BWW INTERVIEWS: Paul Elliott, Producer Of THE SHAWSHANK REDEMPTION

Hello, Paul, and welcome to BWW:UK. How did you get into producing in the first place? Was it something you really wanted to do?

No. No. I was a lousy actor. (laughs) I acted for about eight years in a series called Dixon Of Dock Green, and I was really rather bad in it. I'd watch myself every Saturday at 6.30pm and say, "This is dreadful." I wanted to do something in theatre, so I put on a show, a rep season, and I could handle it, and I started working with some of the actors from Dixon Of Dock Green. And that was in 1963, 1964 was the first proper tour.

What's been your biggest hit?

I'm very lucky, I've had lots. I suppose the one I'm best known for is Buddy. That was real fun to do. Run For Your Wife I did, Macbeth with Patrick Stewart.

You're the king of pantomime, too...

Yes, well, I was the king of pantomime. I abdicated when I sold the company to Qdos! I just do three now. I did 29 in my last year, and it was driving me crazy. You become an accountant and an administrator, and I wanted to do something creative.

It's a very British tradition.

Yes, and it's still holding up, even in the recession.

How does it translate in other countries?

It's exactly the same. They don't know some of the traditions, so we encourage them. There's less padding in pantomime here now. In the 1960s and 1970s there was a lot of padding and it strayed away from the plot. So I pulled a lot of it out - the oh yes it is bits - and they went from three hours to two hours, because you're cutting out the superfluous nonsense. They're like big West End shows now, like the one I did with John Barrowman last year and am doing again this year. They are becoming different animals - more modern, things that are not only spectacular to watch but move the story on.

Tell me about The Shawshank Redemption - how did you get involved in that?

A couple of years ago, Breda Cashe and I became friends when we produced Stones In His Pockets together. She's a very fine producer. It happened that she said she wanted to do this show in Dublin, and she asked me if I wanted to come in on it, and I said, "Yes, not half!" It took a bit of time to get the rights for it from Stephen King. We did it there with an Irish cast and director, and it just took off. Our cast here is phenomenal too - terrific character actors.

All the press releases keep saying that it's only big musicals that are really doing well in the West End, not plays - is that a concern?

I think that's not quite true. Hamlet with Jude Law did really well. The whole Donmar season did well. I think people want to see a play. Why wouldn't they? There's an old saying in this business, "If people want to see it, there's nothing you can do to stop them," and the converse too, "If people don't want to see it, there's nothing you can do to make them." They wanted to see it in Dublin, and we did five weeks there to virtual capacity. There's a lot of interest in the piece because of the title. It's a rough, tough piece - it takes no prisoners, if you pardon the pun. We've got an open-ended run for a year. I wish there was a formula, then we'd all be millionaires, but you just don't know.

No magic formula, then, but if you had to give advice to a young producer who wanted to put on a show, what would it be?

Don't. (laughs) Don't. It's not a good time to be a producer. At Stage One we encourage new talent, and we lecture them, "You can never teach anyone to be a producer, but you can teach them the nuts and bolts." Over the years, three or four people have come good, but it's hard. I wouldn't want to start again. I've had a wonderful career, great years, but it's so difficult now, and so expensive. You weren't allowed to do deals with ticket agencies in the old days. It has changed dramatically - it's very business-orientated. And now, health and safety, what is all that about? There were more laughs in the early days. Then again, perhaps in 40 years' time, producers will talk about the good old days of 2009...

When you go and see shows now, do you see them as an audience member or as a producer?

As a punter. I go to enjoy them. You don't want to knock things or criticise or think they could do it differently. I go all the time because I have to, but I enjoy it. Sometimes I get bored - but the old adage is that if you get a free ticket you have to stay to the end, but if you pay then you can leave at the interval. So I always pay just in case. (laughs)

What are your plans for next year?

A play with Brenda Blethyn, a musical revue called Hot Flushes, and I've written a play called There's No Place Like A Home, set in an actors' home. I'm also writing my memoirs - something to show the grandchildren one day, if it gets published!

The Shawshank Redemption is at Wyndham's Theatre from Sunday September 13 at 4.00pm, with previews from Friday September 4.

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