A Few Minutes with the Producer of Bombay Dreams – Nick Manos

Photo Credit: ©2005 JOAN MARCUS

Talking to Nick Manos of Atlanta’s Theatre of the Stars is like talking to one of those “Let’s put on a show!” types in old Hollywood movies. The personality, the charm, and the drive show right through the telephone line as he explains all about BOMBAY DREAMS and the tour that he is producing through the end of 2006.

“This has been a very different project from the world of the typical touring Broadway musical…this is not the type we’re used to,” begins Manos. Background regarding the London production, and, eventually, the Broadway production further help to explain.

“When BOMBAY DREAMS was originally produced in London, it was designed as an enormous spectacle for people who had some knowledge of Bollywood and Indian culture,” he explains. Cultural references, inside jokes and references to popular stars filled the dialogue and even some of the song lyrics.

The 2004 Broadway production knew that changes had to be made for US audiences to want to see it, and “get it.” The New York producers and creative team chose to keep the spectacle side, but needed “to cut down the inside information many European and Asian audiences would get, but still keep some of the Southeast Asian references necessary to the storyline.”

“The challenge, then,” Manos continues, “was how to take the New York production on the road, so that subscribers from Costa Mesa, California to Cleveland, Ohio and other points in between would get it and enjoy it.”

“We needed to streamline the concept of the show to be accessible to US audiences, strengthening some characters, lessening others. And we needed a specific framework to which the typical American audience member could relate.”

Remember those typical old-fashioned movies mentioned earlier? That’s what Theater of the Stars and the all-new creative team of the touring BOMBAY DREAMS latched onto: set the framework in a movie studio! See, it’s a play about a movie studio making a film called “Bombay Dreams.” If that doesn’t strike a chord with the consciousness of American theater-goers, what would?

“The story now,” says Manos, “is the traditional American style musical, telling all about Bollywood, Indian culture, and Indian music.” And just so the typical American audience member has some background before the show starts, a modern approach will help.

“We’ve put together film clips of Bollywood movies and other cultural visuals that will be running for approximately 30 minutes in a pre-show presentation. Folks will be able to get into the spirit of the story a little more this way, having some background, etc.” That, along with the regular Broadway Buzz Pre-Show Talks presented by Playhouse Square’s Arts Education Department, will really give the audience a feel for the culture and for Bollywood.

“Then the show becomes your typical Broadway musical: exposition, inciting force, character introduction and building, rising conflict, all leading to unresolved conflicts at the intermission curtain,” Manos laughs and adds: “With lots of singing, dancing and spectacle!” Act II, of course, will then “resolve, entertain, amuse, etc.—with lots more singing, dancing and spectacle!” Another American touring “modernization” is the elimination of several unnecessary plot lines; the show needed just one or two important ones.

Manos is proud to be associated with Atlanta’s Theatre of the Stars and of its mission: musicals. An Atlanta landmark at 54-years-old, the theater has specialized in presenting musicals for most of its history. Obviously Theatre of the Stars shows were originally meant for production in Atlanta, but about 15 years ago, other theaters throughout the country showed a strong desire to “share” productions, beginning the co-production touring aspect. The last show to come to Playhouse Square Center from Theatre of the Stars was the critically acclaimed Big River in 2004.

Manos explains that “13 or 14 theaters are involved in the tour of BOMBAY DREAMS, and that is a help to everyone’s budget. The entire tour cost—all monies paid out—is divided by the 13 or 14 venues. Sets and other tech aspects are shared, saving thousands of dollars for each theater.” Dividing the cost among the theaters almost always allows the production to come in under the specific theater’s budget.

And why is a “fun dance show that has a romantic plot,” as Manos puts it, just now touring when it closed on Broadway in 2004? Manos just laughs as he explains the preparations for the national tour.

“You take a wildly successful London/Broadway hybrid, put an entirely new creative team in place, take a long time to cast the show, take a long time to learn dances and dance styles that are so different, you build scenic elements that are just phenomenal, you adapt the storyline to US audiences and re-write several character points, etc. etc. etc.—and you ask me why the tour is just beginning?”

OK, OK…I know the answer. But it does prove why the energy and vision of a man like Nick Manos is just what the US needed for the tour of BOMBAY DREAMS.