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Kerry Jewel
Hello Kerry Jewel here.
ELYSE & KERRY JEWEL Conceptualists & Creative Producers A lifetime of creating entertainment “Like most producers, we have produced everything from runaway smash hits to shows {and investors} that are best forgotten” Elyse & Kerry Jewel Having been born into the entertainment industry and worked for may years as writers and performers, 1985 heralded the beginning of Elyse and Kerry Jewel’s successful entrepreneurial and production career. They believe that the audience should be treated to the complete night out. Not just the performance must be memorable, but the seats should be comfortable, access to the venue easy, tickets, programs and drinks obtained without lengthy queues. Too many people have been put off attending performances; not because the performance was not enjoyable, but the theatre staff was rude or the seats had no leg room or tickets difficult to obtain or the theatre’s location meant it was just too hard to get to. Mindful of these needs, they endeavoured to always have an influence or control over both the venue in which their production was performing and the box office. The first point of contact for a potential customer is when they acquire the ticket from the box office; so it must be a welcoming and not off putting experience. Otherwise the customer is lost before he becomes a customer! With all of these factors in mind, it was in 1985 when Elyse and Kerry Jewel created the "Comedian's Co-Op" which started as a two months 'fill' at Sydney's Golden Garter, but in fact ran for eleven months and toured for two years. In 1987, in association with the Hyatt Hotel in Sydney, the Jewels developed Australia’s first dinner theatre. The premiere was “Rattle Of A Simple Man” starring Australia’s sex symbol Abigail and Derek Fowlds from the smash hit series “Yes, Minister” and “Yes, Prime Minister”. Dinner theatres were then established with the Hyatt Hotels in Auckland and Canberra. The dinner theatre productions saw the start of the Jewels’ developing a touring circuit right down the eastern seaboard of Australia that encompassed over 50 towns from Cairns to Whyalla. They pioneered a circuit that still exists today. Of course, audiences in the capital cities of Melbourne, Brisbane and Adelaide were also entertained by the Jewel shows. In 1990, the Glen Street Theatre presented an opportunity for the Jewels to have a new Sydney resident base. Elyse and Kerry Jewel’s company took a lease on the theatre in Sydney’s northern beaches region. Each year saw 4 new productions. Naturally, the productions also toured to all of the regional theatres established in the late 1980s. Their next challenge was the tyranny of distance. They added Western Australia’s regional towns and capital city, Perth, to the touring circuit. Again, they were the first major producers of theatre to take shows from the East to the West. Between 1990 and 1995 Elyse and Kerry Jewel were one of the largest employers of Actors Equity members in live commercial theatre performing some 150 weeks of theatre annually. Some of the plays presented include: "Plaza Suite", “Mother’s Day”, "Lunatic Soup", “Black Comedy”, “Perfect Mismatch”, "Deathtrap", "Noises Off", “Everybody Loves Opal”, “Caravan”, "Run for Your Wife", "Gaslight", “Beyond Reasonable Doubt”, "Nunsense" and "Same Time Next Year". Starring some of Australia’s best known and best loved actors: June Salter, Barry Crocker, Brian Marshall, John Hamblyn, Joanna Lockwood, Judi Farr, Tom Oliver, Grant Dodwell, Melissa Jaffer, Henri Szeps, Rowena Wallace, Victoria Nicholls, Abigail, Tom Richards, Peter Adams, Shane Withington, Bartholomew John, Elaine Lee, Donald McDonald, Lorraine Bayley, Barry Quin and Australia’s favourite English gentleman, Stuart Wagstaff. They also presented concerts all over Australia; including a major series with piano virtuoso Roger Woodward. The incredibly successful “Night of a Thousand Stars” at Sydney’s Her Majesty’s Theatre was devised and produced by Elyse & Kerry. Cleo Laine flew to Australia to exclusively appear in the event which saw the six figure proceeds assisting the victims of Sydney’s devastating bushfires. A new era of theatre dawned when their adaptation of “Peter Pan” was staged in Perth. This was massive commercial exercise employing almost 100 crew and actors and a symphonic sized orchestra, it achieved sell out business in its limited try out season. Elyse and Kerry subsequently devised and produced “Pan”. At a cost of $12 million it was one of the largest and most lavish productions ever staged in Australia. It was filmic in quality and feel with the music underscoring the performance and played by the 98 piece Victorian Philharmonic Orchestra. Because of the ground breaking and cutting edge technologies it is a production of which they are particularly proud. Under their marketing strategy, the production broke the Capitol Theatre’s box office record for advance sales with over a million dollars taken in the first week. Elyse and Kerry Jewel had some very dark days when their 23 year old youngest son died as the result of the injuries he sustained in an accident while stage managing “The Rocky Horror Show” at Star City. This saw the Jewels taking almost 4 years off work. They returned to the industry by purchasing a 15% interest in International Concert Attractions. Under the ICA banner they were responsible for “Saturday Night Fever”, “The Soweto Gospel Choir”, the children’s favourite “High 5” and “Sleeping Beauty on Ice” and many more. They departed ICA and they produced the Sydney season of “Fiddler on the Roof” with the legendary Topol which grossed $5.4 million in its 8 week season. “The 2006 Anzac Tattoo” was their creation and the next step on their creative journey was the “2007 Tattoo Spectacular which Elyse also directed. Elyse and Kerry Jewel have undertaken a great deal of work for various charities; most notably Rotary International, The Cochlear Implant Trust and the International Variety Club of Australia – the greatest children’s charity in the world. Elyse & Kerry have produced over 150 productions and share the same philosophy as Alan Jay Lerner, author and lyricist of “My Fair Lady”, who said: “I am not in the entertainment industry to make a living; I am in it to make a life.”