Kenny Wax – Gentleman Producer: a profile by Anthony Field

Kenny Wax (from Kennywax.com website)

In looking back through the writings of my late colleague Anthony Field CBE, I came across this profile of one of the finest producers we have – and President of the Society of London Theatre from 2017-2020, Kenny Wax. Through a long acquaintance with Kenny, this affectionate portrait of a tenacious and committed producer who started at the bottom and worked his way up, rings with his genuine love of theatre, and highlights his biggest hit to date, the triple Olivier-winning TOP HAT (although his current production of SIX may well prove just as enduring). Enjoy this canter through Kenny’s career to date, which was written in September 2011.

The World Premiere musical TOP HAT now touring the UK is a highpoint in the career of one of our most successful young producers, Kenny Wax. Having assembled a superb team to realise the stage version of the iconic Astaire Rogers 1935 movie, he has succeeded in creating a Art Deco delight of a scale and quality not seen in recent times. As more people start to recognise his name above a production, it seems that now is a good time to relate the story of his career and how he came to stage this ambitious project.

Kenny Wax has spent the last 23 years working his way up the slippery slope of becoming a commercial theatre producer. When he entered the industry at 21 he had no stage management training and no practical experience. “I had taken a couple of parts in school productions, but never for a moment considered being an actor”.

At 18, he went to Central London Polytechnic to do a degree in Business Studies. “I found it terribly dull and couldn’t apply anything I’d learned to the real world. The only good thing about it was that it gave me time to  figure out what I wanted to do. I spent a tedious year at Dixons Head Office as part of my placement. Until then I had considered a career in Personnel for one of the big retail chains. It certainly wasn’t for me. During my time in London I had become rather obsessed with the London theatre scene. Everyone appears to remember one defining show which shaped their decision to become a producer and mine was possibly “Me and My Girl” when Robert Lindsay and Emma Thompson charmed the whole Adelphi audience. Perhaps my decision was also influenced by my brother who at that time was a staff director at the National Theatre.

“As soon as I graduated, I started wandering the West End in search of a job. The theatre manager of the Theatre Royal Drury Lane had one remaining place for an usher on a big new show which started previewing the next day. Watching those first few performances of “Miss Saigon” I was smitten.

I had written to every producer for an opening in their office to no avail so I was presumptious enough to thrust a letter into Cameron Mackintosh’s hand one day when he was around the theatre. He invited me to tea at his office during which time  we spent 1½ hours talking about our fanatical love of musicals. What struck me as so incredible was that the producer with the biggest show just about to open was the only person who gave me the time of day when so many others had shut the door. Cameron advised me that if I was serious about producing then the most important thing was to learn all aspects of the industry.”

Kenny found a job by day as a foot messenger for Dewynters, the theatre advertising and design agency, and within weeks they offered him a position in the media department.

That year coincided with the first year of Cameron Mackintosh’s Oxford University Professorship. “I went along to some of the lectures and as chance would have it, met George Stiles who enthused about his new musical “Just So” which was shortly to go into rehearsal at the Tricycle Theatre”. Kenny got hold of the demo tapes and badgered Cameron into giving him a job on the show as a runner. It meant leaving Dewynters, having been there for eighteen months, and they wouldn’t hold the job open. He had to decide to leave a full-time salaried position in a leading agency for the gamble of a 6 week job as a runner which would be paying pocket money. “It was a no-brainer and that six weeks was one of the most enjoyable times I have ever spent working in this crazy industry. I look back now and can’t believe how outrageously precocious I was or how they put up with me. The late great Mike Ockrent said to me at one point, the only reason I wasn’t fired was because he hoped that one day I would offer him a directing job!” Sadly, that never got to happen as Mike passed away in 1999. Kenny did however form some wonderful friendships with George Stiles and Anthony Drewe.

“At the first night of ‘JUST SO’ at the Tricycle I met Sue Uings who was enormously helpful, giving me a chance to work at the New London where ‘CATS’ was running. There I worked in the box-office by day and as a follow-spot operator by night presenting the back-stage tours between the matinees and the evening performances. I got a real buzz from working at the New London and the strange, inexplicable magic of ‘CATS’ will remain with me for many years to come.”

Kenny left the New London to gain experience in a totally different environment working for the late Dan Crawford at the King’s Head Theatre Club.

