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Diplomat to the Stars: David Richards, WG'93
By Kate Campbell
David Richards, WG'93, always had a hunch he would have a
career in the theater. But acting left him flat.
"The epitome of being an actor is to do the same role on
Broadway over and over," says Richards, 36, who traveled
from New York City to attend Reunion. "I'd been performing
all my life; I just knew I didn't want to do it for a living. I
wanted more influence over the arts - to be where the
decisions were made."
Richards started to tackle the trade of managing
productions as an intern while earning his undergraduate
degree in mathematics, economics, and music from Duke
University. He grew more confident about this management
niche during his stay at Wharton. "As much as the temptation
was there to make money," says Richards, now a general
manager for Broadway and off-Broadway productions, "I
never had an interview during my time at Wharton."
Instead, he started out answering phones for $400 a week
in New York City. "Thus definitely bringing down the average
starting salary of our class," he jokes.
But in 1997, he formed Richards/Climan, Inc. (RCI), with
colleague Tamar Climan, to manage the Broadway revival of
"Annie" starring Nell Carter and its post-Broadway tour
starring Sally Struthers. RCI also managed "More to Love"
at the Eugene O'Neill Theatre; the pre-Broadway production
of "Finian's Rainbow"; the off-Broadway hit "Dinner with
Friends," which won the Pulitzer Prize in 2000; and "Me
and Mrs. Jones," starring Lou Rawls. The national tours of
"Jelly's Last Jam," starring Maurice Hines and Savion
Glover, were also under Richard's management, as well as
"Deathtrap" starring Elliot Gould and Mariette Hartley and
"Ain't Misbehavin'" starring The Pointer Sisters.
Handling so much star power calls for a delicate yet
determined style. "A lot of what you are is a diplomat," says
Richards, who regularly caters to celebrities' whims. If their
contracts require a satellite dish, luxury suites, or particular
Chablis, it's his job to make sure they get it. The formula for a
successful show, says Richards, is a happy cast. His behind-the-scenes
role in major productions means Richards has to
glide expertly between temperamental performers, edgy
investors, and pushy marketing folk. That means navigating
serpentine budgeting contracts, too - on Broadway there are
close to 15 unions.
It's an emotionally stressful job, admits Richards. "There
is a lot of tension that can appear with 200 people working on
a show. Tempers and emotions can run high." His day starts
at ten and ends when the curtain rises. "But it's exciting to
work with such diverse people, even if they do throw
tantrums. What I love about the job is the problem solving.
And then some days the phone doesn't ring, and you can
actually get your work done."
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