With the right education, you can learn how to sell a theatrical production to the largest audience and increase your profit margins.

As a performing arts producer, it’s not just about producing a good story to release to the public; it’s about finding the best team to promote the play and sell it to the public. That’s what people are interested in, the next part that their favorite action star or romance debutant is doing. A performing arts education can teach you how to pick the right team to handle each particular job. With the right people in the right places, you can have more exposure and build up a bigger audience.

To support the author and creative team in performing arts, you need to have your advertising reach your audience through all your marketing channels. Most people have a smartphone and other smart devices, so they often check in on Facebook and Instagram to see what is happening in entertainment and their friends’ and family members’ lives. The advertising team, marketing team, social media/digital media team, and the management team are the ones to sell the show to the public by presenting the starring actors and actresses to their audience.

Advertising and marketing the stars to the audience has nothing to do with the creative elements but more so the artistic ones. After the audience is brought together, the artistic element is passed over to those stars to practice their artistry. As the producer and sometimes the press representative, I have weekly meetings with my teams to follow their direction in the promotion strategy. With technology evolving, social and digital media has played a large part in the promotion efforts. Online performing arts education will help you find success in the entertainment industry.

What is an Actors’ Union? Just like with any other union, these organizations can help performing arts students and actors network and find like-minded people to spend their time with.

“There’s a Screen Actors Guild for media,” says Jeff Kaplan. “There’s also a union for stage called Actors’ Equity.” The majority of Equity actors are not working, so the Equity card that comes with the Actors’ Equity union doesn’t guarantee actors work, but it does help get them access to higher-level productions and jobs.

“They set pay scales. That’s probably the one that performers are most interested in, but they do other things. They provide basic minimums for workplace safety, the number of hours you can work, what time you have to be done, how you resolve conflicts during productions. They have health insurance.”

Joining an Actors’ Union

Getting into one of these unions can be tricky. In order to join a union, you have to perform in plays that are union-only, which results in a chicken-and-egg situation: how do you get into a union-only play if you’re not yet a union member? These unions have apprenticeship programs set up that allow a handful of non-union actors to perform, but the number of actors is kept at that handful in order to keep the union’s roster exclusive.

Is there a downside to joining an actors’ union? The union will provide actors with a lot of opportunities, but it does limit their actors as well. For instance, if you are a part of an actors’ union, you have to get written permission to perform in a non-union play, which is why not everyone chooses to join a union. They like to keep their options fully open, but on the flip side, they are limited to only working non-union plays.

When seeking a performing arts education, whether it’s an online performing arts education or an in-person one, students usually have a lot of questions about unions, like how to join one or whether or not you should. It’s made more complicated by the number of unions out there. “In brief,” says Shanga Parker, “there’s AEA. That is the union for theater actors and stage managers. And then there’s SAG-AFTRA. They’re combined now. Screen Actors Guild, American Federation of Television and Radio Artists-they used to be separate, now they are one. And that is for film and TV.

Each union has a different way of becoming a member. AEA, or the Actors’ Equity Association, allows actors to submit paperwork after being cast in one of their specified shows. Once an actor joins a show that counts for the union and submits the paperwork, they’re considered an Equity Membership Candidate, or EMC. As an actor works on an Equity production, they accrue points week by week. Once they’ve built up enough points, they can join AEA.

However, AEA requires an initiation fee alongside the point requirement. That initiation fee has varied over the years, but it’s usually to the sum of a couple thousand dollars.

SAG-AFTRA works similarly in that you can get cast in a union role and choose to take it or not. The difference with SAG-AFTRA is that membership is affected by something called the Taft Hartley Act, which was written for a different reason but applies to the union. Essentially, the Taft Hartley Act gives you the choice of joining the union upon taking your first union role, but declining is also an option. That said, if you take a second union role, you’re required to join the union at that point, and there’s an initiation fee of a couple thousand dollars as well. Actors need to weigh the benefits of union membership with the initiation fee and plan accordingly.

The first thing you want to think about after you figure out for whom you are making a performing arts production is the quality of articulation of the story that’s being told. If you’re dealing with a script, and it’s written in vernacular, everyday language, is it as strong as it could be? Do you believe that the writer has a singular voice and talent that is ready for and deserves to be nurtured by full production?

Sometimes producer Elizabeth Bradley thinks that some of the most promising early playwrights are lost because they’re simply produced as needed and not produced as ready. Another problem that can occur is that they’d be much better writers if they were produced more frequently, earlier on, because, like everything else, it’s a craft. You get better at it, but where a particular writer will fall on that spectrum comes down to the play, the writer, and the piece.

In performing arts education or online performing arts education, you’ll learn to explore all of these essential questions. Do you have the right match of director? Does the director actually have a sense of conviction of what the sensibility of the piece needs? Can they partner with the writer? If they’re doing a revival of a classic play and they’re completely reinventing something, is the reinventing trenchant? Is it necessary?

When Malini Singh McDonald did Black Henna, for the first show they did a reading, and then they knew they were going to do a full production. They knew the first step would be to think about how much money this was going to cost. That’s always the first step in performing arts. How much money is this going to cost?

