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Interview with Racquel Lehrman of Theatre Planners RP - Thanks for agreeing to speak with us. Your email address has the initials NY so we presume that means you have a connection to New York?
They can’t go and multi-task, they’re not as good at it This is a film and television town so they don’t have the knowledge to know marketing – they have no clue as to where to put their money, you know, things like, “how do I spend my money – how much does this cost. . .” down to the basics – so that’s why New York has such a head start on them. RP - So your goal when you were at NYU was theatre production? RL - No – I was actually an actress – I have a BFA – I love acting and I was a dance major before, and when I went to NYU in the conservatory, you train in production, you train behind the scenes – you train in costume design and then I also trained on the stage which helps me tremendously when I’m hired as a producer and I need to cast. I can work with an actor if I’m running the casting session – I can see their strengths- I can see their weaknesses. Producing is my passion – I love making things happen. As an actor you don’t have that choice but as a producer I get to do that every day of my life. As a publicist I can announce the shows to whoever I’m choosing to announce it to and make it a reality and that is so exciting. I think that’s why I’m good at it, because I totally love what I do! RP - What is the most difficult part of publicizing a play? RL - It’s that part that you can’t control. You can’t control if Backstage West comes to see it or not or if the Los Angeles Times, sends a reviewer. Even though you’re doing your job, you can’t guarantee to your client that a certain newspaper or media outlet will show up. That’s when it becomes so difficult – sort of the unknown as I like to call it. I don’t know what’s happening at Lisa Fung’s desk that day, or what Dany Margolies has on her list that she wants to see, and that’s what kills me; when I do my job, but I can’t guarantee results . . . I have a lot of trouble with that. Even when you’re producing it happens. I’ve produced shows that are terrific, but somehow the audience hasn’t caught on to that show and no one is in the audience. You’re doing your marketing, you’re doing your part but nothing is a guarantee! There’s a part of me that loves it, and a part of me that really hates it because sometimes it’s difficult to put your head on the pillow at the end of the day and feel good about what you’re doing certain days. RP - Are there any theatres that you’d like to represent more than others? RL - Good question – the Tamarind is one – I’d like to be like their house publicist – I want to work at some of the larger theatres too - ultimately I’d love to do the Pantages – I want to be doing the Ahmanson, the Taper, but right now I’m happy with a lot of the 99 and 55 seat theatres that I’m doing and I feel that a lot of the theatres know me. I feel a lot of it has to do with the product - the quality of work is very important, and when you’re working with theatres, the quality of your work is as good as your product so when you have a better product you become a better producer, a better publicist. RP - Are there any theatres (without mentioning any names) that you said “I’ll never work with theses people again”? RL - Oh without a doubt. And a lot of them aren’t theatre companies – they’re actors and actresses who say “hey I want to do this show – will you publicize it for me?” And then you show up and you look at the scripts or the rehearsals and you say – “These are some bad actors – this is a bad script. I can’t push this! I can’t fight for this!” so obviously now I’ve gotten to the point where I can be a bit more selective – I read the script –I check out the actors - I try to be in on the casting process, but even so there are times when as a publicist there’s nothing you can do. The script seems OK and then they bring in a poor director, or the acting just isn’t good enough or the production just doesn’t come together. That’s when you have a conflict of interest, because they’re paying you to push the show, but I don’t want to publicize the show if it’s not good. That’s when I choose to say I’m never going to work with these people again because I can’t give them good service. Then on the other hand, I can’t tell reviewers I know and have built a relationship with – “Oh come on down and see this. This is a good show!” I’m not going to lie. RL - I would like to do it within the next five years. Owning a theatre serves so many purposes. A) that I’m a complete theatre geek, which I am. I love the theatre and I embrace it completely and B) I get to live in it! I get to live in the theatre and help people put up shows every day, and it would be my theater I can sort of monitor the quality of the work, and then I get to be the in-house producer and publicist which would be genius because you care about these shows and I’m not just coming in toward the end and I would know the quality of space they’re working in. if any problems arose, I'd be there, and financially it would be really terrific because I'm doing something that I love and make a living at it which raises the bar. I really want to help as many people as I can to put up shows. If I can do that by having my own space and I can say to people – “come in my space, I want to give you a good deal. You can’t afford it? That’s fine! Let’s work out some sort of box office percentage – let’s talk." It’s about helping people, because let’s face it – you’re not doing theatre to make money. You’re not doing it to become a millionaire so if I can make my living and help people put up