Recently, the producers of Dear Evan Hansen announced that its Tony Award-winning lead, a ridiculously talented Ben Platt, would be vacating the role on November 19. Platt originated the role through read-throughs, workshops, previews, and finally, a year on Broadway.
The show is a runaway hit, pulling in $1.5M a week and already providing its investors with a complete return on their investment (in a very short period of time for a small theatre on Broadway). While the show seems like it will be fine with a new lead, its continued success is uncertain and there has been no announcement of who will be taking over the lead.
For another show on Broadway, the continued success is known – it will not have any. Natasha, Pierre and The Great Comet of 1812 (heretofore known as The Great Comet because that name is just WAY too long) was nominated for 12 Tony Awards (3 more than the big winner Dear Evan Hansen). It starred Josh Groban, he of velvety-voice-with-little-inflection-but-everyone-loves-him fame. It was a rousing good time. It got a huge boost from the Tonys performance.
And then Josh Groban left the show.
Okieriete “Oak” Onaodowa (who originated Hercules Mulligan/James Madison in Hamilton) took over the role. People loved him, he had a wonderful debut. And about 3 weeks into his run, rumors started flying that Mandy Patinkin (Broadway royalty/Inigo Montoya) would take over the role. It was officially announced. And the backlash was loud and accusatory because Oak is black, Mandy is white, and the callousness of the move was jarring. Turns out, Mandy was horrified at what happened, and refused to take the role because of what happened to Oak – Mandy had been told Oak was cool with it…and Oak did not appear to be cool with it. Mandy’s out. Oak refuses to go back.
And now the show is closing less than a year after it opened because they have no “name” lead and advance sales plummeted.
So why would I spend nearly 400 words on the drama of a Broadway show’s missteps?
Because that could be your organization.
If you have talented, charismatic, AMAZING leaders in your organization and you haven’t planned for what happens when they leave, you could be The Great Comet.
Don’t be The Great Comet.
Because I’m an unabashed theatre nerd and have decided to run this metaphor into the ground, here are some lessons about succession planning you can learn from Broadway:
- It’s not the actor, it’s the show: If you rely on one person’s performance for your company’s success, you will fail. Make sure the team’s/unit’s/company’s work and systems are strong enough to stand on its own, regardless of who is in charge. You want that leader to enhance, not overtake, the work that is already being done. Hamilton, the cultural juggernaut that will probably play forever and ever, is able to survive cast changes all the time – because the book, music and staging is just SO DAMN GOOD. New cast members join in service to the show, and while you see their spin in the performance, it’s not about them. It’s about the outcome of the show.
- Acknowledge that the original star can never REALLY be replaced and adapt: Having seen Ben Platt perform live, I am fairly confident that NO ONE will ever play that role to that level ever again. It is astounding. That doesn’t mean the next person will not be good. It just means they won’t be Ben. If they’re smart, they’ll try to find someone who can create the role in their own image, and adapt the show to that person’s strengths. Your company should do the same thing. If the last leader was well loved and well liked, acknowledge that. Then give them the opportunity to build and move on in their own image without changing the script.
- Consider staggering your exits: If you know you have a cohort of leaders who might be leaving around the same time – whether it’s retirement or a spin-off or something else – you might negotiate with them to stagger their leaving (assuming you like their style). This will allow you to have stability throughout the transition, helping onboard the new leaders while providing consistency for the organization. Hamilton used this approach. Lin Manuel Miranda (Hamilton) announced he was leaving. Then Leslie Odom, Jr. (Burr) left (apparently to do Nationwide commercials). Then others in the lead roles left. But never all at once. It helped preserve the spirit of the show and passed on the cast’s culture to the next actors to join. That could work for you.
- Have a long-term plan: Everyone leaves a company – whether they quit, get fired, or die. It’s the role of a leader to prep his/her replacement and plan that exit from the day they join. Lin Manuel Miranda has a group of trusted performers that he knows he can turn to take over roles. Javier Munoz was Lin’s understudy and replacement for In the Heights, and the same thing happened in Hamilton. Smooth transition. Who is YOUR Javier Munoz?
- Don’t put all your eggs in one basket: One of the biggest myths in succession planning is that you pick ONE person to be your replacement and you’re done. This is known as “pre-selection” and will bite you in the ass. You want to be sure that person can actually do the job, so you want to make sure you’re developing them. But even more pressing is the fact that someone who is high-potential enough to be identified as your successor may not want to wait in your shadow until you leave – they could jump to another opportunity. On Broadway, many understudies are working on originating one role while backing up another (like with Dear Evan Hansen’s Colton Ryan). There is no guarantee they’ll be around to take over full time. Or life gets in the way – Javier Munoz has had two health issues (thankfully, he’s okay). The point is, identify a potential pool of successors and develop their skills. It gives the company more options at the time of transition.
- Communicate appropriately: That whole Mandy/Oak thing? Totally could have been avoided if all the right players met at one point to talk long-term goals, communication strategy, and impact to Oak. People get nervous when their boss changes. Having a good communication plan can help alleviate that. Additionally, if you DO have multiple people who could potentially take the job, think about how you let those who did NOT get the position know. What feedback can you give? What career options can you share? And…are you prepared for the reality that they may leave because of it? Whatever the case might be, the last thing you want to do is have a communication issue that results in NO ONE taking the role.
There you have it – lessons from Broadway on how you might approach succession planning within your organization.
See? The arts DO apply to the “real world.” (Support the arts!!!)