Why Systems Beat Heroics

Every drama school has a hero. It is the principal who stays until midnight painting flats, the parent volunteer who somehow finds a Victorian chaise longue at 48 hours' notice, the teacher who holds the entire lighting plot in their head. These people are wonderful, but they are also single points of failure. When the hero is ill, on holiday, or burns out, the production falls apart.

Production management systems replace individual heroics with repeatable processes. They ensure that institutional knowledge survives staff changes, that nothing falls through the cracks, and that each production builds on the successes (and learns from the mistakes) of the last one. This guide covers the key systems every drama school should have in place.

Prop and Set Inventory

Most drama schools accumulate props and set pieces over the years, stored in cupboards, garages, lofts, and the back of someone's car. Without an inventory system, you end up buying items you already own, losing items between productions, and spending hours searching for things you vaguely remember acquiring three shows ago.

Building a Prop Inventory

Create a simple database or spreadsheet with the following fields for each item:

Item description: Clear and specific ("Victorian oil lamp, brass, working" not "lamp")
Category: Furniture, hand props, weapons, crockery, textiles, electrical, set pieces
Condition: Excellent, good, fair, poor, needs repair
Storage location: Exact location (shelf number, box label, offsite address)
Photo: A clear photograph for identification
Production history: Which productions it has been used in and when
Source: Purchased, donated, borrowed (and from whom), made in-house
Replacement cost: Approximate value for insurance purposes

Conduct a full inventory audit once a year, ideally after your final production of the season and before items go into storage. Update condition notes and dispose of items that are beyond repair. A well-maintained prop store is a significant asset; some drama schools have prop inventories worth thousands of pounds.

Prop Tracking During Production

During a production run, props have a habit of migrating. A hand prop left on stage ends up in a dressing room, then in someone's bag, then at someone's house. Assign a props manager (even if it is a responsible senior student) who is accountable for setting props before each performance and checking them back in afterwards using a props check sheet listing every item and its pre-set position.

Licensing Compliance Tracking

Performance licensing is not a one-off task. It is a compliance process that needs tracking from the moment you select a show to the moment you report your final audience numbers to the rights holder.

The Licensing Timeline

Show selection: Check availability from the relevant rights agent. Popular titles may be restricted if another local group has the rights for the same period.
Application: Submit your application with performance dates, venue details, seating capacity, and proposed ticket prices. Allow eight to twelve weeks for processing.
Approval and payment: Pay the licence fee on receipt of the invoice. Do not advertise the show until the licence is confirmed in writing.
Script hire: For some titles, you must hire scripts from the rights agent rather than using purchased copies. These must be returned after the production.
Performance reporting: After the production, most rights agents require you to report actual ticket sales and audience numbers. This is a contractual obligation, and failure to comply can affect future licence applications.
Post-production: Return any hired materials, settle any outstanding royalty payments, and file the completed licence documentation.

Maintaining a Compliance Record

Keep a permanent record of every licence you have held, including the title, rights agent, licence number, dates, fees paid, and post-show reports submitted. This creates an audit trail and makes future applications smoother, as most agents appreciate working with organisations that have a track record of compliance.

Digital Programmes and Marketing Materials

The printed programme is a drama school tradition, but digital programmes offer significant advantages that complement (or in some cases replace) the printed version.

Digital Programme Benefits

No print costs or waste: You never over- or under-print again.
Interactive content: Link to student biographies, behind-the-scenes videos, photo galleries, and your school's website.
Last-minute updates: If a cast change happens on show day, the digital programme can be updated instantly.
Accessibility: Text can be resized for partially sighted audience members. Content can be translated for families who speak English as a second language.
Data collection: A QR code that links to the programme can also capture email addresses for your marketing list (with appropriate consent).

Creating Effective Digital Programmes

Design your digital programme as a mobile-first web page, not a PDF. PDFs are awkward to read on phones. A responsive web page loads quickly, scrolls naturally, and can include multimedia content. Include the same information as a printed programme (cast list, credits, scene breakdown, director's welcome) plus digital extras like clickable links to your class timetable and enrolment page.

Box Office Integration

Selling tickets should be as frictionless as possible for your audience and as administratively light as possible for your team.

Online Ticket Sales

Sell tickets through your website or management platform rather than through a third-party ticketing site. This keeps the audience within your ecosystem, avoids third-party booking fees (which typically add £1 to £2 per ticket and irritate buyers), and captures customer data for your own use.

Seating and Capacity Management

If your venue has allocated seating, your box office system needs a seating plan that allows buyers to choose their seats. If seating is unreserved (more common for drama school productions), you simply need to cap ticket sales at the venue's licensed capacity and track sales by performance.

Consider offering complimentary tickets for cast families (one or two per family per performance is standard) and tracking these separately from paid sales so your revenue reporting is accurate.

Door Sales and Will-Call

Even with online ticket sales, you will have audience members who want to buy at the door. Equip your front-of-house team with a device that can process card payments (a simple card reader connected to a phone) and a list of pre-booked names for will-call collection. A management platform like AMES can provide real-time sales data so your front-of-house team knows exactly how many seats remain for each performance.

Post-Production Archiving

After the final performance, the temptation is to collapse in a heap and not think about the show for at least a month. Resist this temptation long enough to archive the production properly.

What to Archive

Production photos and video: Professional and informal. These are marketing gold for future terms.
The programme: Both digital and a printed copy if produced.
Director's notes and blocking script: Invaluable if you ever remount the production.
Technical specifications: Lighting plot, sound cue list, set construction drawings.
Financial summary: Total costs, total ticket revenue, net profit or loss.
Post-show review notes: What went well, what could improve, specific lessons for next time.
Cast and crew list: With contact details, useful for alumni networks and future casting.

The Post-Production Review

Hold a formal post-production review meeting within two weeks of the final performance, while memories are fresh. Include the director, production manager, stage manager, and any key volunteers. Discuss what worked, what did not, and what you would do differently. Record these notes and file them with the production archive. The drama school that reviews every production systematically improves faster than the one that simply moves on to the next show.

Key Takeaways

Build a prop and set inventory with photos, conditions, and storage locations. Audit annually.
Track licensing compliance from show selection through post-production reporting. Keep permanent records.
Offer digital programmes as mobile-first web pages alongside or instead of printed copies.
Sell tickets through your own platform to avoid third-party fees and capture customer data.
Archive every production thoroughly, including photos, technical specs, financials, and review notes.
Hold a post-production review within two weeks of the final performance and file the notes for future reference.