Interview: Michael Jackowitz
Pulling Back the Curtain with Broadway Producer of Dark of the Moon Michael Jackowitz
Ben Berman sits for an interview with Michael Jackowitz. He’s the Broadway producer behind iconic shows such as Tuck Everlasting, Daddy Long Legs, as well as the co-producer of Smash, Once on This Island, and Some Like It Hot. His latest show, a musical adaptation of Dark of the Moon, premiered earlier this summer in London.
Written by Ben Berman
Image of Dark of the Moon (c)
Dark of the Moon production (c)
Walking through Soho, your eyes naturally drift up to the dazzling signs of London’s theatres. You can’t help but to be lured in to buy a ticket for the evening performance. The city is known for its raw, immersive productions that draw in guests internationally, and it’s dizzying in its variety.
This sense of wonder rings true in Times Square for Michael Jackowitz, head of theatre production company WitzEnd Productions. “I used to go to Broadway, and I would walk down Times Square and be kind of in awe that this was happening. When I do go to New York [now] … I still get that same thing,” he says. “I can’t believe I’m working in this industry. I can’t believe I get to do this.”
Michael Jackowitz has brought his company’s latest production, Dark of the Moon, to an off-West End theatre after 30 years of producing Broadway and Off-Broadway shows. Dark of the Moon runs at the Charing Cross Theatre in Soho for a limited run this summer. It follows a group of witches living near Appalachia. One of the witches, John, chooses to transform into a human to be with his mortal lover, Barbara Allen. If the two remain faithful for the year, the witch boy remains human forever.
The idea for a musical adaptation of the classic American play Dark of the Moon fell into Jackowitz’s lap; he immediately felt the show’s emotional core. The idea was pitched to him by Jonathan Prince (American Dreams, American Soul). The concept for the musical adaptation involved the humans singing bluegrass and the witches singing rock and roll. Jackowitz says that once the Witch Boy meets Barbara, then “the two worlds collide both musically and ideologically. That was a really cool idea, but the rights were not available for some time. Eventually the rights did become available, and WitzEnd acquired them. We put together a really great team with Lindy Robbins (soundtrack of The DUFF), Steve Robson, and Dave Bassett (co-wrote Elle King’s Ex’s and Oh’s), writing the music and lyrics.”
The creative team behind the musical adaptation of Dark of the Moon dealt with a major hurdle. In the original play, Barbara Allen’s arc tragically ends with a sexual assault that didn’t land well with modern audiences. The team altered the ending to give Barbara more “agency.” Jackowitz was worried the proprietor of the original play would be upset with the changes, but was pleased with the alteration the creative team found after so many writers had previously tried to adapt the play.
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“Dark of the Moon can now be done again in all these markets with a new version with a 2026 take on it,” says Jackowitz. “And you can sing it.”
The musical also plays dramatically with its range in sound. Jackowitz discusses how, “when I first got involved with the show, all I would do is listen to the bluegrass music, the human songs. As time went on and the songs started to evolve, I actually like the witches’ [rock-and-roll songs] almost better now … I have evolved as the show evolved.” The opening of the show “thrillingly” smashes both genres together. Jackowitz describes how, “there’s a town of humans. There’s a covenant of witches. Oil and water. Musically, it’s thrilling. I really connect with the opening and the soundscape of the show.”
When asked about bringing the show to London after previews, Jackowitz opened up about the type of theatre that UK audiences are attracted to. Jackowitz says, “They [UK audiences] like the intense musicals. Phantom. Les Mis. Miss Saigon. They all were born here.” Jackowitz describes leaving the show, feeling cathartic. Hoping audiences feel similarly about Dark of the Moon, he hopes UK “audiences would appreciate that.”
Jackowitz’s favourite type of musicals are those where “you walk away from the theater, and … you need to process. The first time I saw Miss Saigon, … the music was so powerful. The performances were so powerful. Those are the kind of musicals that I tend to gravitate toward.” Given that preference, Jackowitz’s past productions feel to fall into a through-line of shows with socially topical themes. Once on This Island sheds light on assimilation and cultural differences in the Caribbean. Some Like it Hot explores racial and gender differences. Theatre with an impact and change remained a passion for Jackowitz since the start.
But what does producing entail? Jackowitz describes the duties of a professional theatre producer: “The actual work is getting the team together … And there’s a whole other side of once it’s up and running: how do you sell tickets? How do you market the show? How do you advertise the show? There’s all those elements of it, but I personally like … to develop the show.”
From left to right: Daddy Long Legs production (c), Michael Jackowitz and producers (c), Michael Jackowitz with Daddy Long Legs poster (c), Tuck Everlasting Production (c)
The collaborative aspect of musical theatre is most crucial for Jackowitz. He says, “I like having partners. I like having really smart people in the room.” The collaborative aspect of theatre is crucial. Rome wasn’t built in a day, and neither is a Broadway musical. It requires not only producers, but co-producers as well. According to Jackowitz, the role of a co-producer is “basically bringing your investors to the table and raising money for the lead producer. You’re [also] attending some marketing meetings” where as “when you’re the lead producer, you are creating the concept, you’re hiring the director, you’re hiring the casting director, you’re hiring the writers, you’re hiring everybody. It’s your vision.”
Jackowitz created WitzEnd Productions in 2013. His creative intentions behind the company were “to develop new musicals for the theater. That’s what I love doing, and that’s kind of my little niche. I have done some straight plays, and there are some straight plays I loved.” WitzEnd also allowed Jackowitz to step into the lead producer side of developing, after co-producing hit shows prior. He developed the company with senior producer Jeffrey Grove (co-producer on multiple projects including Smash), who also happened to have been a roommate of Jackowitz’s at university.
When it comes to next steps for Dark of the Moon, Jackowitz reveals “there’s already some discussion about potential films; there’s potential there. I really can’t go into detail, but we’re in conversations for next steps.” WitzEnd also has a few new productions up his sleeve. The company’s next musical is opening regionally in Hawaii, titled The Epic Tale of Hi’iaka: The Hawaiian Goddess. It’s a musical about the Hawaiian Deities, echoing back to Once on This Island.
Dark of the Moon has a limited run at the Charing Cross Theatre until 8 August. For more information: https://darkofthemoonmusical.co.uk/
