Paul Taylor-Mills<\/div>\n<\/div>\n<\/footer>\n<\/blockquote>\n
Hey Paul! What made you want to work in theatre in the first place?<\/h3>\n
I ask myself that every single day. I think it\u2019s because it\u2019s in my bones – it\u2019s not in my DNA, none of my family are from a theatre background – but as a young child growing up in a small town, I got lost in the world of amateur dramatics in a really wonderful way.<\/p>\n
I would do all those classic shows – Fiddler on the Roof, West Side Story\u2026 it became my life. I think for a young boy, it was a world that was very aspirational.<\/p>\n
I think you get to a point where you ask yourself, \u201cAre we in this for the long run?\u201d And I think, fortunately, I am! But I also feel, at the same time, very very blessed to be a part of the theatre community. It\u2019s a special family. I think that\u2019s the reason why I\u2019m here.<\/p>\n
And how did you go from being in Fiddler on the Roof in a small town to producing?<\/h3>\n
What\u2019s really interesting is that we had a conversation about this yesterday in the festival – we have this event called \u2018Tea for Two\u2019 which are conversations with industry specialists… I think for a young person growing up, the only people you really see are the actors. They are the shopfront of theatre. They play – and rightly so – a very visible role. The talk yesterday was a whole host of people talking about marketing from a variety of organisations, but interestingly, all of them, in some way, started thinking off that they were an actor. And went through, in some cases, formal training, like I did\u2026<\/p>\n
I was always the person in the room who probably had too much to say for himself, and a great man called Gunduz Kalic took me aside and said to me, \u201cI don\u2019t think you\u2019re an actor, I think you\u2019re a director,\u201d and I thought, \u201cOh, that sounds wonderful!\u201d The idea of going into a room and telling people what to do! And then I got into the rehearsal room and I enjoyed directing, but I realised I was looking forward to getting home and jumping on my laptop and looking at how the box office had done or how the marketing was working\u2026 I found the casting process really interesting. Then I suddenly realised, \u201cI\u2019m a producer.\u201d It wasn\u2019t a straightforward \u2018that\u2019s what I want to do\u2019…<\/p>\n
I knew I had this passion and zest for being in theatre, but I wasn\u2019t sure where I would land. I realised it was being a control freak and being in the centre of it all, trying to keep tabs on the mayhem, really!<\/p>\n
Do you have any advice for someone who wants to also direct or produce?<\/h3>\n
I would say, say \u2018yes\u2019 as much as you can. There\u2019s no secret to success in this industry, there\u2019s no one trajectory. In the same way as there\u2019s not one trajectory for what makes a good show. Each show has a different journey. I think it\u2019s the same for careers\u2026<\/p>\n
My top tips would be to say yes to as many opportunities as you can. I did loads of amateur theatre. I don\u2019t advocate [it] because you\u2019re not always getting paid, but I learned a huge amount being a director in a room and just being able to play.<\/p>\n
I just tried to say yes to as much as I dared to, and ensure that I had other jobs and other things happening at the same time. It\u2019s surprising, the cross-pollination from being in the room from being in a rehearsal setting, and the people that you meet – some of the projects I\u2019m now engaged in at the old age of 31 were seeds that I sowed when I was 21 and at the Edinburgh festival\u2026 those relationships, presuming that you are honourable, that you are good, reliable and passionate, will come to fruition one day.<\/p>\n
What then characterises the stories that interest you? The scripts you\u2019re attracted to?<\/h3>\n
I ask myself first of all: what does it say about the current climate? About the world we live in? That doesn\u2019t mean it has to be about themes in 2019, things that are on the news – for instance, I\u2019m about to embark on a revival of Ain\u2019t Misbehavin’, but interestingly it\u2019s one of the oldest reviews ever written. There\u2019s a moment in it – and I won\u2019t give away any secrets – that is as poignant now as it was when it was first written. And it hasn’t been done for 25 years. I’ve put a new team of creatives on it, so I\u2019m interested in going back and looking at doing work in a new way. But really it\u2019s this: does the story really speak to now, does it move me?<\/p>\n
That doesn’t mean that I have to feel like an emotional wreck at the end of the show. Does it make me giggle? Some of the shows in the [MT festival] are there because I spent half the show belly laughing, and I think that\u2019s important – it\u2019s good for the soul to laugh! I laugh at myself everyday. But does it move me in some way, be it cathartic, humorous, thoughtful – it has got to hit me in some way.<\/p>\n
