Tag Archives: Showrunner

Veteran TV producer and showrunner Clifton Campbell joins Fountain Theatre Board of Directors

Clifton Campbell and Kim Academy Awards cropped

Clifton Campbell and his wife Kim at the 2017 Academy Awards. 

“The feeling I get sitting in a theatre just before the houselights fade is one that is very personal for me,” admits TV producer and writer Clifton Campbell. “Excitement for what’s about to unfold. The anticipation of bold ideas told through flawed and deeply human characters promising to take me to a richer understanding of a world outside my own. In that moment, I sit wondering not if this play is ready for me; but if I am ready for this play. For the shared human experience you can only get from live theatre.”

It is clear that the Fountain Theatre is ready for Clifton Campbell. The Fountain is pleased and honored to announce that veteran TV producer, showrunner and writer Clifton Campbell has joined the Fountain Theatre Board of Directors. 

“Cliff is passionate about developing a new program to engage parents who have children wanting to be writers,” says Fountain Co-Artistic Director Stephen Sachs. “He is also committed to building a bridge between the Fountain Theatre and the TV industry. He is eager to guide the forming of new relationships between the Fountain and TV professionals. Cliff is a smart guy with decades of experience as a TV producer, and his heart has never left the theatre. We are thrilled to have him on our Board of Directors.”

Clifton Campbell has enjoyed a career in television spanning more than 30 years. Recently, Clifton was Executive Producer for the TV series Sleepy Hollow.  He was also Executive Producer of White CollarThe GladesProfilerWiseguy, and others. He has partnered with such producers as Steven Spielberg, Stephen J. Cannell, and Michael Mann. 

Clifton was born and raised in Hialeah, Florida. He graduated from Florida State University and moved to Chicago to pursue a career as a playwright.

“The early eighties was an amazing time for theatre in Chicago,” remembers Campbell. “I was witness to ground-breaking new works and game changing productions from companies like Steppenwolf, St. Nicholas, The Goodman, Body Politic, Wisdom Bridge and Victory Gardens, all of whom were leading the charge in a new age of Regional Theatre. The six years I spent in Chicago theatre was the greatest education of my life.”

His work as a playwright caught the eye of producer/director Michael Mann, landing him a writing job on Mann’s TV series Crime StoryClifton‘s writing career took off and escalated to TV producing, but he always remained a theatre guy. He also became a family guy. Clifton and his wife Kim have been married for sixteen years and together have three grown children; Bailey, Jordan and Paige.

“The Fountain Theatre is everything I think of when I remember those incredible days back in Chicago,” says Campbell. “I am proud and excited to be joining its Board of Directors. ” 

A Playwright in Today’s World: To Sell Does Not Mean ‘Sell Out’

Vanessa Garcia

by Vanessa Garcia 

How do we make a life in the theater in the twenty-first century while still managing to pay our bills?

The myth of the starving artist is, unfortunately, alive and well in some sectors of the arts—particularly in the theater. I can say that Art saved me, but as in all complicated endeavors, I can also say the opposite. I can say that Art tried, many times over, to murder me in my sleep. My desire to live my life as an artist forced me into ghettos where I dodged bullets, and into days in which the only lunch I could afford was a stolen handful of nuts from a Whole Foods bin. This is not romantic. It’s stupid. I eventually decided: no more.

And I’m not the only one. Artists everywhere have surfaced and said: no more. No more mythic Icarus ramming itself into the sun and melting into the ocean. There’s a way in which that same Icarus can fly, spanned wings across the sky, safe, and yet still beautiful, even awe-inspiring. What I want to argue here, is that the theater and the performing arts are lagging behind other arts—we’re standing in the wings, while the action is taking place on other people’s stages. Television writers, novelists, Young Adult writers, illustrators—all of these artists have found a way to embrace millennial capitalism (for lack of a better term; call it “late capitalism” if you like)—and the theater has been late to catch up.

