Interview

Simon Collier

By Phil Wilmott

The costs and financial risks of mounting shows in the West End means that many independent producers fall by the way side leaving it to the two or three big gun organisation, who often own the theatres, to dominate the field. Undaunted the fledgling Omar Okai and Simon Collier producing partnership are stepping up for the challenge. They currently have a new show, called "Preacherosity", playing at the Jermyn Street Theatre, the West End's smallest venue, but, Collier tells me, they've got big plans for the future.

Q: How does the Okai/Collier partnership work?

A: Omar and I, usually whilst we watch bad TV and eat cake and chocolate (seriously) have ideas about what we'd like to do. These ideas can be about theatre, books, comics, opera and film (there's even been an idea about another Requiem). There are also a lot of social projects we get involved in with organisations in the East End of London. There are lots of ideas, but eventually we'll decide on one of them and say 'yep, that's the one we'll do.' At this point there is no money for the project; it's just a lot of random thoughts. We then commit ourselves to making it happen and... make it happen. We have rough plans, looking at about 18 months ahead, but there's something very exciting about winging it... which is exactly what we do.

Q: In the past your company has concentrated on developing musicals often in small venues. How do musicals benefit from being in small spaces?

A: They really can benefit from the physical restrictions placed upon them. They have to become more intimate and relay their message more effectively to an audience. In my experience of producing over 15 musicals, you have to be even more inventive and smart with your production. You have limited space, budget and potential revenue, therefore the team you bring in often have to think 'out of the box' to produce a production of merit. It really does kick your brain into gear when you basically have to create something out of nothing... knowing that there really is NO money to help you out.

Q: So why a play this time?

A: We wanted to broaden the scope of the company. We have a well established publishing division, which has now branched out into publishing comics and graphic novels, and last year we produced our first film. So, with 20 odd musicals, two children's musicals, a Requiem and a number of youth based projects under our belt, we thought that a play was in order.

Q: What is this "Preacherosity"?

A: In the play, the folks of Bubbling Springs have lost their way somewhat and they need someone with 'preacherosity' to help guide them. Preacherosity is a certain something that an individual has when they get into the pulpit. You could call it charm or charisma... it's the energy that an individual gives off to inspire and motivate people. You either have it or you don't.

Q: Why are you producing it at Jermyn Street?

A: I became Artistic Consultant to Jermyn Street at the beginning of 2006. "Preacherosity" was one of a number of plays that had been sent to the theatre, and with one thing leading to another, it ended up being the first production that I produced there.

Q: You've assembled a very strong cast. How does the casting process work?

A: I work with the director and writer and discuss exactly what we're after with the piece. We then write the casting brief and distribute it to about 120 agents. We try and send the casting breakdown out as early as we can. As soon as we've shortlisted the people we want to see (with "Preacherosity" there were about 900 photos and CV's and Omar - the director - and I trimmed it down to just under 200), we send out audition invitations. We send this out three weeks before the auditions, so that people have time to prepare. Obviously some folks will get other jobs during this time, but that's the gamble you have to take. With Preacherosity we had five days of initial auditions. Because this is an ensemble piece, we were looking for those who could not only do an 'authentic sounding' Texan accent, but those who we all thought would work well together. We selected fifteen people who then came back for a second audition, but worked in groups for about 15 minutes. After this we selected who we wanted. We were lucky; we managed to secure our first choice for all the parts. There is no room for divas, and with all Okai Collier productions, the star of the show is the show, and if you can't deal with that then you know where the door is!

Q: Lowest moment so far on this project?

A: Knowing that these three weeks ended up being the busiest time in terms of large West End openings and so we weren't going to get many major critics in to review us. Bit of a kick in the stomach. Even though everyone in the press seems to know about Preacherosity, it appears there simply isn't the room in a number of these publications to print a review. Interestingly, when we scheduled the opening for April, we did this in January, there was nothing else opening. Just the way things go I guess. It's a shame, in my opinion Jermyn Street is an important small theatre and development house, it would be beneficial for our theatre industry as a whole to take a look at productions there, with a view to taking innovative new material into a more commercial market.

Q: Best moment so far on this project?

A: The reviews and feedback. Not having produced a play before you don't have a yard stick to measure the production by. The response to this production has been incredible.

Q: What's the knack of being a good producer?

A: Belief in project, good organisation, an address book filled with folks who have money, calm state of mind when things get rough and being able to sweet talk your way out of a sticky situation.

Q: What are your ambitions?

A: To continue to produce a broad range of projects, maybe something can transfer into the West End, or end up on a tour. I consider myself as a 'creative producer', I like to be in at the beginning (with the team I select, develop, cast, press and market my own productions) and then I like to license them off to more commercial producers who can deal with the rigmarole of productions that are more 'corporate'. Having been one of the producers who created 'Great Balls of Fire', and then licensing it to Laurie Mansfield and his team when it came in to town, it's a relief to me not to have to get involved on that level again.

Q: Are there any new musical writers who excite you?

A: I am ploughing through a selection of new work at the moment. There are a couple of pieces that I am keen to look into including "Postcards from God", a Sister Wendy Musical.

Q: What have you enjoyed at the theatre recently?

A: The last production I really enjoyed was Death of a Salesman at The Lyric Theatre on Shaftesbury Avenue. The last musical I enjoyed was Guttenberg, which happened to be at Jermyn Street Theatre.

Q: What are your favourite bars and restaurants in the west End?

A: My favourite restaurant is Cafe Pacifico. The food is good, but it's the atmosphere that I enjoy. Extremely lively and well worth a visit.

Q: What advice would you give to budding producers?

A: Go with your gut feeling. Everyone has an opinion, go with what you feel is the right project and the right approach. Also, don't get overwhelmed by the project, tackle it in bite size chunks, you'll realise that there's always a way to make a production happen.

Q: What are you working on next?

A: First up will be two plays. The first is "My Matisse", which is about the painter. This play focuses on the women in his life. It's a seven hander, all women, and as far as I know it's opening in September. We're also producing the World Premiere of a new play called "The Smilin' State" (opening date to be confirmed), which is a very dark comedy about the disintegration of American society, and two new musicals, so very busy at the moment.