But if you look closely at the programme for the current Toronto stage production, you’ll find an example of the process going smoothly according to plan.
She had been working toward being a producer for pretty much her entire life – and then one day, last spring, her name simply was credited alongside her father onSimilar billing followed for Mirvish Productions’s Toronto show this fall – but there has been no big announcement. “I wanted to make sure I could do the job, that I understood what the job was and how to do it and that I had the experience to back it up – because everyone will assume I’m given it,” she says.Succession
“We do love our actors,” says Hannah, jumping in as daughters do when they’re worried their father’s jokes aren’t landing. “I was encouraged to maybe look at other sides of theatre.”receptionist at the age of 16. After earning a degree in English and art history at the University of Toronto, she returned to the company – and ended up spending at least three months working in almost every department, from front of house to finance.
For decades, Ed operated the Royal Alex primarily as a road house to present touring shows from the U.S. and Britain – and operated a string of restaurants nearby such as Ed’s Warehouse that fed its audiences a fixed-menu in a time when downtown Toronto had little in the way of preshow dining. These days, the company has 50,000 seats to sell in a week when all four venues are operational – which has slowly become most of the year. “We used to feel that we were doing well if we could fill 135 weeks out of 208,” says David. “We’re filling close to 200 out of 208 weeks at the moment.”Taste and discernment of the producers at the top plays more of a role in what gets on stage than it once did.