A Co-Production can be broadly defined as two or more theaters sharing the cost of producing the same play for consecutive engagements at their respective theaters. Typically, shared expenses include artist fees, actor and stage manager salaries during the rehearsal period, and the costs of building, storing, and transporting the physical production.

Co-Producing Spectrum 

Co-Productions can take a variety of forms, depending on when the partnership is established, how responsibilities are divided, and the roles the participating theaters play.

• Transfer Planned in Advance - When two or more theaters decide to produce a play together before either theater has begun the production process, such as hiring the creative team, designing the show, or casting. In this model, the theaters undertake those activities collaboratively and by mutual agreement, including determining where the production will originate.

• Transfer Not Planned in Advance - When one theater conceives of, develops, and potentially fully produces a production, and a second theater decides during or after the Originating Theater’s run that it wishes to present that same production. In such cases, the parties may elect to structure the arrangement as a Co-Production, using a shared-cost model, rather than as a Transfer or Licensed Production (as defined in Section 11).

• Lead (Originating) Producer - When one theater has already conceived of and, in some cases, scheduled a production and subsequently seeks out partners. This structure usually applies to a Transfer Not Planned in Advance. In these instances, the Lead (Originating) Producer typically retains greater artistic control, including the choice of director, creative team, casting, and other key creative elements.

• Equal Partnership - When two theaters jointly develop a project from the outset and plan it together, typically with mutual approval over all significant artistic and production decisions.

• Co-Commissions/Co-Development - When two theaters jointly engage a playwright to create a new work and/or collaborate with a writer to support development through residencies, workshops, and readings. These arrangements often, but not always, carry an expectation that, if both theaters choose to produce the play, they will co-produce the premiere.

Co-Development can also refer to a collaboration between a theater and another organization (such as a writers retreat or new-play festival) that provides resources to support play development but does not fully produce plays itself.
Example - Downstate, Steppenwolf Theatre Company, National Theatre

• Multi-Party Co-Production - When three or more theaters Co-Produce a show. While these arrangements can increase potential cost savings, they also introduce added complexity. Challenges include aligning schedules, adapting physical production elements across multiple venues, managing transportation and storage, and maintaining artistic continuity, particularly in casting. The logistical burden of coordinating these complexities often falls most heavily on the Originating Theater.

On the other hand, as demonstrated by our survey, these Multi-Party Co-Productions often yield the strongest financial outcomes.
Examples - Paranormal Activity, American Conservatory Theater, Center Theatre Group,  Chicago Shakespeare Theater
Examples - Cambodian Rock Band, Alley Theatre in association with Berkeley Repertory Theatre, ACT Contemporary Theatre / The 5th Avenue Theatre, and Center Theatre Group present the Signature Theatre Production

Understanding where a given Co-Production sits on this spectrum can help the parties structure an agreement  that clearly reflects and fairly acknowledges each party’s role, responsibilities, and contributions.