And then to be really honest it goes back to an earlier point: Do I want to work with these people? Life\u2019s too short, you know. I never underestimate the value of good working relationships and just being that person in the room that is always positive. It\u2019s hard because we\u2019re in an industry that\u2019s very competitive, with a huge amount of risk, and your instinct and reactions when – I call it \u2018squeaky bum\u2019 – but when you\u2019re tense, is to get defensive. I still have to check myself\u2026 remind myself to be as positive as I can be, because we\u2019re in a creative environment. Those ideas can only happen when you create the right environment.<\/p>\n
How do you form good connections in this industry?<\/h3>\n
There is no hidden route or one way of doing it\u2026 I\u2019m very honest, I try to manage expectation. I try not to over or under deliver. I try to be as clear as I can be. But again, I try to say yes as much as I can do. People laugh at me because they say my catchphrase is \u201cYes, darling.\u201d I try and be as upbeat as I can. Therefore if I can\u2019t do something I try and contextualise why I can’t do it. And 95% of the time the creative person will understand why.<\/p>\n
I met Andrew [Lloyd Webber] through his musical The Beautiful Game\u2026 we\u2019d just meet every so often for lunch and chat, share stories, and we realised that we had this wonderful kinship and were both on the same page when it came to the development of new work and emerging artists, which is something that is important to him and me. And that\u2019s when the Other Palace happened.<\/p>\n
I had the best time at the Other Palace, and have been with Andrew for 3 years as his advisory producer. My new role as Affiliate Producer here essentially means I can do more work\u2026 where I get really excited is when I’m in the room and I’m working with actors, dramaturgs, with the playwright or composer, and obviously when you\u2019re running a building, that\u2019s hard!<\/p>\n
A more succinct answer to your question is, it\u2019s through doing good work. And if it is good, it\u2019s of quality and you are nice, trust that people will hear about it. My mum always says, \u201cCream always rises to the top\u201d and I think that\u2019s an important thing that\u2019s stayed with me.<\/p>\n
I think it was Andrew who said to me there are very few brilliant musicals that are lying in a drawer. If they are that good, someone somewhere will have cottoned onto it and will be pursuing it\u2026<\/p>\n
Any advice for actors – what for you makes an actor stand out to you?<\/h3>\n
The casting process is so complex. You\u2019re dealing with the complexities of whether it\u2019s a pre-existing show, in which case there\u2019s a precedent set about what \u2018type\u2019 plays that role. You\u2019re dealing with people making assumptions on you straight away. And I think for your soul and health and mindset you just have to be your authentic self.<\/p>\n
In terms of combating nerves, you\u2019ve kinda just got to get on with it. And I know that sounds kind of blunt, and I don\u2019t know how actors deal with it, because I would be a mess!<\/p>\n
We talk a lot about the resilience of actors but we have to remember that producers, directors, have to be just as resilient. Again, because actors are the shopfront of theatre, we hear about the challenges of being an actor, [but even] at the point I\u2019m at in my career, I still get told no.<\/p>\n
There are certain things you can do to help yourself. [An actor] said to me once that every time he had an opening night, he made sure he started something the following day. Straight away, whether the reviews were good or bad, so he had something to go to. I think there\u2019s something to be said about that, about after an audition, making sure you have got somewhere to go to\u2026<\/p>\n
Tell us a bit about this festival – where did the idea come from?<\/h3>\n
I get sent scripts and scores all the time. I just had this absolute guilt that I wasn\u2019t able to do more for these writers. It\u2019s such a precarious journey for writers – they clearly feel passionate about their work, and they are precious creatures I think we need to take care of. I felt guilty that I couldn\u2019t do anything for them. I thought I\u2019d do this tiny festival\u2026 it snowballed, and became this massive thing.<\/p>\n
I think the development of new musicals in this country is a bit of a mystery, there\u2019s no clear route into how you make the perfect musical\u2026 we are a tiny bit behind the American musical, because perhaps there\u2019s a greater understanding [there], and what I wanted to demystify all of that.<\/p>\n
So we have 45 minute taster sessions of new musicals. It gives an audience a taste of what it could be like. There\u2019s nothing like being with an audience and watching work for the first time – you can feel in the room if it\u2019s a thing. You can feel which parts are working, which parts aren\u2019t working\u2026 The audience is the last character to join the piece. It\u2019s important to acknowledge what they feel.<\/p>\n
