Lucy Magee: Building Theatre in the Middle East
In this episode, host Anna Robb sits down with Lucy Magee, a renowned theatrical producer, creative director, and CEO of West End Worldwide, a multi-award-winning company based in Dubai. With over two decades of experience, Lucy has produced over 50 acclaimed plays and musicals across the Middle East, including The Sound of Music, The Woman in Black, and High School Musical. Lucy shares her journey from being a performer in the UK to pioneering theatre in the Middle East, the challenges of building an audience, securing venues, and self-financing productions. She also discusses the evolving entertainment landscape in Dubai, her vision for a theatre district, and her dream of producing a Shakespeare Festival in the region. Check out this sneak peek, and don’t miss the full-length podcast episode next week!
How did Lucy Magee end up in Dubai and establish her theater career there?
Originally from the UK, I trained as an actress and worked in the industry before deciding to produce my own shows. I wanted to treat and pay artists fairly, so I started producing in London with my business partner, John. One of our productions, I Love You, You’re Perfect, Now Change, caught the attention of a Dubai theater looking for shows.
Dubai’s theater scene was still developing, and we introduced the repertory model, performing multiple productions back-to-back. Over two years, we built an audience, established a reputation, and eventually rented venues ourselves, allowing for bigger productions. Over 12 years, we produced 55 plays and musicals, expanding to Bahrain and Qatar.
How has the theatrical landscape in Dubai changed over the years?
The biggest challenge today is the lack of mid-scale venues. The original theater we worked in has been repurposed into a digital art museum, and several other venues have closed. While Dubai Opera is a fantastic venue, it’s not accessible to all productions.
Currently, we lack a 1,000-seat venue that could bridge the gap between small fringe theaters and large-scale opera productions. This has limited the types of shows we can produce. I’ve started using the Zabeel Theater, but it’s not designed for traditional stage productions. Until more appropriate venues are available, scaling up theater production remains a challenge.
How does Lucy Magee finance her productions, and what are the financial challenges?
I primarily self-finance, which involves a great deal of financial risk. I do have some cash sponsors and a network of ‘theater angels’ who provide funding with repayment guarantees. When a venue or company buys in a show, the financial aspect is more secure, but producing independently remains a challenge.
Unlike promoters who bring in international tours, I produce from scratch—acquiring licenses, handling casting, marketing, sponsorships, and financing. I thrive on this hands-on approach, but it’s financially demanding. Having financial backing would allow me to take more creative risks and enhance productions without constant budget concerns.
What was the impact ofThe Woman in Black in Dubai, and how was it received?
I’ve produced The Woman in Black in Dubai multiple times, and it remains highly popular. This recent production involved a new venue, requiring significant changes, but my core creative team remained the same.
One of the main reasons for staging it again was the demand for quality plays. Dubai’s market is saturated with concerts and musicals, but there’s a scarcity of serious theatrical productions. Schools and colleges also needed live theater experiences for students, so we provided educational materials and post-show Q&As.
The response was overwhelming—school performances sold out quickly, and students were engaged in the storytelling process. The simplicity of the play, relying on strong performances and theatrical tricks instead of high-tech effects, was eye-opening for young audiences. The public shows were also successful, and many attendees expressed interest in future productions.
What does Lucy Magee see for the future of theater in Dubai and the Middle East?
I have upcoming productions lined up, including a play similar in style to The Woman in Black and a potential tour of a large-scale musical in the Middle East. However, long-term growth requires structural changes.
Dubai needs a dedicated theater district, similar to Broadway or the West End. Currently, productions are scattered across different venues, which limits the sense of a thriving theater hub. Saudi Arabia is moving faster in this regard, investing heavily in entertainment infrastructure, and may develop a comprehensive entertainment zone before Dubai.
I would love to introduce a Shakespeare Festival to Dubai, followed by a Greek festival and other classical productions. These types of events could enrich the cultural scene and create new audiences for theater. The region is evolving rapidly, and with the right support, we could see a major theatrical transformation in the coming years.
Key Takeaways
- Building Dubai’s Theatre Scene
Lucy Magee transitioned from acting to producing, launching over 50 major productions in the Middle East. - Challenges in Theatre Production
– Dubai lacks mid-sized venues, making large-scale productions difficult.
– Self-funding remains a major risk, as most productions require external investment. - Engaging Local Talent
– The Woman in Black successfully introduced live theatre to students.
– Collaborates with Sharjah Performing Arts Academy to nurture emerging artists. - Future of Middle Eastern Theatre
– Hopes for a theatre district in Dubai or a Broadway-style hub.
– Sees Saudi Arabia expanding entertainment but leaning towards spectacle over traditional musicals. - Big Dreams for the Region
– Plans for a Shakespeare Festival and further theatrical innovation.
– Committed to growing a sustainable and diverse arts scene in the Middle East.
Featured Image: Courtesy of West End Worldwide (2024 Production of The Woman in Black)
Editor's Note: At StageLync, an international platform for the performing arts, we celebrate the diversity of our writers' backgrounds. We recognize and support their choice to use either American or British English in their articles, respecting their individual preferences and origins. This policy allows us to embrace a wide range of linguistic expressions, enriching our content and reflecting the global nature of our community.
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