Bruce Pollack has been the publicist for some of Australia's biggest theatrical events, including shows such as 'Buddy: The Buddy Holly Story', 'Cabaret', 'Cirque du Soleil' and the 'Edinburgh Military Tattoo'. In 2003 he closed his publicity company and formed Pollack Consulting, which covers the full spectrum of entertainment promotion. His company’s most recent campaigns include ‘Fiddler on the Roof’ and the arena production of 'The Boy from Oz'.
What was your first introduction to the theatre?
I first started at age 10 in a voluntary capacity in the paint shop at Melbourne’s St Martin’s Theatre. I helped behind the scenes in many capacities until I gained regular paid employment in my teens. For a number of years I worked backstage as a flyman, lighting and sound rigger, dresser, stage manager, then production manager.
Did you ever perform yourself?
The only time I ever acted was in 1969 when I played the male juvenile lead in a professional pantomime in Melbourne called Mumba Jumba and the Bunyip, written by Barry Humphries. I played Jimmy, the boy scout.
What other practical involvement did you have in the theatre?
Since commencing paid employment in the theatre 40 years ago I’ve worked in nearly every capacity backstage and in administration. While with the Leicester Theatre Trust from 1976 to 1980 I was Executive Producer for Arts Council/Leicester Theatre Trust/Cameron Macintosh regional tours of Oklahoma, My Fair Lady and The Rocky Horror Show. When I returned to Australia as General Manager of the Nimrod Theatre Company, I entrepreneured the acclaimed production of Death of a Salesman, with Warren Mitchell and Mel Gibson, that still holds unbroken attendance records at the Seymour Theatre Centre.
Did you have any training as a publicist?
I fell into publicity in 1983 when my friends at the Playbox Theatre Company rang to say they were coming to Sydney and that they needed a publicist. Because I’d run various companies which employed publicity departments they presumed I knew what to do. I took on the job and have never looked back.
What is the difference between a publicist and a marketing manager?
A publicist acts as an intermediary between the client and the media, to gain free media publicity. A marketing person has to strategise, plan and gain much more than free media publicity and to look at the full gamut of media opportunities.
How has the publicity profession changed since you started?
In 1982 there were far fewer publicists working specifically in the arts and entertainment fields and there was little training in that area. Today there are untold numbers of [schools] churning out qualified public relations consultants and media consultants, many with the sole aim of working in the highly glamorous area of entertainment public relations.
What have been some of your most memorable campaigns?
The opening of Star City (in Sydney) – it was a truly exciting and invigorating event to be a part of. The Boy From Oz – to work on the first production in 1998, to be involved with the New York opening in 2003, and now the largest Australian musical ever created, has been a thrilling experience. To have worked on BridgeClimb, the most successful new tourism attraction to be launched in the country, has been most rewarding. The Sydney Gay and Lesbian Mardi Gras for 19 years was a highlight. I was one of the first to gain substantial media coverage for gay and lesbian issues in the mainstream media.
What is the worst type of show to promote?
The worst type is one put on by people who have no comprehension of what your own role is, and who disregard your professional abilities. Whether it’s the biggest musical or the smallest play, it all depends on who you’re working with.
Have you ever had to publicise a job you didn’t believe in?
My greatest rule for all publicity is “honesty”. It’s imperative to be completely honest at all times, especially when dealing with media. I’ll admit there have been times when I’ve said nothing rather than stated the truth, but I’ve never been dishonest. I could never work on a production with which I could not find positive reasons to continue my involvement. Twice, now, I’ve walked off productions, one of these being a major musical to open five weeks from the date of my departure.
Is it true that there’s no such thing as bad publicity?
No. I often see publicity that is “unnecessary” and does nothing for that person or organisation in a positive sense.
What qualities does a good publicist need?
Integrity, honesty, imagination, a love of spoken communication, a thick skin and some writing skills.
How different is your role as a consultant?
I used to run a business that at one time had nine staff, and I was very caught up in the problems of running a business rather than enjoying doing publicity. Now, as a consultant, if I need extra “hands” I work with other consultants rather than engage staff. It means that the work can be split and I can do that aspect of the job I’m best at.
Last but not least, is Hugh Jackman really as nice as he seems?
It’s always thrilling to work with a superstar like Hugh Jackman. He’s a truly genuine and generous man and somebody who adores people.
