The Producers Consortium

A look at the making of the London production of The Producers shows how the modern musical is built these days. “Huge producer consortiums are now the norm for modern stage musicals. The single, all-powerful producer exerting full artistic and financial control has become exceptionally rare – Cameron Mackintosh being the notable exception. But most big shows, particularly those that transfer internationally, are financed and packaged like films.”

Could Arts Lose Lottery Funding?

Sir Christopher Frayling, the chairman of Arts Council England, has warned that the arts could get edged out of National Lottery money in favor of sports. Frayling points to a number of reasons, adding that “ministers were happy being photographed at football matches, but afraid of being seen at any remotely controversial [arts event].”

Scotland: Museum-Going A “Cultural Right?”

Scotland’s museums say schoolchildren should get free transportation to museums as part of students’ “cultural rights.” “Schools have to work within their curriculum but there’s a real richness on their doorstep if it can be accessed properly. You’ve got collections all over the country but they can’t be seen. Kids are entitled to so many swims a year, and they have developed minimum standards of physical education in schools.”

Edmunds Takes On Melbourne Fest

American Kristy Edmunds has taken charge of the next two Melbourne International Arts Festivals. “It’s the first time since 1986 that a foreigner has been given the job, one of the most powerful arts positions in Australia and the region. What Edmunds chooses to include, or exclude, can affect festivals across the country, in New Zealand and Singapore, and, in the long term, artists’ careers. And there’s the more important issue of how it thrills, moves or disappoints the festival goers.”

Picking Up The Broken Pieces

With the Charlotte Symphony’s 7-week strike finally over, the organization is hoping to get back on track quickly, and begin raising the money the CSO will need to stay solvent throughout the five-year contract it just inked with its musicians. CSO president Richard Early says in an interview that the organization’s focus must now be on mending fences with its subscriber base, and reminding the city’s corporate community of the importance of supporting the orchestra.