This documentary follows the remaking of Miss Saigon for the Prince Edward Theatre in 2014, 25 years on from its opening in 1989 at Drury Lane. I found it absolutely fascinating to watch. In reference to previous literary source, Cameron is the most successful theatre producer in English history and has a reputation for producing fabulous shows, therefore he is someone who I would love to work for. I was intrigued to gain an insight into what makes him so successful and how, in reference to my inquiry 'Understanding interdisciplinary skills within a Musical Theatre Production', how all the elements and disciplines in theatre come together to create the spectacle that is Miss Saigon.
It was interesting to watch a documentary rather than read a piece of literature because you can see people's actions as well as hearing their words - and as the well know saying goes, "actions speak louder than words." A big thing I noticed was how involved Cameron was as a producer. A producer is "responsible for making arrangements for every aspect of the production in order to prepare it for presentation to the public on stage, subsequently managing it during the course of its production run and finally making all necessary closure arrangements" (Stage One). In my practice, the producer is effectively the boss and he/she ultimately makes all final decisions. Previously, I have always come into contact with producers, particularly during initial and final stages of rehearsals, but I've never quite seen involvement like I did in this documentary with Cameron. He seemed very attentive at the rehearsals and very hands on creatively.
At 4:35 minutes into the documentary, they filmed a great discussion and musical process that involved Cameron Mackintosh (producer), Claude-Michel Schoenberg (concept, book, music), Bob Avian (Choreographer), the musical director, associate choreographer and pianist. They were reworking an extension to the musical number 'American Dream' in order to enhance the narrative. It was amazing to see this creative process led by Mackintosh in regards to the idea and Claude-Michel leading the orchestration and execution of it. The ideas and execution were then enhanced and fulfilled by the creative people underneath. It confirms my belief that leadership and managerial skills are essential to successful interdisciplinary work and thus creative success. It also leads me to believe that the context practitioners in theatre are given to work with, i.e. The music and the book, are at the core of both great disciplinary and interdisciplinary work. We can connect this with the recent campus session where Adesola said that "theories should be at the core of your inquiry." Context to a musical theatre production is like theory to an inquiry. It feeds the creativity and the topic. It is why I feel my current production, Dirty Dancing, is so successful. "As long as she says 'i carried a watermelon', 'nobody puts baby in a corner' and the lift happens, the audience go nuts." (Head Carpenter). This show was created as a result of the film which in it has the above iconic moments. Because everybody loves the film and loves the popular music used throughout it, then as long as we live up to their expectations and experience of that - the audience love it!
Another thing I found fascinating to watch was how they introduced the children of the company and initiated their involvement. The assistant director led this first stage and before doing any rehearsal or material from the show, aimed to form bonds between the children and adult company - this so that the children "get used to the actors" and "build trust". He used group play, dance, contact in the form of hugging and activities involved in the show but done out of context in order to help this.
Watching the above stressed the importance of relationships within a company and how connecting with your co-workers is paramount for optimum professional success in the theatre. We can link this to 'affiliation' (reader 3) which is the forming of close relationships. The activities that the adults took part in with the children were effectively accentuated versions of what we also do as adults to form bonds - things like the meet and greet at the start of a rehearsal period or going to the pub afterwards to wind down and get to know one another.
I believe that positive feedback and providing support are both essential elements of these relationships and successful, interdisciplinary work. There was evidence of the above in people's actions as well as in their words. You could see the girls and guys working together in big dance number, 'The Heat is on', to alter grips. They were working collaboratively to get better assistance or increased comfort in their partner work. There was positive body language in the form of hugging, laughing, tears of joy and applause - particularly after the 'sitzprobe' for example or at the end of a working day. "A Sitz Probe is the first meeting of orchestra and cast. They sing and play through the show together for the very first time at this rehearsal, without any staging or other production elements." (Renegade Theater Company, 2014). It not only shows support of one another's skills and expertise but appreciation for it, creating a positive working environment and aiding affiliation i.e. close relationships and emotional attachments to the community of practice. It makes me believe that the environment and atmosphere we work in, created by us collectively as practitioners, aids interdisciplinary work and excellence in creativity.
There was also verbal feedback and support which seemed to come more from the hierarchical positions, such as the director and producer. Examples of these were "well done", "thank you" and questions like "do you feel safe?" It is important to reassure the company and reiterate that you've a) done a good job, b) been appreciated and c) feel comfortable in your working environment. We can again connect this back to the concept of affiliation and having "a network of support that will help is when we are in need" (Crisp & Turner, 2007).