“I produced some Sunday night shows at the King’s Head and I shall never forget the feeling at the first performance of ‘KICKING THE CLOUDS AWAY’. The opening of ‘Doors’ from ‘CLOSER THAN EVER’ brought a tumultous reception; the place went wild and at that moment all my years of work learning the business came into focus. I was lucky to have a fantastic cast with Clive Rowe, Hal Fowler, Claire Burt and Nick Holder – and the sheer elation convinced me that I was right in my determination to be a producer. And I have been very lucky because everyone I have worked with in the business has remained a good friend and faithful colleague. Perhaps I lack a ruthless streak. That sort of management is not really my style. I think things generally get done better with straight talking and level-headedness than with shouting and screaming.”

Thus, perhaps like Michael Redington, Kenny remains a gentleman producer, laid back, patient and determined. Whilst at the King’s Head he remained in contact with some of the students from the Sondheim Master Classes, one of whom was Ed Hardy who came to him to ask him to administrate a new writers’ organisation. Kenny politely declined but came up with a plan to produce a collaborative musical to launch the writers’ organisation which would become known as The Mercury Workshop. 

They produced ‘THE CHALLENGE’ at the Shaw Theatre, a retelling of the Daedalus/Icarus legend. “Book writer Stephen Clark constructed a storyline and we allocated each writing team a section to suit their own particular style. Contributors included George Stiles, Kit Hesketh-Harvey, Jason Carr, Stephen Keeling, Charles Hart, Howard Goodall, Anthony Drewe; indeed, the cream of British creative talent. Sacha Brooks co-produced the show which was directed by Steven Dexter. It attracted a great deal of attention, with Stephen Sondheim coming from New York to see it with Cameron Mackintosh.

“The success of ‘THE CHALLENGE’ led to Gary Withers offering me a job in the new Entertainments division of Imagination on the basis that anyone crazy enough to produce that show deserved to work for Imagination. I worked there for three years, developing such musicals as ‘TUTANKHAMEN’ and ‘ONCE ON THIS ISLAND’ which was transferred from Birmingham Rep. to the West-End, co-directed by the late, great David Toguri and Gwenda Hughes. The show was nominated for four Olivier awards and won the one for Best Musical.”

In 1995 Kenny Wax formed his own Company and produced ‘MADDIE’ at Salisbury Playhouse which received great reviews in the local and all the National press and a rave from the Daily Telegraph. As so often happens, the production transferred to the Lyric Theatre where it was met with a divided press. Kenny acknowledges that with more experience and a bigger budget he might have nursed the show into success but he chose to close it to ensure he could pay off all his creditors.

 As one door closed another opened and Andrew Empson invited him to join Peter Wilson and himself at PW Productions as Tour Booker and then General Manager. Kenny now produces his own shows which have included tours of Gerald Moon’s comedy thriller ‘CORPSE’, the RNT’s Olivier-Award winning musical ‘HONK’, “THE SHELL SEEKERS’ with Stephanie Cole, ‘MY BOY JACK’ with David Haig and Belinda Lang and Neil LaBute’s ‘THE SHAPE OF THINGS’ in the West End. He managed a gala at the Bristol Old Vic for Cameron Mackintosh to honour Julian Slade marking 50 years since the first performance of ‘SALAD DAYS’. Kenny now co-produces with Nick Brooke a number of young people’s successes such as ‘THE TIGER WHO CAME TO TEA’ and ‘THE GRUFFALO’ But the really exciting leap forward for Kenny is his production of the classic musical ‘TOP HAT’ starring Tom Chambers and Summer Strallen, currently touring the regions to great acclaim. It is daring move to stage a large-scale, really lavish musical at a time when many producers are drawing in their budgets, but audience response is enthusiastic and the show has a wide fan base across the generations.

So what does Kenny think are the two most difficult problems to crack at this moment of time? “Well, raising the money and raising the money. There is now some valuable support from Stage One who particularly try to encourage younger producers and I have also had some financial help over the years from Arts Council England for touring work. I still rely heavily on private investors but there are only a finite number of times you can ask the same person if you haven’t been able to return their money.”


                                                                                               

Take a look inside the V&A’s Theatre and Performance archive which is under threat

Since the appalling decision to greatly reduce access to the V&A’s Theatre and Performance collection and fire two-thirds of the specialist staff and curators, there has been a justifiable outcry from academic institutions and the general public.

While this is to be expected, many of this blog’s readers have contacted me to ask about the archive as they have never personally visited it themselves, and so find it hard to fully appreciate what treasure lies within its parameters.

And so now you can go inside the collection, thanks to a short film called ENCOUNTERS IN THE ARCHIVE which takes you inside the collection, to look at some of the costumes, with expert curators discussing the works and their significance.

