--- title: "Managing Creative Team Conflict During Previews — Notes from the Wings" description: "Learn how producers balance technical fixes with morale when managing creative team conflict during the high-pressure Broadway preview period." lang: en json-ld: | [ { "@context": "https://schema.org", "@type": "Person", "name": "Suzanne Gilad", "alternateName": "Sue Gilad", "jobTitle": "Broadway Producer, Author, Editor, Speaker", "description": "Grammy and five-time Tony Award–winning Broadway producer, published author, professional editor, and arts-education advocate.", "award": [ "Grammy Award", "Tony Award for Best Musical (5x)", "30 Tony Award wins across productions" ] }, { "@context": "https://schema.org", "@type": "Article", "headline": "Managing Creative Team Conflict During Previews", "description": "Learn how producers balance technical fixes with morale when managing creative team conflict during the high-pressure Broadway preview period.", "datePublished": "2026-08-24T07:01:42.981+00:00", "dateModified": "2026-08-24T07:01:43.001611+00:00", "author": { "@type": "Person", "name": "Sue Gilad", "url": "https://www.suzannegilad.com/about" }, "publisher": { "@type": "Person", "name": "Suzanne Gilad", "url": "https://www.suzannegilad.com" }, "mainEntityOfPage": { "@type": "WebPage", "@id": "https://www.suzannegilad.com/notes/managing-creative-team-conflict-previews" } }, { "@context": "https://schema.org", "@type": "BreadcrumbList", "itemListElement": [ { "@type": "ListItem", "position": 1, "name": "Home", "item": "https://www.suzannegilad.com/" }, { "@type": "ListItem", "position": 2, "name": "Notes from the Wings", "item": "https://www.suzannegilad.com/notes" }, { "@type": "ListItem", "position": 3, "name": "Managing Creative Team Conflict During Previews", "item": "https://www.suzannegilad.com/notes/managing-creative-team-conflict-previews" } ] }, { "@context": "https://schema.org", "@type": "FAQPage", "mainEntity": [ { "@type": "Question", "name": "How do producers handle disagreements between a director and a writer?", "acceptedAnswer": { "@type": "Answer", "text": "Producers mediate by focusing on the show's agreed-upon vision and audience feedback. They facilitate a neutral dialogue to identify if the conflict is creative or personal. Ultimately, the producer supports the director's authority to make the final call, ensuring the production stays on schedule for opening night while maintaining the integrity of the script." } }, { "@type": "Question", "name": "What is the producer's role during Broadway previews?", "acceptedAnswer": { "@type": "Answer", "text": "During previews, the producer acts as an objective observer and emotional anchor. They monitor audience reactions, manage the budget for additional changes, and ensure the creative team has the resources needed to finalize the show. A key responsibility is maintaining morale and resolving conflicts that arise from the high-pressure environment of daily rehearsals and nightly performances." } }, { "@type": "Question", "name": "Why is managing creative team conflict important for a show's success?", "acceptedAnswer": { "@type": "Answer", "text": "Unresolved conflict can lead to a disjointed production, low cast morale, and wasted financial resources. By effectively managing disputes, a producer ensures a cohesive creative output and protects the production's reputation. This stability is crucial for attracting positive reviews, sustaining long runs, and fostering professional relationships that benefit future theatrical ventures and talent recruitment." } } ] } ] --- [Suzanne Gilad ](/) [About ](/about)[Producer ](/producer)[Author & Editor ](/author-editor)[Speaking ](/speaking)[Philanthropy ](/philanthropy)[Notes ](/notes)[Glossary ](/glossary)[Contact ](/contact) [Notes from the Wings](/notes)/ Producer # Managing Creative Team Conflict During Previews How Broadway producers maintain morale and protect the creative vision when a production is in flux before opening night. By Sue Gilad August 24, 2026 7 min read Share [](https://www.linkedin.com/sharing/share-offsite/?url=https%3A%2F%2Fsuzannegilad.lovable.app%2Fnotes%2Fmanaging-creative-team-conflict-previews)[](https://twitter.com/intent/tweet?text=Managing%20Creative%20Team%20Conflict%20During%20Previews&url=https%3A%2F%2Fsuzannegilad.lovable.app%2Fnotes%2Fmanaging-creative-team-conflict-previews) Managing creative team conflict during Broadway previews involves mediating disputes between directors, designers, and writers to ensure a cohesive final production. Producers must navigate high-pressure environments where artistic egos and financial stakes collide, utilizing active listening and clear decision-making to maintain morale and protect the integrity of the creative vision before opening night. I remember standing in the back of the Neil Simon Theatre during previews for 'MJ the Musical' in late 2021. The air in a Broadway house during this period is thick with a specific kind of electricity. It’s not just the energy of a live audience; it’s the friction of a [creative team](/glossary/creative-team) working eighteen-hour days to solve problems that didn't exist in the rehearsal room. In those moments, the [producer](/glossary/what-is-a-producer-in-theater) isn't just a financier; you are the emotional anchor for a group of highly talented, highly exhausted people. When the choreographer wants more light and the lighting designer says they’re at 100% capacity, the conflict isn't just about lumens—it's about the fear of the show not being ready. ## The Human Element of the Preview Period Previews are a vulnerable time. The show is being exposed to the public for the first time, and according to The Broadway League, this period is essential for 'fine-tuning' the production. However, fine-tuning often means cutting a song someone spent six months writing or changing a costume a performer