W(H)ITHER THE DIRECTOR?
I have just completed an exhaustive internet search on the riveting if slightly creepy spectacle of Graham Norton hunting Nancies who would do anything for Andrew Lloyd Webber.
It appears that despite the huge publicity generated around the upcoming new- minty Oliver co-production by the Lloyd-Webber/Cameron Macintosh/ Saturday night TV Audience Monopoly, there does not seem, at time of writing, to be the merest mention of a director involved with or attached to the production.
Even during the worst of the bad old days of meglomanic Producers, there was always at least in-nomine, some poor benighted soul loosely described as A Director attached to most musicals.
This was the poor bugger tasked with shoehorning often talentless, tone-deaf, twin-left-footed, usually generously endowed mistress or catamite of the producer into the lead role of the show. Who doubtless was there to be fired when said adorable Doxie felt that (usually) she and (occasionally) he was not getting quite the level of attention their status as Blow-Job Bestower of The Week, deserved.
In return for this, the "director" might be permitted a small level of interest in what remained of the creative decision-making processes involved in what used to be known as the mise-en-scene
These days, the TV Musical casting machine provides not so much as a whiff of directorial input on a theatrical project, until the entire creative mess has been reduced to the necessary fait accompli by the commercial vested interests lined up in its fragrant wake.
In all analysis, Cameron has provided a breathless London with two previous Oliver! productions, the directors of which, though highly regarded in their own Soho Lunchtimes, have not gone onto be household names. Thus adding further weight to the now depressingly prevalent attitude, that if the public don't see them and the paps don't consider them worth risking a broken nose for, then they are entirely irrelevant.
Food for thought for anyone foolish enough to be currently considering the role of a director of musicals, as a career option.........
Stop press:Stop press:Stop press:Stop press:Stop press!
It has just been announced that Matthew Bourne will co-direct and choreograph the above.
Rupert Goold has now been brought onboard as the director.
However, I am still entirely nonplussed as to how a director can direct a show he or she has not cast?
Perhaps they might be good enough to enlighten us as to whether it matters or not?
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