We got a great insight into the iconic moment that is the HELICOPTER and quickly discovered that it takes people from Set + Projection + Light + Sound in order to "....deliver this incredible beast" (Set designer). This infamous part of the show is a great example of the team work required and the combining of several creatives/experts needed to execute such a moment.
So, why was the show so successful?
"We have made a quantum leap with both the ambition and the execution." (Cameron Mackintosh, Producer)
"There's something about the deity of passion and extremety of emotion in that show which really seems to spill out beyond the theatre and even beyond word of mouth, and hit something in people's minds." (Dominic Cavendish, reviewer for The Telegraph)
"It was the smoothest, easiest, most satisfying first preview of any show I've done." (Manager)
From watching this documentary and using it as a literary source, many ethical considerations were highlighted. I have discovered that you have to be extra careful when transcribing data. It took much longer than anticipated to gain accurate quotations than in literature; and there were so many people talking at different times, that it made it harder to identify roles accurately and easier to paraphrase.
It was also extremely beneficial for myself as a practitioner learning about and putting names to all these influential creatives within my industry. I have extended my knowledge of choreographers, directors, composers and so on. Cameron produces many of the most successful musicals to date including Les Miserables, Phantom of the Opera, Follies and Mary Poppins, and several practitioners stated in the documentary that they have worked for Cameron before. We can link this to 'communities of practice' (Lave & Wenger) and 'networking' (module 1). If I was to come across or work with any one of these individuals, I am in turn opening my communities of practice and networks up by several circles, this due to their involvement in many a show and with many other experts. The knowledge gained from this documentary in regards to experts in my field is therefore invaluable and could even benefit me in auditions or meetings with these people. If I have made an effort to get to know the experts and their work, it demonstrates positive character traits such as interest and appreciation - traits that will only benefit me in my approach and thus my practice.
It was amazing watching the end credits and realising how many people were involved in the making of this show. The list felt endless and it really hit home how much of a team effort putting on a musical theatre production is. The end credits to a documentary feels to me like the bows at the end of a show. I sat and watched them all, astonished by the sheer amount of effort and input involved. In a production however, it is normally only the performing company that take a bow. We can argue that the applause is for the production as a whole but it would be great if we could acknowledge the backstage and front of house crew. During my interview with the head carpenter, he told me about how on the last night of a show he did, the leading man stopped the applause to do a thank you to the crew. "No ones every done that before, that was a nice little touch at the end of the tour." This demonstartes how important a little appreciation and acknowledgement for others and their work is in the work place.
It was amazing watching the end credits and realising how many people were involved in the making of this show. The list felt endless and it really hit home how much of a team effort putting on a musical theatre production is. The end credits to a documentary feels to me like the bows at the end of a show. I sat and watched them all, astonished by the sheer amount of effort and input involved. In a production however, it is normally only the performing company that take a bow. We can argue that the applause is for the production as a whole but it would be great if we could acknowledge the backstage and front of house crew. During my interview with the head carpenter, he told me about how on the last night of a show he did, the leading man stopped the applause to do a thank you to the crew. "No ones every done that before, that was a nice little touch at the end of the tour." This demonstartes how important a little appreciation and acknowledgement for others and their work is in the work place.
I have learnt that both disciplinary and interdisciplinary work is key to putting on a musical theatre production. You require experts in a particular field, who can demonstrate great discipline specific skills, to come together in interdisciplinary practice. A practice in which they share knowledge in order to collaborate and to combine and facilitate one another's creative ideas. I have learnt that affiliation, support and management are essential in successful interdisciplinary practice; and that skills such as being adaptable, time efficient and passionate, are key interdisciplinary skills for myself as a dancer as well as any theatre practitioner.
"There's so many people that play a vital role in this production and now is our chance to show everybody, even the people who aren't on stage, the lights, the sound - everyone shined that night." (Eva Noblezade, Actress playing lead role of Kim)
"You think you know a lot of things, no you don't. As soon as you talk to him you go 'oh yeah, that makes sense!' He's great." (Jon Jon Briones, actor playing The Engineer in reference to the fight choreographer)
"He's called the engineer because he mechanically works his way through everybody and gives them what they didn't fix in situations." (Laurence Connor, Director)
"You've got to make decisions quickly and adapt to changes." "You've got to be able to react fast." (Bruno Poet, Lighting design)
"They're all the creme de la crime. You're working with the best in every field in stage, in the orchestra pit, front of house, so you've just got to keep up." (Mick Potter, Sound design)
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