It’s so important to think it through, and luckily there are budgets that you can find in online performing arts education to give you an idea of how much each area is going to cost, more or less. Areas to consider are your space, your rehearsal space, because those are two separate things unless you can get a package, PR, music, and licensing.

In McDonald’s experience, they kind of had a budget but then forgot some line items like insurance. They begged, borrowed, and stole before coming up with their current style of finding investors. They just reached out to people and said, “Hey, we need X amount of dollars to get us to this point.” Thankfully, people loved them, and they loved people, so a lot of people were able to just give them the money.

Having learned from this experience though, they ended up in future productions really getting clear about the budget and then thinking about how they’re going to actually fund it. Not to say they don’t beg and borrow anymore. There are times they need to ask for more money because something comes up. One thing to learn in performing arts education is to always expect the unexpected.

For example, let’s say you budgeted $2,500 for this line item, and then it turns out to be $4,000 just because stuff happens. Plan ahead, stick to your budget, but budget for the unexpected.

What was very different for me in preparing for a musical that isn’t always covered in performing arts education is something called a sitzprobe. I had never heard of it before, but it’s when you go and, for the first time, you actually sing with the orchestra. You’re in the room with them, and it’s terrifying and thrilling.

The other thing that needs to be covered more in online performing arts education is that it’s such a big group of people on such a large stage that they literally have handlers backstage. You don’t even have to know your cue. Somebody literally comes into your dressing room, takes you where you’re supposed to enter, and pushes you on at the time you’re supposed to go. I mean, there are no accidents here, and I know it wasn’t just for me. I know that’s what they do because I’m pretty good at knowing when to walk on the stage. But it was both frightening to give up that control and kind of comforting to be taken care of in that way.

One thing that’s important to think about in your online performing arts education is that there are many differences between designing costume for film and designing for the theater, the opera, or music. “I think the biggest difference is that in theater, you see the whole costume, you see the whole person, and you see actors all together,” says Durinda Wood. “Shoes are also really important because they are usually in the audience’s eye line.”

Durinda explains how background design affects designing costumes for the theater: “The background is very stationary. You know exactly what that background’s going to be. … Artistically, it’s much easier to design for theater and opera and know that your vision is going to be the way that you designed it.”

“I love theater and opera. I always thought that I would be a theater designer,” Durinda says. She notes that “one thing about the opera is that the singers are just singers. They’re not necessarily actors. And they’re much less demanding, I would say, about their costumes. I think they really just want to be able to sing. That’s their most important thing.” She adds that sometimes simple changes are called for, like loosening a collar or vest to allow an opera singer enough room to vocalize comfortably.

If you consider a career in costume design as you pursue your performing arts education, it’s nice to know that Durinda also says she’s found that both opera singers and theater actors enjoy working with costume designers and treat them with respect.

The core of theater, going back to the Greeks, was to actually see yourself represented on stage. W.E.B. Du Bois said that Black theater should be theater that is written by us, by African-Americans, to be representative for us and to be shown near us.

Now’s the time to create a new representation of Blackness, a new look, and a new authentic appearance in the performing arts.

Performing arts education can help people understand Black theater history better by explaining why some performers did the types of shows they did.

Let’s go back to this idea of seeing yourself appearing on stage. If you were to read an issue of “The Crisis,” which was a magazine that was published by W.E.B. Du Bois, you would encounter stories of authentic Black life. Those stories would be presented on stage eventually, and not just by families by the fireside.

Slowly, over time, across the 1920s to the 1950s and so on, an Americanized version of theater emerged. We tend to imagine and pretend that Black theater came along in the 1960s, and that’s not true. Online performing arts education will hopefully start to dispel this false idea.

We had people in the 19th century like Bert Williams, who began as a blackface performer. He partnered with his friend, George Walker, and they went on stage with one in blackface and one not. They traveled across the vaudeville circuit and performed this way.

George Walker was the straight man to Bert Williams’ more comedic, stereotypical character. With the pairing of those two, they began to strip away the artifice and the mask that was blackface.

By the 20th century, the most heavily laden aspects of the blackface stereotype had gone away. You could begin to see the kind of comedy that was beneath it. That’s what Bert Williams did. He was the most popular performer in all of US theater, certainly in the first decade of the 1900s.

We had other actors who emerged, as well, like Charles Gilpin. Gilpin’s claim to fame was “The Emperor Jones,” which was a play by Eugene O’Neill. Charles Gilpin played the proud, confident character of Brutus Jones, a Chicago-born Pullman porter.

In the play, Jones moves to Haiti and becomes an emperor under somewhat corrupt circumstances. Later, he finds himself haunted and possessed by the spirits of the island.

That play was a Broadway hit for Gilpin, making him a star. George Walker also became a tremendously successful and well-known figure until he was replaced by a young up-and-coming actor by the name of Paul Robeson.

Paul Robeson started performing a national tour of the “The Emperor Jones.” Because of that, it seemed like his career catapulted. He did the film version of “The Emperor Jones” and went on to star in a number of other films. He went back and forth between the concert hall as a singer and Broadway as a performer. And he was there when the LA entertainment culture emerged.