The film lasts 17 minutes. ENCOUNTERS IN THE ARCHIVE was conceived and produced by Donatella Barbieri and filmed and edited by filmmaker Netia Jones.

I am confident that after just a few minutes of this fascinating viewing, you’ll want to ask all your friends and colleagues to sign the petition to save the collection from being locked away from public sight potentially forever.

Watch ENCOUNTERS IN THE ARCHIVE here

Please sign the petition to save the V&A collection and its staff here


LATE ADDITION – Lord Smith has tabled a question in the House of Lords, which you can find here . While useful for drawing attention to this attempted cultural vandalism, if you share my wary opinion of our corrupt parliamentary system you may well agree with me that this has very little real value.


UPDATE

Statement upon the proposed restructuring & job losses at the V&A Theatre & Performance Department. 30 March

Statement

The V&A internal consultation process with its staff is concluding at the end of March.  To my knowledge there has been no consultation with the industry or related bodies in the SIBMAS community. This is very disappointing for a museum with the reputation of the V&A, who say they value their performing arts collections, which are internationally so important.
 
SIBMAS continues to have concerns about what is going on as suddenly the Theatre & Performance Department, which are part of a distinct unit/department are now tied into the National Art Library review, when there is no obvious connection between National Art Library and Theatre & Performance Department.  Indeed, National Art Library does not collect performing arts library materials. It is the Theatre & Performance team of experts that cover it within their remit in a different location & departmental structure. This is evident through V&A annual reports and museum’s collection policy. SIBMAS finds this confusing, and we ask for clarification, over potential jobs losses or furloughing of Theatre & Performance staff.  We continue to ask for the V&A to have a consultation with SIBMAS & the industry it serves. In such a consultation we would emphasize once again that the V&A should make sure the Theatre & Performance Department is saved as an actual specialist entity within its restructuring.
 
The V&A management and Board of Trustees have been appointed well after the Theatre Museum closure in 2007 to save money.  They may not be aware of the great uproar at that time. It was seen then that the Theatre Museum closure was the sacrificial cow to save the V&A money. Theatre & Performance should not take disproportionate cuts in any reorganisation.  I believe that they have forgotten that performing arts collections needs a different approach to the decorative arts and crafts, to keep their unique character, as recognised by UNESCO.

Alan R. Jones ( President of SIBMAS )


One Year On. #March16th

Well, here we all are at an anniversary we never thought we’d see. One year ago today, the bustling West End, together with most theatres across the UK, still shell-shocked from the advice given by authorities, and with no firm government instruction, found themselves reluctantly turning customers away and closing their doors, with no return in sight.

With everyone wanting to get their tuppence worth in on this topic, I thought I’d spare you my ruminations which in essence won’t be that dissimilar to other, more informed sources, and instead give my space over to SOLT/UK Theatre, who have done far more than most to keep theatre alive.

“A year ago, on 16 March 2020, theatres across the country closed their doors due to the pandemic. 

Today, survey results collected by Society of London Theatre (SOLT) and UK Theatre from across the theatre sector paint a picture of an industry that has struggled to survive the past 12 months and faced huge financial strain – but remains resilient and adaptable.

The survey was completed by 944 theatre venues, venue groups, non-venue theatre businesses and individual theatre freelancers.

Over 95% of surveyed theatre organisations around the UK reported being worse off because of Covid. 53 of the 186 theatre organisations answering a question about financial loss due to Covid reported a loss of over £1m each – this includes 16 organisations who have lost over £5m each. The total loss of those 165 organisations able to provide figures is estimated at nearly £200m so far.

The survey also reveals that many of the highly skilled freelance theatre workforce have been forced to take alternative jobs during the pandemic, or even leave the sector altogether. One in four of the freelancers surveyed said they had gone out of business or ceased trading due to Covid. 270 alternative roles were sought within performing arts, and 456 outside the industry.

Almost a third of theatre venue respondents said they have had plans to create an outdoor performance space due to Covid – despite the fact that the majority (61%) will operate at a loss. Almost half are developing a revenue-generating digital space or product.

For England-based theatre organisations, 60% are planning to restart trading from 17 May (Step 3 of the Government Roadmap), and 83% said they would resume from 21 June (Roadmap Step 4).

Julian Bird, Chief Executive of SOLT and UK Theatre, said:

‘At that fateful moment a year ago when we were forced to close theatres, we could never have imagined that venues would remain closed today. It has been a year of incredible challenges, and would have been even bleaker were it not for Government support schemes including the Cultural Recovery Fund, furlough and SEISS. 

