Finding a Partner

There are many pathways to finding potential production partners, including:

• Existing relationships between your leadership and leaders of other theaters 

• Identifying where else your favored writers get produced or develop their new plays

• Looking at where else your guest directors or ensemble work 

• Networking at conferences (LORT/TCG/New Play Festivals/etc)

• Compiling a list of theaters with whom your team admires or feels kinship

Once a list of potential partners has been identified, relationships must be established and then an expression of your desire to co-produce made to them either for a specific project or to simply open a conversation about finding a project together. 

Exhibit 5.1 - Questionnaire for Potential Partners  

Purpose

• A flexible guide for an initial alignment conversation to assess fit and surface major risks before deeper due diligence. Not a script—use as a menu of topics to explore and consider for your initial conversation

Suggested Participants

• One Artistic and Management and Production lead from each organization (artistic director/producer + ED/GM + PM/TD). Keep the meeting focused and informal.

Opening & Objectives

• Brief introductions (role, organization mission). 

• Share what each organization hopes to achieve from a partnership (cost savings, artistic reach, audience development, new-work support).

• Confirm who will be originating and who will be receiving. 

Calendar & Capacity

• Potential run windows or season timing that might work for each company.

• Major blackout dates or staffing constraints to note. 

• Typical rehearsal period length and scheduling preferences.

Artistic Approach & Production Style

• Describe typical production aesthetic and values (e.g., stylized/symbolic; naturalistic; projection-forward; movement-driven). 

• Openness to keeping the production consistent vs allowing adaptations between venues. 

• Artistic priorities or “non-negotiables” (casting approach, design integrity, accessibility).

Staffing, Shops & Technical fit

• In-house shop capacity vs outsourcing for sets/costumes/props. 

• Core technical leadership availability (TD, PM, SM) and typical bandwidth during a production. 

• Venue constraints that could affect a transfer (loading dock, rigging limits, stage form).

Union, Contracting & Payroll

• Typical contract status/tier for productions (LORT tier, non-union, AEA non-LORT). 

• Prior experience with LORT transfers and contracting

Budgeting & Financial Practices

• Typical per-show budget range and contingency approach. 

• Common payment schedules and deposit practices for shared projects (e.g., thirds or alternatives). 

• How in-kind/stock items are treated in negotiations (separate, valued, or excluded).

Logistics- Transport, Storage & Insurance

• On-site storage availability or typical storage solutions. 

• Typical approach to trucking, freight costs, and transit insurance; naming partners as additional insured.

Rights & Future Life

• Typical licensing approach for multi-venue use (separate licenses or joint arrangements). 

• Openness to even split of subsidiary-rights splits for future uses or alternatives preferred.

Standards of Care & Policies

• Organizational commitments to artist welfare, access, and code-of-conduct expectations. 

• Preference on shared Standards of Care (require partners to sign vs share policies for alignment).

Experience & References

• Brief examples of recent Co-Productions, transfers, or partnerships and lessons learned. 

• Optionally note a contact who could speak to collaboration style at a later stage.

Deal-breakers & Next Steps

• Any absolute deal-breakers to surface early. 

• Agree next steps if interested (term sheet/MOU, feasibility call, technical advance) and who will follow up.

Facilitator Tips

• Keep the tone exploratory and collaborative rather than contractual. 

• Avoid deep legal or union negotiations in this conversation—flag those items for counsel/technical follow-ups. 

• Listen for signals of mismatch: vague budgets, calendar inflexibility, or heavy reliance on non-transferable stock items. 

• Summarize agreed points and next steps in an email within 48 hours.

Optional Short Checklist (post-call)

• Mutual interest to proceed? Y/N 

• Timeline feasible (within ~12 months)? Y/N 

• Major technical red flags? Y/N — list 

• Budget compatibility signaled? Y/N — rough range noted 

• Next step owner and date- [Name] — [Date]

Getting the Ball Rolling

Once a partner and a project have been identified it is important to define the key details early so the companies are aligned as they embark on their individual season planning.  Delaying these structural conversations can make it harder to find common ground in budgets, schedules, artist availability, and other details once other productions have solidified. 

• Establishing Who Will be Your Point Person - For each Co-Production it is essential to have a clear point person who is in nearly every conversation at least until a Co-Production agreement has been established and key artists have been hired.  This is often a General Manager or Managing/Executive Director.  

• Lining Up Potential Dates - Early on you will want to establish what dates could work for each theater, who will originate and who will receive, and whether those dates will work for any key artists.

• Creating a Rough Budget - Creating a first pass budget quickly establishes the structure of the relationship and tests the viability for all parties. This often starts with the Originating Theater making a budget of the show and sharing their estimate of what the shared costs might be to mount the show. 

Agreeing on the Goals

It is wise to establish early why you are co-producing - both partners don’t necessarily need to have all the same goals or prioritize their goals the same, but articulating them early and remembering them along the way can be helpful in maintaining discipline as you navigate choices along the way. 

See Chapter 2 - Why Co-Produce?

Stage Dimensions/Physical + Equipment Compatibility

It is important for the two production managers to compare their ground plans and other physical + equipment compatibility concerns early in the process.  

See Chapter 4 - Production Compatibility Metrics

Agreeing to Key Terms/Memorandum of Understanding (MOU)

Laying out the top-level terms early can avoid many problems down the line.  Doing so replaces assumptions people might be holding and establishes clarity.  Understanding these topline expectations will guide the next steps and keep everyone on the same page. 

The MOU is a non-binding statement of intent that is often just an email summation of an initial conversation, but it importantly establishes clarity and empowers each of the theaters to proceed.  For new relationships it might be wise to formally draft and sign an MOU. 

Exhibit 5.2 - Memorandum of Understanding - Term Sheet (MOU) Term Sheet

Title, Parties, and Dates

• Title: [Production Title]  - Playwright / Creator: [Name]  

• Originating Theater: [Legal name — contact name, title, email]  

• Receiving Theater: [Legal name — contact name, title, email]

• Originating run (venue & dates): [Venue — MM/DD to MM/DD]  

• Receiving run (venue & dates): [Venue — MM/DD to MM/DD]

Financials (costs only)

• Total estimated production budget: $[_____]. Exhibit A (detailed line‑item budget) to be completed and attached.  

• Default cost split: 50% Originating / 50% Receiving on line items unless otherwise assigned in Exhibit A.  

Rights & Future Uses

• Subsidiary/future rights: Default split evenly between theaters. Any third‑party licensing or future income from the production requires mutual approval and written agreement.

Artistic Control & Key Hires

• Director / Key creative hires: [Named or "to be agreed"] — mutual consultation required; EDs/ADs to sign off on principals.  

• Casting: Coordinate offers per applicable union rules; replacement costs for changes between runs to be allocated per Exhibit A.  Define casting director or if there will be one from each theater define that relationship. 

Production Responsibilities & Stock Items

• Sets, costumes, props, tech equipment: Assigned in Exhibit A. Default ownership: joint (unless marked as stock items owned/retained by a party).  

• Stock items: Inventory items contributed by a party are separately documented and do not count toward shared cost unless otherwise agreed. Define who holds return/repair/shipping responsibilities. 

Confidentiality and Publicity

• Parties agree to coordinate public announcement; joint press language to be approved prior to release. 

• Confidential financial/donor information not to be shared externally.

Next Steps and  Timeline

• Exhibit A (budget) due by: [MM/DD/YYYY]  

• Target signing of Production Agreement: [MM/DD/YYYY]