Alongside this, I thought wouldn\u2019t it be brilliant if we could have a safe environment in which [industry experts] can talk about past situations – how a new musical has been marketed, or the negotiation that happens between an actor, casting director, an agent, and a producer\u2026 [that\u2019s how we started] the Tea for Two sessions.<\/p>\n
I want to know more about your view of casting – in particular, you cast Carrie Hope Fletcher in Heathers\u2026<\/h3>\n
I saw her in Chitty Chitty Bang Bang [and] said to my friend, \u201cWho are all these people waiting for?\u201d And it was Carrie. I knew I was doing Heathers and I just thought wouldn\u2019t she be wonderful\u2026 It\u2019s amazing, I think, that she has such a loyal following. The magic around Carrie is that people are following someone honourable, authentic and a really good role model. We\u2019re so blessed that she\u2019s also one of the most beautiful, talented actresses and leads a company so well.<\/p>\n
It opened my eyes to that world of social media and influencers, and I didn\u2019t know a lot about it. I think it\u2019s a really interesting time for actors… people want more insight into rehearsals. Traditionally, those are private spaces for actors to get it right, but now theatre marketing organisations want to be allowed in\u2026 that helps sell tickets, that\u2019s the reality, and we get bogged down in the details but we have to remember that this is a business. It has to work. If it doesn\u2019t, the consequences are a lot worse than letting people into rehearsals\u2026! But it\u2019s a really interesting one.<\/p>\n
If people want to get more involved in the musical scene, what should they do?<\/h3>\n
See as much as you can [because] it helps to develop what your taste is. I\u2019m always inspired and interested to know what people like\u2026 make sure you have a taste, an opinion.<\/p>\n
Figure out the repeat offenders – whose work you often like – and write to them. If someone emails me and says \u201cI saw your work and I really liked it\u201d, it\u2019s nice. We\u2019re all human and it\u2019s nice to hear that the hard work you\u2019ve put in is of value to people. Write to those people and 99 times out of 100 people want to get back to you and be supportive.<\/p>\n
When you get the opportunity and get into the room\u2026 [whatever role you\u2019re interested in] make yourself the best at that as you can be. It will honestly pay dividends later on.<\/p>\n
Make it your priority to see [new work]. If a producer is trying to do something, support them\u2026 I\u2019d say 90% of producers are really passionate, wonderful human beings that just want it to work. For the same reason an actor has a dream and gets involved in a work, a producer also has that same dream. They care as ferociously as the actor does.<\/p>\n
Who inspires you?<\/h3>\n
It\u2019s a corny thing to say but it\u2019s my mum. I\u2019ve had the ups the downs, the lefts, the rights\u2026 hopefully, I\u2019ve kept my feet on the ground\u2026 I want to make [my mum] proud. It\u2019s interesting because she\u2019s not in theatre\u2026 but she fought so hard when I was growing up to make sure I went to dance lessons, that I got picked up from amateur dramatics at whatever time of night\u2026 I think she\u2019s happy there\u2019s something that I\u2019m passionate about.<\/p>\n
What would you like to work on next?<\/h3>\n
I\u2019ve been so lucky. I\u2019ve worked with some of the biggest names in theatre, I\u2019ve run a building, I\u2019ve won really wonderful awards. I\u2019ve had shows that have been financial hits and shows that have been financial misses so I\u2019ve kind of been through the mill a little bit\u2026 I\u2019d like to create new stuff. I know everyone wants to do that but I\u2019ve taken lots of shows and [helped] move them on to the next phase in their journey. But next, I\u2019d like to start from scratch.<\/p>\n
I think that\u2019s the next stop for me, something original – I want it to be of quality, with people I care about and enjoy working with.<\/p>\n
Thanks to Paul for giving us his time.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"Paul Taylor-Mills talks to Spotlight about his connection with Andrew Lloyd Webber, his time at the Other Palace and setting up the MT Fest… Spotlight spoke with producer, former Artistic Director of\u00a0The Other Palace, Paul Taylor-Mills about working in the world of musicals. Paul gives us his insights into getting more involved in the community, […]<\/p>\n","protected":false},"author":1,"featured_media":3051,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[35],"tags":[85,79,189,81],"class_list":["post-2434","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-industry","tag-christina-care","tag-musical-theatre","tag-producing","tag-theatre"],"acf":[],"yoast_head":"\n
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