Remembering Richard Pilbrow – First Knight of Illumination

Very sad news reached me on Thursday that a friend and colleague Richard Pilbrow has died at the age of 90. Tributes are many to his work; Richard literally invented the language for theatre lighting in the 1950s and 60s, and his invaluable input improved the design of arts centres around the globe, including our own National Theatre complex in London. He is also remembered as the man who established leading consultancy Theatre Projects, a company which still thrives today, and which Richard was still President Emeritus until his passing. Less known is of his excellent track record as a producer, working with experienced hands such as my late colleague Anthony Field to bring the works of Stephen Sondheim and Kander and Ebb to the UK for the first time.

Prompted by the publication in 2011 of A THEATRE PROJECT, my late friend and colleague ANTHONY FIELD writes below about the career of the man who single-handedly invented the language of modern stage lighting, RICHARD PILBROW. Richard and Anthony had been dear friends and producing partners for decades, and Anthony’s exit from the Arts Council after 27 years could only have been to work with someone as multi-talented as Richard, whose own company – Theatre Projects – gained Anthony as their Finance Director, who steered them through a particularly financially turbulent time. Theatre Projects is a world-renowned company which has created some of the most significant and successful performing arts venues around the world over the last five decades. What better tribute to a dear friend and colleague than to enjoy reading about his fascinating journey through the theatre of the second half of the twentieth century and beyond. This article is from 2011.

Richard Pilbrow (left), Anthony Field (right)

Recently published is a long-awaited book A THEATRE PROJECT, an autobiographical memoir by Richard Pilbrow, the pioneer of contemporary stage lighting who developed his career as a theatre consultant and producer. Over the last five decades he has been involved in the production of many successful musicals.

In 1962 Donald Albery contracted him to work in a spectacular new show called BLITZ! with music by Lionel Bart. This production was to present Cockney London under Hitler’s bombardment during the Second World War – on stage, which had never seen its like before or since. Noel Coward described it as “twice as loud and twice as long as the real thing”. Sean Kenny who had created brilliant sets for OLIVER! went on to designing extraordinary sets for BLITZ! at the Adelphi and Richard Pilbrow’s account of the Royal Gala preview found the stage smoke engulfing the orchestra which had to stop playing. Fortunately the first night proved perfection.

This led to Tony Walton writing to ask Richard to meet Hal Prince in New York to discuss lighting a new Broadway musical which Tony was to design. Richard stayed with Tony and his wife, Julie Andrews then starring in CAMELOT and the next morning they discussed producing A FUNNY THING HAPPENED ON THE WAY TO THE FORUM by Burt Shevelove with music by Stephen Sondheim. This led to Hal Prince encouraging Richard to become a producer, establishing Theatre Projects as Hal’s London office

Their first London project was to be A FUNNY THING… and everyone thought that they were crazy to cast Frankie Howerd in it. They saw him play one of the broker’s men in panto at Coventry and Peter Cook persuaded them about his comic talent. However, the tour proved a nightmare with no laughs and the previews were frightening. The opening night finally arrived with Frankie’s “Comedy Tonight” introducing the notable group of British comedians – Kenneth Connor, Eddie Gray, Jon Pertwee and Robertson Hare brought the audience to its feet in recognition and welcome. The triumph ran for two years and Theatre Projects was the first-ever London management to close the show for a week after the first year to give the entire cast a holiday.

Amidst Richard’s full work programme of plays and consultancy for the new National Theatre and Manchester’s Royal Exchange, he continued to co-produce and light such musicals as HALF A SIXPENCE with Tommy Steele at the Cambridge Theatre and HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING at the Shaftesbury.

Richard plowed his profits from A FUNNY THING… into SHE LOVES ME which he adored. This had started as an idea of Julie Andrews to turn the film THE SHOP AROUND THE CORNER into a musical for her although her Disney contract for the MARY POPPINS film prevented her from appearing in SHE LOVES ME. The reviews in London were the kiss of death – “charming, charming, charming”-which did not help to pull in audiences. The show has never proved commercially successful but Richard was then excited with another score played to him by Jerry Block and Sheldon Harnick for FIDDLER ON THE ROOF.

In 1964 Richard and Tony Walton designed and lit GOLDEN BOY on Broadway, with the book by Clifford Odets and music by Charles Strouse. Its success was partly due to the overwhelming projections for backgrounds which established a new method of designing musicals.

Returning to London, Richard applied himself to opening FIDDLER at Her Majesty’s Theatre although the whole theatre establishment told him that such a Jewish show would never succeed in the west End.

The long story of engaging Topol and the five-year run of FIDDLER has been retold many times. Suffice to note that all producers have their failures as well as successes. Although not a failure but the next Broadway musical to involve Richard was THE ROTHSCHILDS: I myself enjoyed it enormously when I saw it in 1970 but it was not a big hit, although it ran for over 500 performances at the Lunt-Fontanne Theatre.

