As the Senior Vice President of Production for Broadway Across America, Jennifer Costello has been involved in a huge array of workshops and readings. Costello evaluates projects for the company’s involvement in all commercial productions, acting as executive producer on select projects and she helps us understand the nuances and necessities of this process.

“Every day here in New York City, there’s a reading happening,” says Costello. As the proven theatre capital of the world, that’s an exciting statement. Once a producer agrees to take on a production, a reading begins. A very private event, the producers, director, composers, book writer are all typically involved in the beginning stages of a reading.

But there’s one group that is not involved at this stage: the actors. “The purpose is to hear the words out loud so the creators can then make changes,” says Costello. Issues are addressed, changes are made, ideas are born and then the actors are involved.

While no blueprint exists for the building of the initial stage of a reading, the next part has a deadline. “The creators have a limited amount of time with the actors, due to Actors Equity. They can continue to have closed-door readings or if they feel there’s enough progress, they can do a 40-hour reading,” according to Costello. A 40-hour reading allows for 40 hours of rehearsal with music, blocking and tracking added to the mix. Another important ingredient added to this mix: potential producers and investors.

“At this important stage, a production can either gain traction or lose interest,” says Costello. The lucky ones move on to the next process, the workshop. This four-week rehearsal brings in full-on blocking, costumes, along with a minimal set and orchestra.

“It’s an expensive process, but it’s all about getting the show as actualized as possible,” says Costello. The workshop is only open to the industry as the show continues to gain funding for the rehearsal and production stage. But something’s still missing. “You’re not getting the most honest feedback. You really want to know how a show is going to do and you don’t get that until it’s seen by an audience,” says Costello.

As a result, Costello is seeing current trends in the workshop process known as “enhancement deals” and “out-of-town tryouts.” With an enhancement deal, a producer makes an agreement, sometimes to the tune of $1 million, to take the workshop outside of New York to a regional theatre. The regional theatre rehearses the show and presents it to the public for a limited engagement. The producer doesn’t keep the income from ticket sales, but they walk away with the all-important audience feedback. With an out-of-town tryout, a fully-mounted production is presented before it visits Broadway. THE PIRATE QUEEN recently held an out-of-town tryout in Chicago to ready for its April 5, 2007 opening.

While workshops and readings provide invaluable insight and feedback for the creators of a show, there’s one thing they don’t do: move fast. “It typically takes five to ten years to move through the reading and workshop stage,” says Costello.

By: Allison Thomas