Interview

Josh Rosenblum

By Phil Wilmott

I really enjoyed the star-studded opening night of Sinatra, the hi-tech tribute to the late, great singer that's unexpectedly successful at combining archive footage with a fantastic live band and dancers. Earlier in the week I spoke to producer Josh Rosenblum, one of the creative forces behind the show. He was naturally apprehensive about how this unusual piece would be received in London but brimming over with pride, and excitement about his forthcoming plans.

Q: You're production company sounds exciting. What's the philosophy behind what you do?

A: Running Subway focuses it's production and management attention on iconic-type properties...adding value to those with existing inherent worth. "Sinatra" is the perfect example. It is an event.

Q: How did the Sinatra show come about?

A: About five years ago James Sanna approached the Sinatra Estate with the concept of doing a large-scale entertainment which celebrated the genius of Frank Sinatra. We had no idea what shape the show would take at the time. There was only one real promise...nobody would play Frank Sinatra but Frank Sinatra. After months of exploration in the Estate vaults we came across the never before seen core footage which allowed us to create this experience.

Q: How is Sinatra represented on stage?

A: Frank Sinatra plays himself. Using an array of projection and LED systems and complex automation, we can move those images about the stage. In almost all cases we have painstakingly removed the original backgrounds. We have separated vocal tracks which allow him to sing again (better than ever) with a live 24 piece powerhouse orchestra, we have the best dancers on the West End to perform with him and using audio recordings, he's able to tell his own story.

Q: Doesn't it feel rather mawkish?

A: It feels absolutely celebratory in a communal sort of way. It would be mawkish if there was someone pretending to be him. The footage is beautiful and you are reminded what made him the superstar that he was. We do not pretend he is there, but it is often easy to forget that he is not.

Q: What's been the audience reaction so far?

A: The reaction has been remarkable. I hear more unsolicited raves then I've ever heard in my life...people are already booking return visits. They want to bring their parents, or grandparents, or children. It is actually quite emotional.

Q: Why do you think Sinatra is still so popular?

A: He spoke through the music...some of the greatest ever written. The music still has relevance. He was the epitome of cool...old world and new world, comforting and dangerous. He still is.

Q: Can you remember the first time you heard a Sinatra track?

A: Growing up in New York and New Jersey I cannot remember NOT hearing Frank Sinatra.

Q: What's you're favourite track and why?

A: My favorite track in our production is "I'll Be Seeing You". It perfectly captures a time and a place that no longer exist. The performance is so relaxed and connected. He seems to be singing it to each person in audience directly.

Q: Did you ever meet him? If not what sense do you get of him as a person?

A: I never had the opportunity to meet him but I certainly know many who did know him quite well. I know he was absolutely generous to a fault, in all the sorts of ways that matter. I know he cared about his family paramount, and that he was an enormously complex person. He spent five generations in the public spotlight and there were many chapters to his great career.

Q: People, rightly or wrongly associate Sinatra with the Mafia. What's your opinion on the rumours?

A: I've heard them, I've read them. They are not a big part of our show because this is a Musical, after all. The songs are dominant.

Q: UK theatre critics are tough, Are you scared?

A: I am emboldened by the reaction of the audiences. I am very proud of the work on that stage. Nevertheless it is a large endeavor for our rather new company so I hope the critics respect it the way the audiences seem to.

Q: What else is your production company working on?

A: We just finished presenting a production of "Peter Pan" at the Theatre at Madison Square Garden starring Cathy Rigby for the holidays. We're currently presenting "Bodies - The Exhibition" (a museum style exhibit of actual preserved human bodies) at an exhibition space we built at the South Street Seaport in NYC. We're doing a workshop now of a new musical version of Dr. Seuss' "How The Grinch Stole Christmas" which we hope to turn into an annual type holiday event and which is being overseen by Director Jack O'Brien. We're also working with the Agatha Christie estate on an exciting project.

Q: How did you personally get involved in theatre?

A: Although I have a degree in Engineering, I started as a performer (not a very good one I'm afraid), and ended up Producing while at the University of Michigan. That was 25 years ago.

Q: What kind of shows attract you to the theatre?

A: I like unexpected type nights out. Shows with an edge and attitude. SINATRA (the show and the man) falls under that category.

Q: Who are your favourite performers?

A: Some years back while working at Dodger Productions in New York, we presented Ralph Fiennes in "Hamlet" on Broadway. It was a remarkable performance. I'm a Nathan Lane fan (I worked on both his Broadway "Guys and Dolls" and "Funny Thing Happened On The Way To The Forum").

Q: Best ever night out at a show?

A: When I was still in high school I saw "Equus" on Broadway. That show, and the musicals "Sweeny Todd" and "Pippin" probably changed the way I thought about the power of live entertainment. A Bruce Springsteen concert works for me as well.

Q: Is it harder to get a show on in London or the USA?

A: It is harder for me to get a show on in London, but I do not think it is harder in general. There seems to be an enormous amount being done and it is generally a very friendly environment. We've had a vast amount of support from our General Managers and Co-Producers at ACT Productions there.

Q: What are the differences?

A: I think the audiences in London are a little more accepting of a wider range of styles of entertainment.

Q: How can we get younger people into the theatre?

A: We need the most talented voices of our current generation writing for the theatre, instead of (or in addition to) film and television. The audience is waiting for the material.

Q: What are you're favourite places in London?

A: Right now my favorite place is the last row of the stalls at the London Palladium watching the audiences as they file past after seeing the show.

And I believe him.