me and asked me to read something of hers. I read it and sent her my notes. She replied with thanks and asked, “now what can I do for you?” I invited her to a reading of my play a few weeks later. She came and sent me her notes (which was like getting a masterclass in playwriting). Back and forth we went. When she told me she was planning to produce a new show with Tommy Tune, I begged to be part of it. “I’ll take, notes, run errands, anything.” Noting that I had high-level PowerPoint skills, she said, “I’d love to have a presentation I could run on my iPad.” I met with her and Tommy, came up with an idea and created a pitch deck that she used to pitch Universal Studios and others. Sadly, the show didn’t work out, but we had become a team.

When I got the opportunity to present a one-night-only benefit reading of “Lost in Love,” a musical based on the hits of Air Supply for which I wrote the libretto, I called Stevie immediately for advice. She looked at my press release and asked me “What are you selling?” I was unsure of what she meant. She noted that I had not just one star but two in the cast, but that the press release listed all the actors in alphabetical order.

“Listen to me,” she said, “your first press release should say: Tony-nominated actor Constantine Maroulis cast in Lost in Love at the Triad along with his photo. One week later, your second press release should say: Tony-winner Andrea McArdle joins cast of Lost in Love. And the third week you announce the rest of the cast.”

Lesson: when you have a star, use them. It was golden advice, and a strategy I have followed to this day.

 

Be There

Stevie has been an amazing mentor to me ever since. I call her when I’m facing a tough decision, when a production goes off the rails, or when I don’t get the “yes” I was hoping for. Stevie calls me when she needs help with her various projects, knowing I will show up, ready to support, and will always share my honest impressions and listen to hers. And sometimes she just needs me to send a large file by setting up Dropbox for her. I will drop everything to help her, and I highly value our relationship.

Finding a mentor is a two-way street. It begins slowly and builds over time. The best way to gain a mentor is to either ask for advice with a specific problem or to offer a service only you can deliver, and then overdeliver. Go beyond the call of duty.

If you are a member of ETC, I know you’ve found a mentor as I have in Cate Cammarata as well as in the fellow members. I share my real-world experiences in the hopes that my experiences can mentor you as well. Being a theatre-maker is hard work, but so is anything worthwhile.

Find a mentor to make the journey a bit easier.

 

Melissa Bell’s work has been featured in the New York Times and nominated for Best Adaptation & Modernization by New York Shakespeare and awarded Finalist for Henley Rose Playwright Competition for LADY CAPULET and awarded Honored Finalist for the Collaboration Award by the Women in Arts & Media Coalition for COURAGE.

 

Using Technology for Theater?

Using Technology for Theater?

Every year I try to update my vision of how to create more theater, and what that theater should look like.

What exactly is my role this year as a theatre-maker in the 21st century? What can I personally do to develop, produce and promote more theater?

Is theater dying? Or is the way we make theater today dying?

The old Danny Newman subscription model doesn’t work anymore. Regional theaters and downsizing, or closing their doors. All of this has of course been accelerated by nearly two years of shutdown in theater.

Theater isn’t dying – it will always be around – but we need to examine how to build new audiences, to speak to those audiences and to market them off the sofas and into theaters.

Can we use technology to help us create more theater?

 

Strengths of 21st Century Theater

 

Let’s review at the beginning of the year what we’re doing right:

  1. We were a diverse society from the beginning. Thus, we are and must continue to be a diverse and inclusive theater if we are to develop new audiences.
  2. Theater takes the invisible idea, the invisible thought, and makes it visible. Today theater is doing it more creatively than ever, utilizing technology, “game theory,” and innovative performance techniques (immersive, site-specific, experimental structures, etc.)
  3. We all acknowledge that staging performing arts performances in a community accelerates the economic growth of that area and leads to a revitalized community. The arts are good for local businesses.
  4. The arts have a positive impact on academic achievement and personal growth of young people, as well as other marginalized groups and the elderly. The arts are good for society in general.
  5. The “live” component of theatrical performance create social engagements that build social empathy and understanding that can help heal fractures that are increasingly dividing us everywhere.

All of the above are true, but apparently we’ve done a terrible job communicating these strengths to the public. How can we entice new audiences in when ticket prices are stratospheric, yet thanks to technology, movies and videos are everywhere?

Surely we can use this same technology to promote theater.

 

Technology Makes Entertainment More Accessible

 

We are now surrounded with more entertainment options than any other time in human history – accessible any time on the little device we all carry in our pockets. YouTube is free, and paying for entertainment is over (except for live concert and sporting events) for many people.

Why not use technology to build an appetite for live theater?

Streaming theater is a viable option, if for no other reason than to serve our audiences. Allowing my college students to view bootleg videos of past musicals on Broadway or great plays at the National Theatre creates more of a desire to see theatre, not less. I love watching students discover HEDDA GABLER or SPRING AWAKENING for the first time, and getting excited about the work and the ideas.

Also, audiences are reluctant to buy expensive tickets for shows they don’t know. Familiarity with Harry Potter drives a desire to buy a ticket to that show, or a ticket to the parody musicals  of “The Office” or “Friends.”

How can audiences become familiar with your show? Where and what can you post online to drive a desire to see your show?

Here are some ideas that I see working:

  • Record bits of your play or musical being rehearsed (even if there’s no planned production yet) to post on social media
  • Create a promo clips or sizzle reel and post on social media and on your website (a necessity now).
  • Grab your friends and shoot a video of your show scene by scene. Edit and post on YouTube (this works especially well if you’re a millennial or Gen Z creator)
  • Go live and play your musical one song at a time, with an introduction. Post on YouTube to create a playlist, and on your website
  • Writing a play? Record a monologue or an especially dramatic moment, and post online
  • Have a local staged reading? Hire a videographer to record it. Don’t forget to capture the audience’s reactions at the end. Post it on YouTube for a short time (if allowed).

Social Media is the new word of mouth. I’m not a “digital native,” but hey, I can learn. So can you.

 

Always Promote Yourself

 

The end goal of all this promotion is, of course, to get your show onstage. You’ll still have to do the traditional activities to make people aware of you and your work:

  • Continually submitting to every play submissions contest you can find
  • Networking with Artistic Directors, producers and literary managers, in person and online
  • Volunteering at your local theater, or attending their galas – and donating
  • Be active on the New Play Exchange and participate in the community
  • Designing a modern website and keeping it updated
  • Maintaining an email list of friends, family and followers
  • Participating in online communities like CreateTheater, The Playwrights Center, the Dramatist’s Guild, and the BMI Musical Theater Workshop (to name a few) where you can network with other industry professionals.

Yes, it is exhausting to build an audience for your work, and to invest time in your social networks. It takes time, consistent effort, and passion. It. Is. Exhausting. I get it.

I am exhausted, too. But I’m always learning new ways to promote good work and stage good work. I will continually adapt our storytelling onstage to allow new audiences to experience theatre in new ways (look for an immersive show coming soon to a Brooklyn restaurant, and the resurrection of our 2020 Monday Night Reading Series online).

Because we’re theater people, and this is what we do. We adapt, and go where the audiences are. We don’t stand there and shout at them to come to us. That’s so “twentieth century.” We go to them.

Write good stuff and send it to me. I’m looking to develop new musicals and plays in the 2024 CreateTheater New Works Festival in NYC, and beyond.