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In previous posts, I decided to discuss the importance of financial intelligence in theater productions, namely, the reasons why theater producers need to develop extraordinary financial abilities. Since then, I’ve been holding several conversations with my fellow theater colleagues trying to determine other attributes that make valuable producers stand out from the rest of the crowd. For this reason, I interviewed off-Broadway playwright, producer, and musical theater director Zek Caride, who had an enlightening point of view on the subject: “Successful theater producers often see themselves as experts in arts, marketing, planning, or budgeting. However, they seem to overlook their innate talent to efficiently deal with people’s conflicts”. Zek Caride argued that theater productions are not only driven by passion, brilliance, and guile, but also by the unceasing manifestation of group conflict. In other words, theater production typically comprises people — actors, dancers, musicians, singers, designers, authors, directors, and technicians among others — who display hundreds of different skills. Each of these individuals has different purposes, visions, and motivations to exhibit what they do best. In this scenario of assorted interests, conflict is always prone to arise. Moreover, It is rarely a situation that can be avoided; it has certainly become a quality of the trade. Therefore, competent producers are the ones in charge of turning all sorts of conflicts into thriving opportunities than can lead productions to success. The key to accomplish such an endeavor is principled negotiation, which according to Fisher, Ury, & Patton (1991) is based on four fundamental rules: separate the people from the problem; focus on interests, not positions; invent options for mutual gain; and insist on objective criteria.

Time and again, Zek Caride has experienced situations in which artistic disputes have been solved when seeking mutual benefit. In most of these cases, negotiations have helped creative minds discover new possibilities. Caride argued, for instance, that negotiations between authors and directors could sometimes become very stressful. However, if producers are clever enough to understand how to deal with their emotions and egos, discussions can become productive ways of accomplishing unimaginable results. 

Zek Caride
Having a deep understanding of what it takes to succeed in the off-Broadway setting, Caride expressed that a good negotiator needs to acknowledge the genuine motivation that make artists set foot in the world of theater in the first place. Caride explained that people are not only concerned about money, but also need to address their need for appreciation, affiliation, and most importantly, their desire of building a promising career. According to Caride, these are things that should always be taken into consideration when negotiating with artists and other creative people.

Zek Caride is known for his peculiar ability to manage low-budget projects and turn them into acclaimed off-Broadway shows. He has worked for several productions including Romeo and Juliet, a New Musical, Blood Letters, I ? New York, and The Scottsboro Boys, which received 12 Tony Awards nominations earlier this year (Tony Awards Production, 2011). Working with limited budgets has urged Caride to develop significant negotiation skills. He has become an expert in dealing with conflicts that typically arise from the dearth of resources. Caride constantly faces the challenge of limiting people’s expensive ideas while trying to avoid hurting their sensitive egos. Most of the times, these situations inevitably give rise to discussions on quality standards and negotiations on how to struggle with tight schedules and inadequate funds.

In conclusion, theater producers need to be aware that negotiation, leadership, and interpersonal intelligence define their roles. These are all skills that can be learned and refined day after day. There are strategies and techniques that can help producers make good use of opportunities offered by the permanent presence of conflict in their productions. Thus, there is no doubt in my mind that competent producers like Zek Caride, are the ones who strive to master the art of conflict resolution.

References:


Fisher, R., Ury, W., & Patton, B. (1991). Getting to yes: Negotiating agreement without givning in. (Second ed.). New York, NY: Houghton Mifflin Company.
Tony Award Productions. (2011). Who's Nominated? - The Shows. Retrieved July 22, 2011, from http://www.tonyawards.com/en_US/nominees/shows/2dfdd184-4ef1-45df-8c80-cff1bc9adb51.html


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