This is a vision acutely in line with the contemporary generation of neo-hipsters and millennials. “Today’s ideal social form is not the commune or the movement or even the individual creator as such; it’s the small business. Every artistic or moral aspiration—music, food, good works, what have you—is expressed in those terms. . . call it Generation Sell,” wrote William Deresiewicz in an article for The New York Times in November of last year. “Our culture hero is not the artist or reformer, not the saint or scientist,” continues Deresiewicz, “but the entrepreneur. (Think of Steve Jobs, our new deity). Autonomy, adventure, imagination; entrepreneurship comprehends all this and more for us. The characteristic art form of our age may be the business plan.”

To sell does not mean to sell-out. At least not the way it used to. The playwright can either play-in or lose out.

The novelist has already adhered. “These guys [contemporary novelists] are acutely aware of the multiple audiences for which they write,” says Szalay, whose upcoming new book is entitled The Novel After HBO. He continues: “For a generation of novelists that began to achieve fame and distinction in the early twenty-first century—like Michael Chabon, Jennifer Egan, Jonathan Lethem, Colson Whitehead, Junot Diaz, and Dana Spiotta—the term ‘sell-out’ just doesn’t apply.”

For performing artists to be able to adhere, our attitude towards money has to change. In a recent article. “A Dancer’s Retort,” in The Huffington Post, Brittany Beyer, dancer and associate editor of The Dance Enthusiast, also calls for a new form of operation in the performing arts. She writes:

One important issue is the dance artist’s attitude towards money. Many of us have been brought up with the idea that our field is beyond a job— to be an artist is almost a sacred calling. If you have ever danced you will understand. We love our art form and have the conviction that it does others good. With integrity and passion we put our bodies—our very selves—on the line to create. Our work is beyond a job description; in many ways it is a life’s practice or a life’s mission. How does one monetize that?

Healers are “sacred” too, aren’t they? Doctors, for instance. And we pay them, don’t we? We pay them a bundle. There is a whole other discussion here about health care in this country and about what we do and do not value socially and who gets access. The point, for now is—why should artists be poor? Other life missions and practices are paid for. If we pay people to heal our bodies, why shouldn’t we pay them to heal our souls? Perhaps this seems trite, cheesy, or too sincere. But, I think it’s true. And, truthfully, I don’t care about it sounding “too sincere.” Irony is no longer king.

We cannot live without money. We cannot produce art without money. It seems to me impossible not to monetize the result of an artistic process. And, it seems sillier still to pretend like art and money have nothing to do with each other. As soon as artists realize this, the better off we will be. This mindset becomes dangerous when producers, not creatives are the one monetizing—particularly producers who are more interested in the money than the art (not all are like this, I should add). The clearest solution, again, seems to be for the artist/playwright to be tied to the production—to become, like in television, a “Showrunner.”

The Showrunner—people like David Chase of The Sopranos and Matthew Weiner of Mad Men—creates, writes, and produces; manages and markets. The Showrunner is more than just a writer. “The result is a paradigmatically neoliberal vision of the writer and his labor,” writes Michael Szalay in his article “The Writer as Producer; or, The Hip Figure After HBO,” published by Duke University Press this year.

This requires the artist to become a hybrid. Going back to the Icarus myth—allow the sun to give us energy, rather than drown us. This doesn’t mean we must always produce our own work. We can allow traditional models to merge with newer models, this too can be hybrid in nature. Technology now gives us all access to the means of production. The writer can now learn Photoshop. The creative can now market on Facebook and Twitter (and it works). The audience is used to receiving information from multiple sources. Devised Theater trends prove that audiences are open to theater reflecting the world they live in—after all Devised Theater is a form of hybridity, a place where all the artists are Showrunners in the sense that they take on many roles. Now it is time to apply this idea to the way we make money in the theater. It is our job, as theater professionals not to fall behind—not to kill art, or allow it to kill us. It is, in fact, our job to keep it alive, to keep it thriving in a world full of hybrids. It is our job to save people’s lives and to do this, we need to fully understand what it means to be alive, making and receiving art in twenty-first century America.

Vanessa Garcia is a multi-media writer and artist working from Miami and Los Angeles. She’s the founding artistic Director of The Krane, a theater/arts company. She’s currently working on her PhD from the University of California Irvine in Creative Nonfiction, and is a contributing writer to numerous publications from The Miami Herald to The Art Basel Magazine, among other journals, newspapers, and magazines. She’s also currently shopping her novel, White Light, and working on a two new plays called The Cuban Spring and The Underground.