Book Review: MASTER OF THE HOUSE - THE THEATRES OF CAMERON MACKINTOSH

It's impossible to be a fan of theatre without knowing the name of Cameron Mackintosh. As a producer, his long-standing collaborations with the likes of Andrew Lloyd Webber have quite literally changed the theatrical game. His touch transformed musicals into global phenomena, from Cats to The Phantom of the Opera and from Les Misérables to the West End iteration of Hamilton.

The legacy of the Delfont Mackintosh brand goes beyond the blue island lit up by a spotlight moon on top of venues sprinkled across London's Theatreland. While his producing inspiration dates back to 1954 during a performance of Salad Days, the indelible mark of his footprint started in 1991 when impresario Bernard Delfont invited him to be a partner at the Prince Edward and the Prince of Wales Theatres. His princely rise continued with the acquisition of six more over the years, with a total of eight by 2014.

Mackintosh decided to shake things up from tradition, rewiring some of the profits of his shows straight into the theatres themselves with a 20-year campaign of refurbishments, restorations, and general updates to the century-old houses he'd bought. Theatre critic and journalist Michael Coveney analyses the historical value of theatrical enterprise from all the way in the 18th Century to Cameron Mackintosh's ownership in his newly published book Master of the House - The Theatres of Cameron Mackintosh.

The volume is introduced by the man of the hour himself with a foreword expressing his love and dedication to theatre, and includes high-quality photographs and illustrations relating to the history of the various buildings. Much like Mackintosh's productions, it's a lavish tome and, coming at a £40 RRP, one should expect so.

The pages, however, aren't all brawn and no brains and their beauty accompanies an informative - albeit overly reverent at times - copy. Coveney gives the reader a bird's-eye view of the industry, going in depth into the venues' past as well as a run-down of how major productions have impacted the buildings. Once he's set the scene, each of Mackintosh's theatres enters the spotlight one by one.

The detail and commitment of the writer to uncover their individual history is as commendable as Mackintosh's promise to look after them. Floor plans, photos, sketches, old marquees, and posters accompany the narrative and recount their rise to gargantuan fame. The book is gorgeous. It's heavy, it's glossy, and it's a frankly great resource that's been properly researched and well delivered.

It's obviously a very niche subject and the price point is rather restrictive in a cost-of-living crisis, but it's informative and makes for a lovely addition to a coffee-table. With many years ahead of the producer's career, this won't be the definitive text on Mackintosh's tangible contributions to the industry, but it's a remarkable "story so far" on a figure who's as admired as he is criticised.

Master of the House - The Theatres of Cameron Mackintosh by Michael Coveney is out now.

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