March 25, 2003
By Thomas Thale
FOR the Johannesburg Civic Theatre, life seems to have indeed started at 40. Just two years back, the theatre appeared to be experiencing a mid-life crisis by incurring losses, losing audiences and shedding jobs.
In 2000, staff morale was at an all-time low and many employees opted for voluntary retrenchment packages rather than face an uncertain future. As part of Egoli 2002, the city's plan to privatise its entities by 2002, the city decided to corporatise the institution and appointed British-born Bernard Jay as CEO to oversee the restructuring process.
Under Jay, the theatre has recorded a turnaround in its fortunes, increasing its average capacity from a measly 22% in 2000 to 91% in 2002. In the same period, the theatre, which previously operated at a loss, recorded a profit of R5-million.That's not all. The theatre has become so popular with theatre practitioners that its stages are fully booked for 2003 and 70% of the stages have already been reserved for 2004. The star performer in this change has, by all accounts, been Jay.
The classy establishment has over the past two years hosted many local and international blockbusters, winning back lost audiences and attracting new ones. But it is Jay's performance that really stands out. "It's a phenomenal achievement by any standard," Amos Masondo, executive mayor of the city admits.
His sinewy body gives him a youthful appearance belying his 56 years. He is an urbane even flamboyant, globetrotter. For some 40 years, Jay has been at the helm of theatre companies in various countries around the world, including the UK, the USSR and the USA.
He describes himself as a "businessman in the entertainment industry. I have no sense of rhythm, I can't sing, I can't act," he admits frankly. "But I'm passionate about theatre". It is this business acumen that Jay brought into the theatre, coupled with his passion and experience. "He brought a sense of business to the theatre. He knows what he wants and his ideas work," says Justine Lipson, house manager of the theatre.
Jay's passion for theatre was aroused in his formative years by the sight of William Tate, a manager of the theatre in his hometown in Essex, England, who made a lasting impression on him. "He would be there in a tuxedo, with a red carnation, smoking a cigar. He would greet all the patrons with a warm handshake," Jay says of his role model. This image of a theatre manager aroused in him a passion for the job, and by the tender age of 16, he got his first job as a theatre manager. "So I've been in the business for 40 years."
Jay has come a long way since those early days. He has travelled the world and is in touch with current trends in theatre management. After taking over at the civic theatre, Jay "decided to change the theatre from a producing house to a receiving house. In that way we wouldn't have to employ creative artists. We would act as a landlord - hiring out the theatre to professionals." According to Jay, this change saw the main Nelson Mandela Stage recording a record 84% occupation rate last year.
Under his management, the theatre has undergone marked changes. From the outside, the building spots a bright new pink colour, giving it a cheery and inviting look. "It's actually magenta," Jay corrects me. "We needed a bright colour. It's in your face, bold." But he denies that it is a strategy to entice the gay community. "The gay community has supported theatre throughout history. Many great artists in history have been openly homosexual, therefore if it is understood by gays to mean they are welcome in the theatre, I'm absolutely thrilled."
From early on, Jay embarked on a major marketing drive. "When I came on the scene, our shows were promoted in tiny black and white adverts. I decided to take on attractive, full- page adverts to signal that we are in competition with movie houses. That's our league." Indeed, parts of this offensive entailed redefining the very notion of a theatre as "a leisure destination, where people go to hang out," he avers. "We have proudly gone commercial," he asserts boldly. Marketing for Jay included cultivating a new audience for theatre - attracting people who had not previously been theatre patrons. "I wanted to build a strong base of audiences that enjoy shows and come back."
He also decided to put on shows that appealed to audiences. "We had to come up with a strategy to fill a theatre the size of the Nelson Mandela Theatre which has the capacity of 1069."
To this end, Jay set about promoting the venue as "the premier home of live entertainment in the country". Asked just what sells, his response is emphatic: "Musicals, dance shows, ballets and rock concerts. We respond to what the public wants to see. Of the 36 theatres in Broadway, for instance, 27 currently have musicals."
But does this focus on popular arts not compromise the theatre as a repository of plays? "No, not really," is Jay's guarded response. Plays have not been completely jettisoned. "They are staged in the smaller Tesson Theatre which has the capacity of 251," he explains.
For Jay, theatre in South Africa has gone beyond protest, but is still struggling to reposition itself. "Theatre in the country is still trying to find its identity." Thankfully, the Civic Theatre under Jay has no identity crisis to grapple with.
The theatre has gone international in a big way. In the immediate future, the line-up of the theatre includes "Spirit of the Dance", an internationally acclaimed Irish dance show which returns to the theatre on April 15, "Spirit of Broadway", a musical paying tribute to Broadway and another musical "Big Band Blast" featuring lots of South African dancers which premiers on June 14. Jay has also identified pantomime as another genre popular with audiences and plans are underway to bring it to the theatre in a big way.
Jay attributes his phenomenal success to the support he has received from the city and from the board of directors. "It is fortunate that the theatre is run by the local government and they are just across the road. I have received tremendous support, but not interference, from the city."
The successful run of the Civic Theatre has rubbed off on workers. The mood among employees at the theatre is one of optimism. "Go talk to any of them," he says challengingly. "They now know they have a future with the theatre." And indeed, employees at the theatre see Jay's presence as a dawn of a bright new day. "There is a positive vibe among staff members," asserts Lipson.
Maggie Moledi, a ticketing clerk at the theatre agrees. "Hooo! It's pleasant here," she exclaims, beaming with joy. "We are all happy now. Jay is a really nice guy and he does not discriminate."
Jay's success has not gone unnoticed by the city. Masondo hails the theatre as a major success story and a vindication of the council's decision to turn its entities into independent business units.
