Under the influence
Theatre is not a “must have” industry. Unlike the staples of life – such as food, water, electricity etc – it is an industry that relies on people getting off their backside and doing something. It relies on individuals who inspire, and hence have influence on the rest of us to either take part in, or watch the end result.
Theatre is not a “must have” industry. Unlike the staples of life – such as food, water, electricity etc – it is an industry that relies on people getting off their backside and doing something. It relies on individuals who inspire, and hence have influence on the rest of us to either take part in, or watch the end result.
The theatre industry in Australia is full of influential people – those who can command results, and those who hold the future of the theatre industry in this country in the palm of their hands.
Today, I thought I would compile a list of the top five most influential people in Australian theatre as it stands. Some will be obvious, some perhaps not so obvious, but I think we need to look at such a task from different angles and come up with the five most crucial people in the industry.
So, if the theatre world ended tomorrow and needed to be re-built, here are the five people I would put in the bomb shelter:
CATE BLANCHETT
Obviously Blanchett went through her fair share of doubt when taking the top job at the Sydney Theatre Company. Many said it was a “star power” announcement, others said “so what if it was”. At the end of the day Blanchett has become a powerbroker in Australian theatre. Her name translates to dollars. Her photograph translates to space in the papers. The power she holds is not totally artistically-oriented, but her stranglehold on the Sydney Theatre Company ensures that the company itself remains in the limelight, and continues to grow. Blanchett will remain a key player in the theatre industry over the coming years, and her name will most likely continue to draw in record box office takings and sponsorship for the STC.
JOHN FROST
Frost has produced theatre in this country for decades but his recent success with shows like Wicked and Chicago, as well as Phantom Of The Opera, have put him in an enviable position. With Wicked, he all but re-wrote the way shows are marketed and produced here. He has set a map that others will follow when it comes to the modern day success of long-running shows. Frost’s hands on role with his shows ensures he is a producer that will continue to be revered into the future. If he can make a show like Dr Zhivago work here, then I think his influence on the industry will only continue to grow.
DAVID CAMPBELL
David Campbell has tried his hand at many things in the entertainment world, but his first love is theatre, and he’s darn good at it. His keen eye both on and off the stage ensures that Campbell will continue to have an influence on the industry. He is marketable enough to sell out shows across the nation, polished enough to host events such as the Helpmann Awards and smart enough to take charge at the Adelaide Cabaret Festival. Campbell’s efforts with the Festival have been nothing short of stunning – particularly when it comes to attracting top international guests – and that event will continue to grow under his leadership.
JAMES MILLAR
One from left field, some might say, but James Millar and his composing partner Peter Rutherford hold the keys to the future of Australian musical theatre in its own right. Home grown musicals are needed and Millar and Rutherford continue to deliver quality shows that, with strong backing, will emerge as truly memorable, definitive home grown shows. The duo proved with The Hatpin that they can write dark, emotional musicals that will resonate with audiences, and with Love Bites showed their more comedic side. Millar may be amongst the quiet achievers in Australian musical theatre, but he will have a great influence into the future.
BRYCE HALLETT
Hallett continues to demand a strong element of respect when it comes to the media circles. The biggest challenge for him will be getting the space in the print edition of The Sydney Morning Herald and ensuring that more time, respect and attention is given to Fairfax’s online arts coverage. Hallett, when given the space, has plenty of sensible, constructive things to say. There’s no press releases backing him up – it’s unique, interesting concept. Hallett, and the Herald, has the chance to wield a significant amount of arts power if they give themselves the chance.
Some will agree with the five I have mentioned above, others will disagree. But one thing we can probably all agree on is that all five have played, and will continue to play, a significant role in Australian musical theatre and have contributed to where it stands today.
If they use their influence in the coming years, we’ll be in safe hands.