Q&A: Andrew Henry, the man who convinced Anthony LaPaglia to come home

The California-based Anthony LaPaglia is coming to Melbourne for his Australian stage debut. How did Andrew Henry pull it off?

Behind the scenes: Andrew Henry. Picture: Sally Flegg

From producing in a tiny theatre to last summer’s smash hit Amadeus at the Sydney Opera House – and now you have California-based Anthony LaPaglia coming to Melbourne for his Australian stage debut in Death of a Salesman. Where does this outsized sense of Aussie audacity come from? My regular theatre, the Old Fitz, has 55 seats – which sounds tiny, but the ambition in that space has always been extraordinary.I don’t feel there’s much difference in producing a show in a tiny theatre and doing one in the Opera House concert hall, or this new show in Melbourne. There’s a lot more zeros next to the bottom line, the stakes are higher – but the heart and soul of it, the energy, are exactly the same.

You’re originally from Lithgow – a town of coalmining, steelmaking and small arms manufacturing. How does all that breed a kid like you? My high school music teacher, an amazing woman, did these very hand-made musicals – my history teacher would do the backdrops, my Year 5 science teacher would be in a leotard for Cats. We did three shows a year and it was terrific. Growing up it was like, “This is what I want to do.” It was either that or a head injury.

Did your parents get it?Luckiest kid in the world. Dad ran a truck company; Mum was a midwife – she delivered most of the kids I went to school with. This world I’m in couldn’t be more preposterous yet they’re completely supportive. I think being the parent of someone in this industry must be hell. It could be, “Well, the theatre flooded last night and we had to replace an actor and we’ve got to raise a million dollars in a week” – but they’ve embraced it all. That’s the best gift. My line of work is unglamorously fabulous. My parents are proud and confused.

You’re a producer, but you’ve also been an actor. Which do you prefer? Definitely producing. I’ve had success as an actor but I was never really happy. It gives me much more joy to put people together and create the whole thing.

Was it hard to convince LaPaglia to come home for Salesman? Right play, right time, and he has worked with Neil [Armfield, the director] before. I think to make his Australian stage debut in that master’s hands is a no-brainer.

You love out-of-the-box collaborations – like the fashion duo Romance Was Born’s costumes for Amadeus. Any plans for more of these? In the slate of upcoming things there are so many opportunities. Whether it’s a fashion designer, or sound design by a Grammy award winning songwriter who’s never done theatre before, these sorts of things really elevate the excitement around a production.

What do you see as the future of theatre? I think what’s happening in the world with AI means that live experiences are going to be everything. So big sporting events, concerts and theatrical productions will be where we bring people back together, to keep us connected. People will need to be reminded of what it is to be human. I’m excited to be part of growing the theatre audience. I love the idea of some of my shows being a gateway drug for people new to this world.

OK, your dream production. What would it be? Thornton Wilder’s Our Town, with Jeff Bridges. And I really want Mick Molloy to let me do Crackerjack the Musical, because I think the great sport of lawn bowls deserves its own Hamilton.

Death of a Salesman is at Her Majesty’s Theatre in Melbourne from September 1 to October 15.