If Raising Money Feels Gross, You’re Doing It Wrong

Written by Producer & TMS Mentor, Jonathan Hogue

If you ask any theatre creator what the worst part of their job is, I can almost guarantee they’ll all say the same thing:

Raising money.

Making theatre is expensive. Even a simple industry reading can cost $10,000+ once you factor in paying your company members, renting space, printing scripts, and all the little things that add up quickly.

And in the early stages? That cost usually falls on you.

Which is why asking for front money investment can feel so vulnerable. And icky. You’re going to friends, family, and colleagues - and suddenly the pressure is on you to deliver something worthy of their trust. That pressure can be paralyzing. It might even be the reason you have a great script sitting on a shelf collecting dust, waiting for the “right moment”...

But if you’ve been on my weekly coaching calls, you know this is something I feel strongly about:

You are not begging for money.
You are offering an opportunity.

And that shift in mindset changes everything.

With that in mind, here are a few ways to approach fundraising that make it not only easier, but more effective.

1. Be Transparent

Fundraising in theatre often gets a bad reputation. We’ve all heard of producers who overpromise massive returns on a show they believe is "the next Hamilton", only for investors to lose all their money when the show goes to Broadway. 

So don’t do that.

You don’t need to put on a 'used car salesman' persona. You don’t need to inflate projections. You don’t need to pretend this is a guaranteed win.

Be honest. Tell your investors what this stage actually is: a step in the development process. A chance to learn more about the piece. An opportunity to build momentum.

Yes, this particular reading or workshop could result in a huge momentum shift, like more investors or an immediate commercial production... But it might not at this stage. And that’s okay. Your job is to present both the risk and the potential reward clearly, and let people opt in with eyes wide open.

2. Be Specific

“Do you want to invest in my show?” is a very hard question for a prospective investor to answer. A more structured pitch is far easier to respond to. 

Professional productions don’t just ask for money - they define the opportunity. For example: a Broadway producer usually presents a chart to prospective investors with multiple investment thresholds, each level offering increasing benefits like opening night tickets, billing, and financial kickers. The prospective investor decides their level of investment based on those benefits. 

You should do the same at your scale.

Create a framework:

• What is the minimum investment?
• What does an investor receive at each level of investment (opening night passes, kickers, updates, credit)?
• How is the money being used at this stage?

Clarity builds confidence. And confidence leads to yes.

(FYI - I advise consulting with an experienced producer or general manager before offering terms to prospective investors. Generosity is great in the early stages, but overpromising early can hurt you later.)

3. Appeal to Their Interests

Investors don’t just invest because they think they’ve found the next Hamilton.

They invest because they feel connected to the material, and to you.

Some people are excited by the creative process. Some want to support new work. Some just want to be part of something meaningful. Your job is to figure out what matters to them.

So invite them into the journey. Share updates from rehearsal. Let them hear how the piece is evolving. Give them access they wouldn’t otherwise have, like behind the scenes content or private updates. 

For many people, that insider window is just as valuable as any financial return.

4. Project the Future

You don’t need to have everything figured out. But you do need a vision.

An investor wants to know: Where could this go?

That might look like:

• Reading → Workshop → Regional Production → Broadway/Off-Broadway transfer
• Reading → Concert → Fringe Festival → London run

The specifics can change. They probably will. But showing that you have a pathway - that this isn’t just a one-off event, but part of a larger strategy - builds trust and excitement.

People invest in momentum. 

Yes, raising money is uncomfortable. It still is for me.

But when you start to see it for what it really is - not a favor you’re asking, but an opportunity you’re offering - it becomes something else entirely. 

Not a transaction, but a collaboration. An expansion of your community.

So go raise that money.

I’m rooting for you.