Literature

Here we have 2 articles which interview 2 of theatres leading producers. What is a producer and what do they actually do? "Whatever the job involves and whatever it's called - producing, creating, facilitating, enabling, realising - theatre can't happen without it." (Baggaley, L. 2008. Online for The Guardian). Therefore, it seems imperative to look toward these practitioners for input on my inquiry topic. 

Cameron Mackintosh: "I have been successful beyond anyone's wildest dreams" By Dominic Cavendish, 2014. The Telegraph. (http://www.telegraph.co.uk/culture/theatre/10842020/Cameron-Mackintosh-I-have-been-successful-beyond-anyones-wildest-dreams.html)

Credits: Miss Saigon, Les Mis, Mary Poppins, Cats, Phantom of the Opera

This article claims that Sir Cameron Mackintosh is "the most successful producer in the history of the stage musical" as he becomes the first Briton in show business to reach 1 billion in worth and join people like Richard Branson on the super-rich list. Does profitability of a show therefore make it successful? 

Mackintosh owns seven theatres and presides over several musical hits, including the worlds longest-running musical - Les Miserables. Does that therefore mean that longevity equals success? 

Ultimately, it is the audiences who bring in the money and thus keep the show open for longer. I feel this stresses how important it is for a show to connect with and entertain its audiences. It suggests to me that the audiences who come and see the show are the ones determining whether the show is a 'creative success' or not. It is important to meet our audiences needs and interests and consider our relationships with them, in addition to the ones at work/on stage. 

"I'm forensic in every detail, in every department. The real originality comes from everyone else but I seem to have a talent for going 'that doesn't work - why not try that?' I'm good at making other people go the extra yard."

The above quote from Sir Mackintosh, I feel, demonstrates how important both interdisciplinary skills and leadership roles are in the creative process of a production and its success. 

"This particular cycle is over. What it needs is a new Cameron Mackintosh to come up and work with a younger generation, do it their own way and find a new audience."

Michael Harrison: "It's a big job. I don't have any hobbies. Producing is all I do." By Mark Shenton, 2016. The Stage. (https://www.thestage.co.uk/features/interviews/2016/michael-harrison-big-job-dont-hobbies-producing/)

Credits: Qdos Pantomimes Ltd, The Bodyguard, Annie, Funny Girl, Beautiful, Young Frankenstein, Gypsy

From the title of this article we understand that being a producer must take a lot of commitment and dedication. Micheal says that good theatre producers know how to "juggle plenty of balls simultaneously" and "know the nuts and bolts of putting on a show." Therefore, great managerial skills and organisational skills are essential, as well as a general understanding of each element and discipline that goes into putting on a show.

Pantomime is where Michael's love of theatre and producing experience began. He talks about tradition as well as the "introduction of stars beyond that panto legacy". He believes that panto  should "address its local audience directly" and says former colleague and actor, Gerard Kelly, believes it is "a celebration of local culture." Is theatre about bringing people together? Both on and off the stage? This links in with the Norwegian principle of Dugnad as discussed in other literature where performances consider its audience; making it relevant and relatable to their culture and community. Whilst remaining true to traditions, modern pantomimes also adhere to current interests and keeps up to date with today's media stars in order to draw in new audiences and have relevance to today's society. 

Micheal talks about the importance of marketing and external factors that can affect the success of a production such as: timing, season, and location. Marketing is about "finding and keeping customers" (businesscasestudies.co.uk). Our audiences are our customers in theatre which implies that we rely on them to become and remain successful as a show. It suggests that the relationship we form with them is paramount.