Four weeks to World Premiere.
I start to get emails for email interview requests, and plans on getting local and national media to make pieces on the production.
Three weeks to World Premiere.
Email interview answers sent back to journalists. Some original pitches were rejected, more PR plans updated. AD is under pressure, I suppose, as things are not exactly falling in place yet. I am wary to put forward interview requests for him, even those that interrupt his rehearsal schedule. But to my surprise, he said yes to every single one. Extremely grateful.
Two weeks to World Premiere.
I was overwhelmed by phone calls from our PR agency and marketing officer of the theatre. No, filming has to be done this week, not that. OK, let me find out if it is possible to do this in the morning instead of in the evening. Yes, combining these sounds only logical.
Even I found myself annoying. Won’t the AD only wants his time 100% dedicated to his work at this stage? Yet I am still talking to him with various PR requests?
But I am obliged to do it. Ticket sales are not going well. There are plenty of seats left still.
(It was not unlike the infamous “Artistic Director VS Management” problem.)
I wish I knew at which period the creation is fragile, at which period it is still in progress but ready for the world to see. Being closer to the art-making would help, but what sort of intelligence would that take to balance the need of an artist and the need of the company management?