Back in London in 1968 Richard had opened his fourth musical in the West End which was Kander and Ebb’s CABARET starring Judi Dench at the Palace Theatre. Although Judi protested “I just can’t sing”, Hal Prince was enchanted with her, and declared “This will be the Real Sally Bowles”.

The next lighting venture was for Stephen Sondheim’s COMPANY in 1971 in New York which Richard went on to produce in London at his favourite theatre, Her Majesty’s, with Elaine Stritch. It ran for 344 performances but did not recoup its capital. However, it established a long-term relationship with Stephen Sondheim. Richard demonstrated to London that musical theatre could be a profound theatrical form with Sondheim’s A LITTLE NIGHT MUSIC in 1975 with Jean Simmons at the Adelphi. This ran for 406 performances during which Virginia McKenna replaced Jean.

The 450 pages of this story of Richard Pilbrow’s life can hardly be summarised in one short article except by highlighting the musicals in which he was involved, which included THE GOOD COMPANIONS in 1974 at Her Majesty’s. This had a libretto by Ronald Harwood with music by Andre Previn. Then there was the large-scale spectacle of GONE WITH THE WIND at the Theatre Royal Drury Lane, JESUS CHRIST SUPERSTAR at the Palace, and the failures of CARTE BLANCHE at the Phoenix and the revival of KISMET at the Shaftesbury. His first venture with Cameron Mackintosh was the revival of OKLAHOMA! at the Palace in 1980 and then with Tommy Steele again, he lit SINGIN’ IN THE RAIN for Harold Fielding at the London Palladium.

The transfer of WEST SIDE STORY, revived at Leicester, to Her Majesty’s proved a big hit in 1984 and led to the production of LENA HORNE: THE LADY AND HER MUSIC at the Adelphi.

There are still dreams and hopes of shows which never achieved their potential such as BUSKER ALLEY with Tommy Tune, based on the 1936 movie ST. MARTIN’S LANE, and Cy Coleman’s THE LIFE. Very sadly the failure of the 1986 revival of A FUNNY THING… at the Piccadilly with a sick Frankie Howerd put an end to the wealth of Theatre Projects’ programme of musicals but Richard’s continued career in the US in the 21st century finds him lighting revivals of WHERE’S CHARLEY?, THE BOY FRIEND and the new A TALE OF TWO CITIES.

All in all, anyone wanting to read the whole background of the creation of musical theatre will find it in Richard Pilbrow’s engrossing book “A Theatre Project” published by Plasa Media.

AFTERWORD: You can find out more about Richard Pilbrow’s fascinating book A THEATRE PROJECT here


Women’s Prize for Playwriting receives 1,002 entries!

Now that this year’s submissions for the Women’s Prize for Playwriting have closed, the award organisers tell us that they have received 1002 entries, which is amazing.

What is also amazing is that this prize is the very first which celebrating and championing female and non-binary playwrights in the UK and Ireland.

The Women’s Prize for Playwriting is open to writers who are female or non-binary, aged sixteen or older, and resident in the UK, Republic of Ireland or in a British Overseas Territory, or have a British Forces Post Office address.

The winner receives £12,000 and a full production of their play.

A longlist will be produced in October, a shortlist/ finalists in November, and the winner announced in mid-December.

We look forward to the shortlist, and remember- its never too early to start thinking about your script for next year’s prize!


V&A stages Musicals free season of events this April

The (sadly Tory-tainted) V&A are offering a free nine-day season of musical-related events, from 22 to 30 April.

Performances, workshops, talks and screenings are all promised. You can also visit their exhibition Re:Imagining Musicals which runs until June 4th, and then reopens from August for some time.

Find more information at the V&A website by searching on musicals, although the information is very scattered.


BEAM shines light on 29 new musicals in May

After searching the entire UK for new musical talent and watching 265 pitches, Mercury Musical Developments have now announced the 29 new musicals which have been selected to showcase at BEAM2023, which will happen at Oxford Playhouse on Thursday 25th and Friday 26th May, running from 10am to 6pm on both days. One ticket gives you access to both days.

This is great opportunity to support new and emerging work! You can find out more and buy tickets here


Out of The Wings Festival’s call for submissions ends April 14th

The Out of the Wings (OOTW) Festival will return to London for its seventh edition this summer, from 11 to 15 July. Alongside their usual series of staged readings of UK-premiere translations at the Omnibus theatre, the festival will also see the return of the OOTW Forum, entitled Worldmaking on Stage: Community-building in and through Theatre Translation.
Until 14 April they are welcoming submissions for both the Forum and the readings. Please find the Call for Presenters for Worldmaking on Stage HERE, and the Call for Submissions of translations for the play readings HERE.