James Simon, a distinguished theater producer from Westchester, NY, was born in 1966 and has made significant marks on both Broadway and international stages. Educated at Emerson College in Boston, where he obtained a Bachelor of Science in 1988, James’s passion for radio and narrative storytelling deeply influenced his approach to theater production.
From his beginnings as an aspiring actor, James has evolved into a leading force in the theater world, known for infusing traditional productions with fresh, innovative concepts. His illustrious career is highlighted by several award winning Broadway and Off-Broadway productions. Presently, he is at the helm of the upcoming Broadway production “Operation Mincemeat”.
James’s interests extend beyond the stage; he is an enthusiastic skier and an avid traveler, drawing creative inspiration from various cultures and landscapes around the world. He also dedicates time to fostering new talent in the arts through his active roles with Untitled Theater Company 61 and Theater Resources Unlimited. James Simon remains a pivotal figure in the world of theater, continually pushing the boundaries of storytelling to captivate and inspire audiences worldwide.
How has the landscape of Broadway changed since you began your career?
“Over the years, Broadway has seen a shift towards more diverse and innovative storytelling, reflecting broader social changes. When I started, it was dominated by classic revivals and big musical spectacles. Now, there’s a greater embrace of challenging themes and unconventional formats, which is thrilling as a producer.”
What is the most rewarding part of being a theater producer?
“For me, it’s witnessing the transformation of a script into a live performance that moves the audience. There’s nothing quite like opening night, seeing the culmination of everyone’s hard work and the audience’s reaction. It reaffirms why we do what we do.”
Can you share an example of a risk you took that paid off?
“Producing ‘The Marriage of Alice B. Toklas by Gertrude Stein’ was a risk because it was an unconventional play that challenged traditional narratives. The risk paid off as it not only sold out its shows but also sparked discussions about art and authorship, which were central to Stein’s work.”
What’s your approach to handling negative reviews or feedback?
“Negative feedback is part of the territory in theater. I view it constructively. It’s important to discern between subjective dislike and constructive criticism that can improve the production. Ultimately, every piece won’t be for everyone, and that’s okay.”
How do you choose the projects you want to produce?
“My project selection process is quite intuitive. I look for stories that resonate with me personally and have a potential impact on audiences. I’m drawn to narratives that offer new perspectives and possess a strong emotional core.”
What has been your most challenging project to date, and why?
“Producing ‘Operation Mincemeat’ was exceptionally challenging due to its complex historical content and high expectations following its acclaim in the UK. Balancing historical accuracy with engaging storytelling was a delicate task that required meticulous attention to detail.”
In your view, how important is the role of technology in modern theater production?
“Technology is crucial in modern theater, not just for enhancing production quality but also for engaging today’s tech-savvy audiences. From sophisticated stage designs to digital marketing strategies, technology helps us reach a wider audience and deliver more immersive experiences.”
What do you look for in a creative team when starting a new project?
“I seek people who are not only talented but also passionate, collaborative, and versatile. Each member needs to bring something unique to the table, be open to ideas, and share a common vision for the project’s success.”
How has your role as a producer changed in the era of digital streaming and on-demand entertainment?
“Digital streaming has expanded our audience reach, allowing productions to be accessible beyond those who can attend a live show. It’s challenged me to think about how performances can be crafted not only for the live audience but also for viewers at home.”
What’s next for you in the coming years? Are there new ventures or directions you’re exploring?
“I’m looking to develop more interdisciplinary productions that incorporate elements of dance, visual art, and digital media. Exploring these new forms keeps our offerings fresh and relevant. Additionally, I’m considering international collaborations to blend different cultural perspectives into our productions.”