The Business of Show Business

A podcast to help unpack the skills, stories, and side hustles behind the entertainment and creative industries. So if you're ready to thrive, not just survive, in the showbiz and arts & culture sectors, you're in the right place. A series of solo shows and interviews to help creatives with the business of show business. Learn how to market yourself as a creative and how to boss your social media and online presence. Great for actors, dancers, singers, producers, writers and those in the creative industries.

The Business of Show Business is a arts podcast hosted by Unknown Host, with 0 episodes on record and a Required Pod Score of 80.

Unknown Host hosts The Business of Show Business, a arts show with 0 episodes published.

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  Episode #7

  What Take That's Choreographer Looks For in an Audition | Adrian Gas

  Oct 1, 202650 minS7

  In 2009, Adrian Gas danced on Take That's record-breaking Circus Tour. Seventeen years later, he came back to choreograph it. Adrian is a dancer, choreographer, movement director and creative director. He has performed with Elton John, Ed Sheeran, Kylie and Rihanna, and worked on The Voice and Strictly Come Dancing. In this episode, Jamie Body sits down with him to talk about moving from the stage to the other side of the panel, and what really decides who gets booked. Adrian grew up in his mum's dance school in Ibiza, the son of a pianist and the grandson and son of Tiller Girls. He shares how winning a choreographic competition at Performers College planted the first seed, and why years of assisting taught him more than anything else. He also explains why the dance steps are often the easy part of a choreographer's job. He is refreshingly honest about casting. He talks about the height, hair colour, passport and budget decisions you will never hear about, and why worrying about them gets you nowhere. He also covers what makes a good email to a choreographer, why you should never go past two minutes on a showreel, and why lateness is the quickest way off his next job. In this episode: From Ibiza to Performers College, and falling in love with commercial dance Assistant to choreographer: the skills that led him there Reimagining Take That's Circus 17 years on, and reinventing Relight My Fire Working with Kim Gavin, a creative who won't take no for an answer Why networking is really just being a good human Emails, follow-ups and research: what gets you remembered Showreels: front-load your best work What happens behind the audition panel Does your follower count matter? How to practise your way out of audition nerves Quick-fire round: Paul McCartney, Justin Timberlake and a bottle that wasn't water Connect with Adrian: adriangas.com Connect with Jamie: Website: jamiebody.com Instagram: @bodyjamie The Business of Show Business is the podcast about the entertainment industry through a business and career lens, for performers and creatives who want a career, not just a job. If you enjoyed this episode, please follow, rate and review. It really helps the show reach more people.

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  Episode #6

  Talent Isn't Enough: What Producers Actually Rebook | James Rowell & Natalie Dawson | The Business of Show Business

  Sep 17, 202648 minS7

  James Rowell and Natalie Dawson both started as performers, and now they have built a creative studio producing shows for Hampton Court Palace, London Zoo, Camden Market and cruise lines worldwide. In this episode James and Natalie of JR Creative Group pull back the curtain on what actually gets a performer hired, rehired and remembered — and why the most talented person in the audition room often isn't the one they book. In this episode, we get into how you actually make the move from stage to studio: pitching, budgeting, scope creep, and the unglamorous business skills nobody teaches at drama school. They also open up the casting inbox — 300 emails per call-out, and exactly what makes one stand out. We cover: - Why personality and reliability get you rebooked more often than technique - Always asking for a budget, even a ballpark, before you go blue-sky - Scope creep and the cost of being a pleaser - The full Hampton Court Palace Christmas timeline: pitch to opening night - Casting email etiquette, headshots and CVs that actually work - Why resorts, cruise ships and holiday camps are the best training you'll get - Pricing your day rate to cover overheads, savings and a pension - Networking alone, and why relationships come years before contracts - Making the transition from performer to creative director Follow the show wherever you listen, and find more at jamiebody.com.

