Michael Cassel has been described as “the new hit-maker in Australian theater” by the Sydney Morning Herald and “a major force in Australian theater” by Variety.

The entertainment production company he founded in 2012, Michael Cassel Group, has staged dozens of major musicals and plays that between them have sold over seven million tickets and generated box office sales of US$567 million. International tours have played to an additional 1.5 million people in London, New York and elsewhere.

In March 2025, his acclaimed production of The Picture of Dorian Gray, starring Succession actress Sarah Snook, will open on Broadway after a successful and award-winning run in London’s West End.

“I’ve said it many times, but from the very first time I saw it, I knew it deserved a global audience,” Cassel says of the show.  “It’s a mesmerizing spectacle that’s transformative, innovative and undoubtedly one of my proudest career achievements.”

Which is really saying something, given that his CV includes smash hits such as Harry Potter and the Cursed Child, Les Misérables, Kinky Boots, Priscilla Queen of the Desert, Singin’ in the Rain and even the Royal Edinburgh Military Tattoo. Cassel was also responsible for hip-hop musical Hamilton’s first-ever international tour.

“Engaging storytelling is at the heart of everything we do,” he says. “We captivate audiences by entertaining and inspiring them so they come back for more and tell their friends to do the same.”

And come back they do. With annual revenues of up to US$27 million and a slew of wildly successful current and future productions including Beetlejuice, Dear Evan Hansen, Titanique and MJ The Musical, it’s no surprise to see Cassel among the finalists for The CEO Magazine’s 2024 Executive of the Year Awards.

“Live performance remains a significant contributor to the economy and our cultural life, with musical theater representing a substantial portion of the tickets sold each year,” he explains. “The appetite for it has increased, with revenue and attendances growing annually.”

Hit productions

Cassel began his showbiz journey as a client manager at legendary Sydney celebrity representatives Harry M Miller. From there, he moved to the Disney Theatrical Group where he staged international productions of several Broadway musicals, including The Lion King, Mary Poppins, The Little Mermaid, Beauty and the Beast and High School Musical.

He also grew Disney’s presence in the emerging markets of China, South America and South Africa, launching The Lion King in five countries and staging other tours in Japan, Korea, Brazil, Argentina and Taiwan.

After a spectacular nine years at the House of Mouse, he took over as Head of International and Creative Affairs at another theatrical giant, Global Creatures, licensing yet more lucrative global productions, before setting up on his own in 2012.

He’s since been appointed a Member of the Order of Australia for his services to theater and received a Doctor of Letters from the University of Wollongong.

“Our achievements in producing some of the biggest hit shows from around the world reflect a commitment to delivering exceptional live entertainment experiences,” Cassel says.

“We never compromise on artistic quality or integrity, and ensure that our audiences enjoy exactly the same theatrical experience as those on Broadway or the West End.”

Nurturing talent

However, it’s not only Australian audiences that benefit from that commitment. Michael Cassel Group’s Artist Development Program supports new Australian voices and creative talent by showcasing new Australian musicals and offering them pathways to launch overseas. It includes mentorship and masterclasses with leading international and local talent, industry feedback at play readings and constructive workshops, and culminates with one show having a reading in front of Broadway producers.

Cassel has also just launched a formal work experience initiative providing valuable industry exposure and practical experience to individuals interested in pursuing a career in live entertainment. Such actions have cemented the company’s reputation as an advocate for better pay and conditions in the profession, leveraging its success to foster talent development, diversity and respect.

Those values also permeate deep within its own internal practices and are evidenced by schemes such as allowing 10 days of First Nations leave each year for performers and production staff so they can attend cultural ceremonies or events and activities during NAIDOC Week.

“We’re a close-knit team and we’ve built a culture of accountability and cooperation,” he says. “It focuses on high performance, collaboration and a shared sense of purpose.

“One of the best pieces of advice I ever received was to listen more than I speak. It resonated with me because it emphasizes the importance of understanding different perspectives and nurturing an environment where everyone feels heard and valued.”

Encouraging feedback

For Cassel, the same is true for any leadership position, whether it’s directing a play, assembling a new cast or running a production company.

“Effective management isn’t about telling people what to do, it’s about being receptive to ideas and feedback from everyone around you so there’s mutual respect and continuous improvement,” he says.

Over the past year, the group has been a principal partner to Theys at the Hayes, a gala concert celebrating gender-expansive performers and musicians to demonstrate the true breadth of talent in the industry.

The company also contributes to the Actors Benevolent Fund and NIDA, the country’s leading training institution for the performing arts, as well as a range of charities.

One issue it has been particularly vocal about is introducing a 40 percent tax offset for theater, a proposal that the industry’s peak body, Live Performance Australia, estimates would boost the sector by US$333 million, support 168 new productions and create 4,000 jobs.

“It would be a significant step in the right direction and would level the playing field with film and TV, which already benefit from government tax incentives,” Cassel says. “Theater has high pre-production costs and many challenges in attracting the necessary investment.”

Tough times

The timing of the discussion is critical as the industry, having only just recovered from the catastrophic effects of the COVID-19 pandemic, struggles to attract paying customers in a cost-of-living crisis that’s also pushed up the cost of putting on a play by 30 percent. A survey earlier this year by Finder found a quarter of Australians were avoiding live theater despite discounted ticket prices and additional government subsidies.

“A tax incentive would make us more competitive internationally, boost the economy and unleash more extraordinary local content with Australian-owned intellectual property,” Cassel points out.

“It’s not just about preserving the arts; it’s about propelling them forward, fostering innovation and ensuring the magic of theater continues to enrich lives for generations to come. I’m very proud to be at the forefront of the campaign.”

That Cassel is now Australia’s leading theater producer would come as no surprise to those who knew him when he staged his first-ever performance, a carols by candlelight concert for 4,000 people. He was 15 years old at the time.

Over the subsequent decades, his extraordinary appetite for surprising and delighting audiences has only grown stronger. And an already packed slate of upcoming productions for 2025 and beyond suggests Michael Cassel Group’s momentum isn’t about to slow.

After all, the shows must go on.