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Pragun Bhardwaj, Taha Mandviwala and the cast of the National Tour of LIFE OF PI. Photo by Evan Zimmerman for MurphyMade, 2024

Provided by Life of Pi, Education & Resources Packet Team. By Susie Ferguson for Mousetrap Theatre Projects, 2022

What was the initial process of bringing Life of Pi to the stage?

I bought the rights for Life of Pi in 2016. Lolita Chakrabarti had a strong vision for the play, and I was already aware of Max Webster’s work, particularly The Lorax for the Old Vic, which was another puppet-based show.

I brought a group of people together and we workshopped the puppetry and set design, and then our job was to find a venue for the show. Once a producer has put a team of creative people together and found a venue, they need to let the creative team enter the creative process and my job was then to look at marketing and sustaining strong audience attendance.

The show began its life at The Crucible in Sheffield: it’s a cavernous space in which you can create a whole world. In Sheffield, the design used a thrust configuration, so the performers were close to the audience.

A producer has to do a large number of things: as well as commissioning new work, we also need to have a strong understanding of intellectual property law, and be able to create a team of people to create a project.

What skills do you need to be a theatre producer?

As a producer, you need to develop an extremely thick skin! You will get rejected a lot! However, that is not a bad thing. If you’re making enough suggestions and offering ideas, it means you are purposeful and working hard! The moments where our shows create magic are what makes it worthwhile.

What was your journey to becoming a producer?

At school I was heavily involved in productions. As well as the productions created by our teachers, I also put on other productions and gained experience in producing, directing and performing. After the 2004 Tsunami I mounted a charity fundraising concert and enjoyed that experience of bringing people together.

I studied English at University College London (UCL), but was also involved with the drama societies. Whilst I was in my third year, I got an internship with a West End producer which gave me a great foundation, and then did a Stage One producer training scheme. I spent four years at Theatre Royal, Bath, where I worked as a producer, including on Things We Do For Love, and eventually formed my own production company.

I adore reading, and I even used to read the publishing industry’s magazine, The Bookseller to find out what books were up and coming, and therefore potential theatre works! I very much enjoy the literary element and then working with the creative team to take it from page to stage.