‘It has also been a year in which we have truly witnessed the resilience, creativity and community-mindedness of theatre, from digital innovations allowing streamed productions to reach a global audience, to theatres creating educational and wellbeing resources, and venues offering themselves as vaccine centres or hosting pioneering scientific research on measures to prevent Covid spread.

‘We look forward to continuing to work closely with Government and industry partners, welcoming audiences safely back into theatres and playing a part in the national economic and social recovery.’ 

Despite the recent Government roadmap and Budget announcements, thousands of freelancers in the theatre industry are in crisis right now, and face weeks and months of uncertainty before theatres can fully reopen.

To mark 16 March, a host of famous faces are joining colleagues from across the theatre industry today in highlighting the plight of freelancers and raising awareness for the Theatre Artists Fund, using the social media hashtags #16March, #TheatreArtistsFund and #FirstInLastOut – referencing the fact that theatre workers were first into lockdown and will be among the last to return to work. 

Created last July by director Sam Mendes, SOLT and UK Theatre, the Theatre Artists Fund provides emergency financial aid to the freelancers who make up an estimated 70% of the theatre sector. Eligible freelancers in need can apply for an individual grant of £1000 to help pay bills and put food on the table. The latest round of grant applications has opened today (16 March) and will close on 30 March. Full details of eligibility and how to apply are available on the Theatre Artists Fund website.

Sam Mendes, director and co-founder of the Theatre Artists Fund, said: 

‘The immense level of support for the #16March Theatre Artists Fund campaign illustrates that while theatres may be closed, the spirit of the theatre community is well and truly alive. I want to thank everyone who has contributed to the campaign, and all those who have shown their fantastic support for the Fund. It has helped enable fellow members of our community stay afloat during these extremely difficult times.’

Those who have lent their support to the #16March campaign include Joe Alwyn, Ellie Bamber, Kingsley Ben-Adir, Cate Blanchett, Hugh Bonneville, Michaela Coel, Benedict Cumberbatch, Anne-Marie Duff, Chiwetel Ejiofor, Alfie Enoch, Michael Fassbender, Claire Foy, Hugh Jackman, Ruth Madeley, Ian McKellen, Liam Neeson, James Norton, Sophie Okonedo, Weruche Opia, Andi Osho, Elaine Paige, Maxine Peake, Simon Pegg, Eddie Redmayne, Imelda Staunton, Juliet Stevenson, Mark Strong, David Walliams, Harriet Walter, Zoë Wanamaker, Emily Watson, Olivia Williams, Ruth Wilson and Kate Winslet.”

To donate £5, £10 or £20 to the Theatre Artists Fund, text THEATREFUND followed by the amount you wish to help with. You can also donate at www.theatreartists.fund. This is also where artists themselves can apply for support from the fund, which has reopened today. (Texts cost one standard message cost plus the amount you have chosen to donate)/

Thank You!


The V&A thinks selling coffees is more important than their Theatre Collection. Let’s tell them they’re wrong.

This is important.

Those of you who remember the wonderful Theatre Museum in Covent Garden will know what a terrific archive of all things theatrical – from costumes to scripts, advertising to music, and everything theatrical in-between, covering centuries of the world’s most celebrated theatrical successes. When the Museum was forced to close, the collection was entrusted to the V&A who gave a solemn undertaking to protect and enhance the collection, which they have done. Until now.

Now the V&A want to abandon the collection. Under new plans, two thirds of the staff will be axed, greatly reducing access to the collection

Many people remember the horrendous advertising campaign from the 1980s which described the V&A as “An ace caff, with quite a nice museum attached.” That sort of philistinism has sadly raised its ugly head again.

SIBMAS has started this petition because performing the UK’s unique arts heritage is at serious risk.

SIBMAS is the International Association of Libraries, Museums, Archives and Documentation Centres of the Performing Arts. SIBMAS is an ITI-UNESCO supported organisation. (www.sibmas.org)

The UK has an extraordinary theatre and performance heritage. The performing arts objects, archives and library cared for by the Victoria & Albert Museum (V&A) represent the largest and most important resource in this area, supporting scholarship and learning, providing enjoyment and inspiration for countless people around the world.

The V&A have decided to close the department of Theatre and Performance as part of a massive organisational remodelling of the structure of the museum moving into a new structure. This will have a disproportionate and devastating effect on these collections and on the pool of knowledge, expertise and enthusiasm that underpin them and help to make them accessible. 

