It’s another Hollywood cliché (I seem to be taking a lot of digs at Hollywood lately): the loner who wants to risk it all for his (sometimes her) goal, and no matter what anyone says, he (sometimes she) will punch through all that negativity and succeed. But is that what real creativity looks like?

“I do my best work in collaboration,” says risk-taking Toronto-based producer, director, and artistic director Mitchell Cushman.

Cushman is anything but the stereotypical loner who’ll risk it all. When speaking with him on the phone, he sounded…normal. You know, conversational, a little introspective, comfortable talking about work. And then there’s this thing called collaboration—a word usually saved for job descriptions—that he thrives on.

Working With Humans

For Cushman, collaboration is his path to dreaming big. Not big as in lots of money (though maybe he wants that), and not big as in a huge house (but maybe he wants that, too), but big as in big ideas.

Take, for example, his 2015 project Brantwood: 1920-2020. Done in collaboration (there’s that word again) with Julie Tepperman and Sheridan College’s Canadian Music Theatre Project, it’s a play that consists of approximately 15 hours of material.

No, this wasn’t Goethe’s Faust plays rebooted; it was a site-specific production that was staged in an old three-storey, 20,000-square-foot school building, with different scenes taking place in different rooms throughout the entire space. Audience members could roam about and peer in on any scene they wanted to. A bit like a Choose Your Own Adventure book, but you could decide when the adventure continued.

Dreaming Large

“I’ve always been attracted to work that allows you to dream on a large canvas,” he says. So when Talk Is Free Theatre Artistic Producer Arkady Spivak needed someone to join him on a crazy project, he called Cushman.

The crazy idea is called The Curious Voyage, costs between $1,950 and $3,600 plus flights and meals, and spans two continents. My first thought was, “Theatres have a hard time selling tickets for $35 a piece sometimes. Who’s going to pay this much for a theatre show?”

The Risk: “The Curious Voyage”

And that’s where the risk comes in. The Curious Voyage is a three-day experience that immerses the audience in a theatrical experience that starts in Barrie, Ontario, on day 1. On day 2, they’re shuttled to Pearson International Airport, where they’ll fly to London, England. On day 3, they’ll get to watch a Tony Award-winning musical, whose title is being kept a secret.

I told Cushman that I don’t know if I would jump on board for that kind of price. What if the musical was Kiss of the Spider Woman? That’s the last musical I’d want to spend over $4,000 on.

“I can tell you it’s not Kiss of the Spider Woman, if that’s scaring you off,” he said. Whether to advertise the musical or keep it a secret was debated, but keeping it zipped was the final decision.

Surprise!

“We’re offering them an unexpected experience where you should never know what’s going to happen next,” Cushman explains. “We felt that our potential to get underneath people’s skin with the project would be a lot stronger if they didn’t know what they were in for.”

Before you worry if you’re about to be slimed on stage in front of your fiancée or asked to eat cheese curds like a cat, the FAQ for the show confirms that, although audience members are meant to participate in the experience, no one will be asked to do anything potentially demeaning or embarrassing.

Details of a Big Project

Cushman’s job in this wild adventure is to direct The Musical That Must Not Be Named, in London. Director Daniele Bartolini will look after the Ontario elements of the production. There’s of course an entire production team involved, with Spivak heading it all. When I asked Cushman about the logistics of pulling off a project like this, he could only say, “A lot of equally enthusiastic, equally crazy people working on it together.”

Not even his musical in London will be “normal.” The little clue he did give me about the musical is that it’s one that normally requires a big theatre and will be staged in a very intimate setting. Audience count is limited to 36 per Curious Voyage (there are several trips).

Granted, most musicals I’ve seen need a big theatre, so that’s not much of a hint. In my mind, I’m thinking Les Mis in my living room perhaps, or Phantom in my office, minus the crashing chandelier. Would either musical be as powerful if you could see everyone’s wig lines? Hmm…

Is There an Audience for This?

Cushman finds it’s hard to make any kind of art, and that it can be harder to find the right people to come and see it. Add such a large ticket price, and your potential audience becomes incredibly small.

“But also, I find that if you’re offering people an experience that they feel like they’re going to remember for the rest of their lives, then you actually start getting people’s attention. The hardest thing in theatre is to be anonymous,” he says.

Audience Expectations May be Changing

I associate theatre with leaving the house, sitting in some large, cavernous room, and sitting back and enjoying the show. But Cushman thinks times have changed.

“There’s all sorts of research, especially for the Millennial generation, that people are spending less money on physical things and more money on experiences,” he says. He believes the time could not be better to offer immersive theatre, because it harnesses the power of the live performance.

Cushman + Big Ideas = Collaboration

But it takes a lot of work—and a lot of collaboration—to pull off ideas like these. His work with Tepperman on Brantwood took place over two years, beginning with three months in an apartment working out the concept. More collaborators entered the scene after those three months.

“It’s about surrounding yourself with the right artists who all have equal buy-in and all have different vantage points, so that every part of the piece is an integrated experience,” he explains.

Collaboration for Your Art

This blog is meant to help you explore your own creativity. In recent months, I’ve introduced you to several professional creators, talked about their work, and given you a glimpse into their creative world. How do you approach your art? Is it in the closet, where no one can see it? Do you talk to anyone about it? Ask anyone for help?

Mitchell Cushman can create big precisely because he collaborates so much. He has an extensive history of immersive and site-specific productions and some pretty big ideas. “So Spivak knew I wouldn’t be scared off by the scope of what he was looking to do.”

Don’t let your big ideas scare you off. Finding the right people to help move your creation along can give you the confidence you need to pull it off.

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