In the world of performing arts, there are multiple different categories, or “buckets,” of theatrical performances. We have a canon of work in which the plays are performed in what would be known as elevated language. In this bucket, you could put the plays of Shakespeare, Ben Johnson, and Christopher Marlowe. You could also put in the restoration comedies of Richard Brinsley Sheridan. You could even put in latter-day 20th-century verse plays by playwrights like Maxwell Anderson.

When it rhymes, or when the language is particularly poetic or unusual, that would certainly be one canon. And Shakespeare, for one, is still among the most frequently produced playwrights across the United States. Here in New York, we have the New York Shakespeare Festival in the public theaters that still remain committed to classical work. So that covers the first bucket.

There is also another bucket, which consists of new playwriting—plays that have not been produced previously in a professional context. Oftentimes, these plays can be written in everyday conversational language. However, of course, the language of these plays varies enormously from context to context and playwright to playwright.

For example, an Irish playwright like Seán O’Casey or a contemporary Irish playwright like Martin McDonagh would be writing in an Irish dialect, but they’re also experimenting with form enormously. So you could have a black comedy, you could have elements of horror in what is a conversational text-based play. As you can see, it gets harder and harder to actually come up with the different bucket labels for genres.

Playwrights like Ibsen and Chekhov, of course, represent a form of 19th-century naturalism, which was all about character and closely observed character. Now, certain American directors are approaching that work and staging the context in which those plays appear so that we will either discover them anew or see them differently.

Spectacle theater is represented, in some cases, by the Greeks although it is certainly possible to do an intimate production of a Greek play. There has been a tremendous interest, particularly in the last 20 years, in physical theater, in which the movement is certainly as important, or perhaps even more important, than the words.

You can learn much more about the history of theater and the many different forms it takes by exploring online performing arts education. There’s no reason why you shouldn’t be able to enjoy the benefits and lessons of performing arts education from the comfort of your own home.

When online performing arts education professional and NYU Tisch professor Ruben Polendo is in conversations with students on making or engaging in theater, one of the questions that come up is about the history of theater. “How did theater start? Where did it start?” he asks. “How did it develop to the kind of theater that we recognize now?”

Theater in Prehistory

The history of the performing arts probably begins 200,000 years ago with the origin of modern humans on the savannas of Africa. It could go back even further to the evolution of pre-modern ancestors one or two million years ago. “The impulse to tell me a story is really built into us on a very biological level, that we organize the world in terms of stories,” says Dr. Jeff Kaplan, a performing arts professor at Manhattanville College.

We communicate in terms of gestures. The meaning of words really constitutes a very small part of communication. Therefore, having somebody telling a story to the group or expressing themselves through abstracted movement are probably things that go back to the beginning of time.

Theater in Greece

The origins of theater began in Ancient Greece, at least from the Western tradition. It was a series of festivals to the gods: citizens who lived in the area would gather to attend plays. They were treated as competitions and festivals. The playwright Sophocles might have battled it out against Euripides or others, sharing their newest work.

Ancient Greek theater mirrors today’s tradition if you were to see your favorite writer revealing and presenting their newest creation for the first time. “It was new. It was raw. It was kind of like watching Hamilton for the first time,” comments Dr. Harvey Young, the dean of fine arts at Boston University.

It was neighbors sitting next to neighbors, looking down and seeing each act play out on stage. It was not only a chance for people to see how these stories could reflect society. It was also their way of being part of the civic life of Athens or of other places across Greece.

The tradition of a community coming together to hear a new work and see themselves on stage has existed throughout the history of theater. It began in Ancient Greece, where Aristotle walked around lecturing and talking about the work of Homer as an epic poet, all the way through to the early 20th century.

Theater in Broader Geography

People will very quickly refer to the Greeks and the idea that Greek tradition is the beginning of theater. Ruben Polendo pushes back against that statement. “The Greek tradition, which is really remarkable, finds us in about kind of 400 BCE, give or take a few hundred years in that moment,” he says. Though Greek theater is clearly a very important moment in the history of theater, it isn’t the only moment in history where there was a spark on theater.

In fact, looking even further back into history, we see many different traces on theater and the performing arts all over the world. “Because over time and space there’s been this kind of focus on a kind of European inheritance – and Greek history has been attached to that – there’s been this kind of push to really align the beginning of theater with this kind of European narrative,” Polendo explains. He believes that alignment is not the case. Theater has existed in many different geographies and cultural frameworks through time.

Technology and Tradition

As theatrical traditions and techniques blend together in the modern day, there has been a great deal of experimentation with the way technology can be harnessed by storytellers. Technology may coexist alongside ancient theater forms such as the Noh theater in Japan.

Kabuki, Chinese opera, shadow puppets in Indonesia, and kathakali in India are other examples of these ancient forms. “Many of the cultures of the world have developed their own forms,” comments NYU Tisch professor Elizabeth Bradley. “And it would be a mistake to think that they haven’t influenced, in fact, what is felt to be mainstream Broadway theater. Because there would be no Lion King if director Julie Taymor had not been funded to go to Jakarta and learn about shadow puppets.”