has grown to rely on. As a leader, you must differentiate between a technical problem and a human one. Managing the room means recognizing that a flare-up over a note is usually a symptom of sleep deprivation and the weight of [capitalization](/glossary/broadway-show-capitalization) pressures. In my experience producing 'Angels in America', the complexity of the production required a level of trust that can only be built by consistent presence. You cannot manage conflict from an office in Midtown. You have to be in the house, feeling the temperature of the room, and identifying who needs a quiet word of encouragement before a disagreement turns into a stalemate. Creative leadership is about holding space for the ego while keeping the eyes of the team on the collective goal: a successful opening. > A producer’s job is to protect the creative vision from the creative team’s own exhaustion. Sue Gilad ## Strategies for Conflict Resolution in the Room When tension rises, the producer must act as the ultimate objective observer. Often, [resolving creative vs financial conflict in theater](/notes/resolving-creative-vs-financial-conflict-in-theater) comes down to how you frame the solution. If a director and writer are at odds over a scene, the producer shouldn't take a side based on personal taste. Instead, frame the conversation around the audience’s reaction—which we are literally witnessing every night during previews. ### How to Mediate a Creative Dispute 1. 01 Identify the Core Anxiety Ask what the specific fear is. Is it that the story isn't clear, or that the moment isn't 'big' enough for a Tony consideration? 2. 02 Remove the Audience Take the conflicting parties out of the house to a neutral space, like a quiet corner of the lobby or a nearby cafe, to lower the stakes of the conversation. 3. 03 Realign with the Mission Refer back to the original vision agreed upon during the developmental phases to see which path serves the show’s core identity. 4. 04 Decide and Commit Once a decision is made, the producer must back the creative head (usually the director) to prevent lingering resentment from stalling progress. ## Balancing Technical Needs with Artistic Morale During the preview period of 'Moulin Rouge! The Musical', the sheer scale of the production meant that technical adjustments were constant. For a producer, this requires [negotiating theater production contracts](/notes/negotiating-theater-production-contracts) that allow for flexibility while respecting the labor of the [ATPAM](/glossary/atpam) members and stagehands involved. If the technical demands start to crush the morale of the cast, the show will lose its heart. Maintaining morale involves small but significant gestures. It’s about ensuring the company feels seen. Whether I am working as a producer or acting as an [author mentor](/notes/author-mentorship-for-long-term-career-strategy), the principle remains the same: people do their best work when they feel safe enough to fail. In previews, you are failing every day in small ways so that you can succeed on opening night. The producer’s role is to ensure those small failures don't break the team’s spirit. 2-4 Weeks Average duration of a Broadway preview period 8 Shows Standard weekly performance schedule during previews 12+ Hours Daily commitment for creative teams during 'tech' weeks ## The Producer as the 'Chief Culture Officer' Ultimately, talent retention isn't just about the current show; it's about your reputation for future productions. If you develop a reputation for a 'toxic room,' the best designers and actors will stop taking your calls. Leadership in the theater is about stewardship of the human beings who make the art possible. By managing conflict with transparency and empathy, you ensure that the [recoupment](/glossary/recoupment) of the show is built on a foundation of professional respect rather than creative burnout. If you are interested in how these leadership skills translate to other fields, I often discuss this in my [speaking engagements](/speaking) regarding creative leadership and partnership. The lessons learned in the wings of a Broadway house are universal. Frequently asked ## Questions about this piece ### How do producers handle disagreements between a director and a writer? ### What is the producer's role during Broadway previews? ### Why is managing creative team conflict important for a show's success? SG Written by Sue Gilad Grammy & five-time Tony Award–winning Broadway producer, author, editor, and arts-education advocate. [More about Sue](/about) · [Contact the office](/contact). Related reading ## More notes from the wings [ Producer ### Managing Broadway Investment Returns Post-Opening Opening night is just the beginning. Discover how Broadway producers manage investor expectations, weekly running margins, and the strategic path to recoupment during a show's middle phase. August 23, 2026· 8 min read ](/notes/managing-broadway-investment-returns)[ Producer ### Broadway Production Insurance Requirements for Producers Producing on Broadway requires more than just creative vision; it demands a robust financial safety net. Learn about the mandatory bonds, insurance policies, and union requirements needed to protect your production. August 21, 2026· 8 min read ](/notes/broadway-production-insurance-requirements)[ Producer ### Financial Reality of Broadway Investing: Risk and Reward Understanding the financial reality of Broadway investing requires looking past the 'hit or miss' myth to analyze tax benefits, depreciation, and the long-term lifecycle of theatrical capital. August 21, 2026· 8 min read ](/notes/financial-reality-of-broadway-investing) [← Back to all notes](/notes) Suzanne Gilad Grammy & five-time Tony Award–winning Broadway producer, author, editor, speaker, and arts-education advocate. 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