Who has more leverage casting?
Who has more leverage casting?
#1Who has more leverage casting?
Posted: 3/2/17 at 11:57am
This is probably on a show by show basis and not very knows, but I thought it wouldn't hurt to ask. Is it usually a unanimous decision by the creative team or would one person have more creative control? Also, how much input do producers have?
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#2Who has more leverage casting?
Posted: 3/2/17 at 11:58am
Ivy Lynn has the first and the last say in everything.
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
dramamama611
Broadway Legend Joined: 12/4/07
#3Who has more leverage casting?
Posted: 3/2/17 at 1:27pm
Your were right in your statement: there is no blanket answer.
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temms
Broadway Star Joined: 7/21/04
#4Who has more leverage casting?
Posted: 3/2/17 at 1:49pm
The director is ultimately responsible for what goes onstage. The producer is responsible for everything that happens offstage. Final say about creative decisions will always be the director's. Authors usually have veto power - they can't demand someone be hired, but they can insist someone not be hired. Producers also have veto power and can certainly encourage the director to decide a certain way, and can even fire the director if they can't come to an agreement, but it's the director's ultimate decision.
A good director will generally listen to the rest of the team, of course. There can be disagreements, and a choreographer or a composer or a producer may have a very strong opinion which a good director will take into consideration. If there is strong disagreement over who to hire, usually there will be more callbacks in which they will find somebody different who everybody likes, or they may see something from someone they've already been considering that tips the scales toward them. Casting directors are very good at guiding that process and finding people who will appeal to all the various things the creative team is looking for.
#5Who has more leverage casting?
Posted: 3/2/17 at 4:59pm
To the OP, as d-mama says, you were right that it depends.
Find a copy of William Goldman's THE SEASON (published circa 1969) and read the chapter entitled "Muscle".
In Goldman's parlance, the "Muscle" is the person with the most power in the production and it can be the producer, director, composer, star, etc. To quote Goldman, "David Merrick (big producer at the time) is ALWAYS the Muscle--unless the director is Gower Champion (star director who knew how to handle Merrick)." You may not recognize all the names in Goldman's book, but the basic principles remain the same (perhaps except for ticketing, which has been changed by technology).
#6Who has more leverage casting?
Posted: 3/2/17 at 6:56pm
There.are.no.rules.
E.g., a playwright may most certainly dictate casting. It goes right in the option agreement. Can a lot of writers sell that condition? No. But if Miranda wants his mama in his next show, it's a done deal.
#7Who has more leverage casting?
Posted: 3/3/17 at 9:26am
HogansHero said: "There.are.no.rules.
E.g., a playwright may most certainly dictate casting. It goes right in the option agreement. Can a lot of writers sell that condition? No. But if Miranda wants his mama in his next show, it's a done deal.
"
Exactly. Miranda's success has (rightfully) made him the "Muscle" of his future shows--until he has enough flops that the money people begin to see him as a liability. (Or until he becomes a hopeless drug addict, a serial killer or an overt racist.)
But if Joe Schmoe is the playwright, those casting approval clauses are going to contain the words "such right of approval shall not be unreasonably withheld", which basically means Joe can go whistle in the alley 'cause he ain't getting final word on casting, no matter what the Dramatist Guild says.
It's basically the same in film, TV and any other profession. An individual's power is whatever his or her track record, connections and strength of personality command.
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