THE BRIEF
A premium classical-ballet date in Asia, in the format more typical of an arts presenter than a commercial touring promoter. The producing partner needed an operating backbone — someone to take the show from the rights holder’s contract through to the curtain, with the ticket-side economics that an arts presenter often does not own.
WHAT WE DID
Production
Run-of-show, technical advance, vendor pool, on-site production team. The classical-music technical bar — rehearsal sequencing, pit layout, orchestra coordination, stage clears — adapted to the venue.
Venue capacity planning
Drew the seating map against the production rider — sightlines, restricted-view zones, accessible seats, working pit perimeter. Reconciled the planned capacity with the venue’s licence and the rights-holder’s hold lists.
Event management
End-to-end on-site management. Front of house, stage management interface, hospitality, security, audience flow. The “everything else” layer that decides whether the night runs to time.
Cash-flow
Designed the financial flow across rights-holder advance, vendor schedule, ticket settlement and post-show settlement — with a working buffer for the gaps between when the box office settles and when the deposits drop.
OUTCOMES
- Show ran to time, technically clean, with no front-of-house incidents.
- Capacity plan held against the rider; no last-minute reseating.
- Cash-flow architecture meant the producing partner did not finance the gap from working capital.
CREDITS
Producer / consulting partner: SROAST Entertainment · Region: Asia