They need your help to not only protect jobs at a time of great uncertainty for libraries, archives and museums, but also to support the vital role that heritage collections play in the cultural sector.  At a time, when the Performing Arts have been so badly damaged by the COVID-19 pandemic, this national collection should be given more support to protect the past and record the present in order to inform future generations. This is a serious threat to the history of the British live performing arts. The collection is a vital educational and research resource on an international level.

We call on the V&A to reconsider the scale and scope of its poorly thought-out proposals and to consider in particular the following The unique place that the V&A’s theatre collections have in the landscape of theatre research, public engagement with the history of performance, and the creative industries. 

The collection’s international status and its remit to collect for the nation, acting in effect as the national collection of Performing Arts for all of UK. 

The central place that librarians and archivists and their skills and their commitment play in relation to these collections and the damage to their professions worldwide.

The need to maintain open access to the collections rather than simply put them into storage, against many wishes of donors who have left their collections in safe keeping to the V&A.

The lack of public or stakeholder consultation about the proposed changes.  

When the Theatre Museum was closed by the V&A in 2007 staff, public, donors and the creative industries were assured that the department would flourish in its new home. The V&A is in danger of breaking that promise.

We ask senior management of the V&A to reconsider the position of the Theatre & Performance Department before they rush to close the archives and library and make responsible staff redundant.

An internal consultation runs until the end of March. If they get their way, then we are a few short weeks away from untold damage being done to UK Performing Arts heritage and the loss of many jobs which carry with them great specialisms and expertise which will all be lost forever if this senseless cull goes ahead.

Your help by signing this petition will not just help to protect the jobs of specialised and dedicated staff during a time of great uncertainty, it will also protect access to a world class archive for future generations, to enable our great history of world-leading performing arts to be shared with future generations. Do nothing, and it will be lost forever. If your child or grandchild ever in the future wanted be be a researcher, writer or academician in the performing arts, not supporting this petition will deny them their passion. Could you live with that? Sign.

Sign the petition and support the Theatre Collection here


Budget adds 400million to CRF but still no support for freelancers

The Budget had some welcome news for some in the arts, but none for others.

The Chancellor announced an extra $408million to top up the Culture Recovery Fund which recognised that the road to recovery for arts venues and organisations will be slower and longer than earlier anticipated.

Let us not forget that the total amount allocated to the arts- just over £2billion – is about 6% of the total amount that the Government lavished on their failed disaster of a Track and Trace project, which produced no benefits – neither in the present nor in the future. In contrast, the arts as an industry produce over £110 billion of activity year after year. Perhaps we can all now get into perspective how little the Government really wants to “help” the arts.

Reflecting the politicians’ continuing lack of understanding about the arts world and how it functions, freelancers – one of the most vital groups who make the arts “work” – were forgotten yet again, in another infuriating slap in the face.

While its true to say that some theatres will be helped by the extension of the Job Retention Scheme and the extension to the business rates holiday until the end of June (followed by nine months of the rate being discounted by two thirds), smaller organisations are unlikely to feel much benefit.

Further, the VAT cut to 5% on leisure and hospitality sales which will stay in place until 30 September, (after which the rate will be 12.5% for a further six months) is a help to more venues but organisations still have to tread the long road back before seeing much impact of these measures.

The announced Restart Grants of up to £18k per premises for hospitality businesses, (including theatres) sounds more optimistic, but of course like all of these things the details are lacking and until the fog clears this may well be another case of Tory smoke and mirrors as we have seen too many times before.

A new Community Ownership Fund was announced, and it remains to see if this is actually worth the paper it is printed on, as we have no details yet , so although it’s a useful headline for the Chancellor, it’s just an empty promise for now.

What is so infuriating is that the most important item, a government-backed insurance scheme that theatres could rely upon in case of further restrictions along the road to recovery, is being stubbornly ignored. What is this Government’s agenda, we must ask, when such measures were introduced for the film and TV industry over nine months ago and yet refused to the theatre industry which so often feeds the film and TV industry. What is going on? Why are they hiding this obvious solution?

Let us also remember that a sizeable proportion of the Culture Recovery Fund was given as repayable loans and not grants, so organisations are going to find the next few years the hardest they may have ever had, should reduced audience numbers combine with higher overheads and debt, a toxic mix for any company relying on a shoestring to get them through another season.

It is becoming more and more clear that the Government has it in for the arts and seems to consider the crippling of theatre as a price well worth paying, while in public doing the bare minimum to allow the PR people to spin it as “helping”.

I don’t buy it – and neither, I suspect, do you.