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  Episode #5

  "The Industry Doesn't Owe You Anything" | Les Mis Star Turned Producer Scott Garnham

  Sep 3, 202656 minS7

  Scott Garnham has lived the full arc of show business — West End leads in Les Mis and Billy Elliot, a Netflix film, and now co-founder of the Barricade Boys and Sisco Entertainment Group, producing shows across cruise ships, US tours and the West End. Jamie Body sits down with Scott to talk life on and after the stage: why the industry is unfair and owes you nothing, the transferable skills performers underestimate, how to pitch and pack a show, what actually stands out in auditions, and why every performer needs to think of themselves as a business. Perfect for performers, producers and creatives — on stage or behind the scenes — who want the real, unfiltered business side of the industry they love. Follow Sisco Entertainment and The Business of Show Business for more.

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  Episode #4

  The Real Cost of the Edinburgh Fringe | PR, Marketing, Strategy and Finance

  Aug 21, 202657 minS7

  Over 3,000 shows perform at the Edinburgh Fringe every August. So how do you get a show there — and how do you make it stand out? Jamie Body spends the festival on the ground with the people making it happen: PR Chloé Nelkin of Chloé Nelkin Consulting, Alex Harvey of circus company Ockham's Razor (Collaborator), co-writers Alex Moneypenny and Adam Tuffre (The Shocking Truth About Flat Earth), Emily Weitzman (Furniture Boys), Corey Muizelaar (Behind Closed Doors), Alex Urwin of Kick It Anywhere (The Jolly Fisherman), and Rachel Twigg (Your Choice, Amanda Royce). They talk honestly about money, PR, flyering, venue strategy, star ratings and what happens after August — including the writers who are £18,000 in the red, and the producer who will sell out his entire run and still make a loss. In this episode: - Why PR is about profile, not a guaranteed sell-out - When Fringe planning actually starts (earlier than you think) - Why three stars is a good review - Choosing a venue you can fill over one that looks impressive - The true cost of accommodation, travel, previews and pints - Marketing that comes from the show rather than bolted onto it - How to build a second life for your show once the festival ends The Business of Show Business covers the entertainment industry through a business and career lens, for performers, makers and everyone building a career in the arts.

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  Episode #2

  "Everyone on the Panel Is Rooting For You" | Auditioning, Producing & High School Musical | TBOSB S7

  Aug 5, 202635 minS7

  How do you go from waiting tables between auditions to co-directing a Disney musical with Jason Donovan and Harry Judd? And once you're the one running the room, what do you actually want to see when a performer walks in to audition? Joseph Houston and William Whelton turned a former Manchester mill, first advertised as a storage space on Gumtree, into Hope Mill Theatre, one of the most talked-about producing houses in the UK. Ten years on, they're producing and co-directing a brand-new production of High School Musical, opening at The Lowry this summer before transferring to the Troubadour Wembley Park. Jamie sits down with them to talk auditioning, producing, and swapping the performer hat for a business hat. "Everyone on that panel is rooting for you to succeed." In this episode: - Why "50% naivety, 50% ambition" built a theatre, and why that's a superpower, not a weakness- The false sense of security that helps performers pivot: people only see what you show them - What producers really think when you walk into the audition room (and the red flags that stand out) - Why an audition is a job interview, and how to make safe, strong choices instead of risky untested ones - The permission slip most performers need: bring your sides in your hand, and just ask - How to wear the producer and director hats at once, and why "there's always a budget" makes the work better, not worse - Why regional theatre matters, and how shows now reach Manchester before London - The business skills nobody teaches performers: take every opportunity, even as a runner - Why your performing career was never a failure, just part of the journey Got a topic you want covered on the show? Send Jamie a DM. And if you're near Manchester or London this year, go and see High School Musical live. Subscribe for honest conversations about the business behind the performing arts, made for performers, creatives and anyone building a sustainable career in this industry. And find out more about High School Musical here - https://highschoolmusicalonstage.com/

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