shows, I’m a happy camper. RP - That implies that theatre does not make you rich, but does it provide enough money? Do you have an independent source of income? RP - Do you think you’ll ever go back to New York? RL - I think that I’ll go back if I have a show that goes to New York. That’s one of my other goals – to produce a show that will eventually open in Broadway, and eventually bring it back. RP - Have you thought of going back to acting? RL - Not lately – if the most perfect part in the world comes up and I couldn’t turn it down I might consider it. RP - What part would that be? RL - Probably the villain, comedic, sidekick – I love comedy! Many years ago I used to do stand-up and it went very well, but I didn’t love it – but it wasn’t my passion. People like agents and managers would get upset with me because I didn’t pursue it, but without realizing it, I was always producing theatre in New York. So when I moved here, I realized how much I missed it – so I said, why go back? Why not do it here? So I started my business and when I produce a show whether I get their graphics for a showcase or just helping them locate the right space or finding a director – finding a set planner; all of that is just as important and if I can be a part of that, that makes me happy! I love my business, I love running my own business, being my own boss – it’s all very rewarding. When I started my own business I didn’t know about Tax ID numbers from anything – it doesn’t matter! I had a vision and I knew that I had a vision and the power to help people and that’s how you start. RP - In running your
business, do you have the so called “normal” schedule – you know, RL - Sometimes it’s a 16 hour day – sometimes it’s two hours. There are days where I’m so busy I go non-stop for 14 - 15 hours and the next day is so good, everything’s taken care of, maybe I go see a show at 8 o’clock that night – but that’s me. I don’t want to punch a clock – I love it . . . it’s my time, my business, my clients. I can go anywhere I want and do anything I want. RP - So after a day of doing publicity or casting a show, what do you do to relax? RL - I love running! It’s good for the mind – when you’re working six or seven shows you can lose clarity and running keeps you clear. I feel like I’m juggling five or six balls in the air, and without clarity, one of them may drop. I like to relax with friends, spend time with my fiancée – just relax. RP - You’re getting married soon. RL - Yes – Next year in July. Theatre junkie that I am, I selected the time when theatre is slow so I won’t neglect my clients. We’re going back to New York for the wedding and then we plan to live here and I’ll go keep doing what I love and just try to keep growing. RP - If you were not doing theatre, what would be an alternative profession? RL - I’ve thought of being a lawyer, because obviously I have the gift of gab. But probably teaching. I love teaching – maybe little kids to middle school. You know, the sort of age where it really makes a difference. Maybe teach dance – or math. Something important. But in a way I feel that I teach now, because I help my clients learn the best way to do their show – the best way to handle their budgets – that kind of thing. RP - Do you have someone you look up to or would like to emulate? RL - Well, when I was younger I did. Over the years I’ve learned not to put people on pedestals. No one is perfect, and everyone has flaws, but there are many people I admire, but I’m comfortable with who I’ve become, but I’m learning from others and I’m trying to grow, but I like who I am. RP - What advice would you give a young person interested in working in this field? RL - Have a sense of awareness and be yourself. Because no one can do it like you can. Be sincere and honest. As far as other skills, for publicity, have good strong English skills, take some business courses, maybe some math or accounting. Knowing how to network, keep meeting people and have patience, because you have to pay your dues. You should also have a good sense of who you are, and your strengths, build on those and be sincere. RP - Is there one thing or one mistake that could happen when running a business? RL - The worst thing is to get to where you think you’ve done all you need for a client and then realize that you didn’t make that one phone call, or forgot to make that one contact. I think that’s my biggest fear. But now I have it controlled. I have a huge to do list in my computer and a PDA, so that I stay focused. I make my phone calls – send my emails and try to keep it in order. RP - If we could move forward thirty years to a “Lifetime Achievement Award” show, and you were receiving one, it would be for _ _ _ _ RL - For – for contributing to the advancement of theatre. (laughing) and for helping people in putting up their shows. For helping others to advance in theatre. By now the waiters have brought extra water and the restaurant is growing louder with the lunch crowd filling in quickly, a clear sign that this interview has just about reached its end. She continues to talk about her business and the need for commitment, and from the animated gestures and the sparkling eyes, it’s evident that there is a clear cut path in her mind and that there seems to be nothing that will stop her. If you’re a reviewer you’ve no doubt heard from Racquel, and if you’re a producer you’ll probably hear from her very soon. With that kind of drive, it won’t be long before the entire theatre community in Los Angeles knows about her. But remember – you read it here first! Comments? Write to us at: Letters@ReviewPlays.Com Click here for past interviews Editor's Note: Click here for followup article: Posted: 2003 > |
