CAMERON MACKINTOSH WANTS SOME MORE PRODUCER CONSIDERS HIMSELF LUCKY TO BRING 'OLIVER!' BACK TO THE STAGE.

Byline: Evan Henerson Theater Writer

Somewhere in the world, most likely at a theater near you, a chandelier is plunging, a helicopter is rising, barricades are being stormed and costumed cats are dancing. Somewhere in the world, lots of merchandise is being sold to commemorate the occasion - a soundtrack, a poster, a sweat shirt.

``Phantom of the Opera,'' ``Miss Saigon,'' ``Les Miserables,'' ``Cats.'' Any theatrical producer would be content to retire with just one of these musical cash cows to his credit. As it happens, all four shows fall under the creative guidance of Cameron Mackintosh and his Really Useful Theatre Company. At one point, all four musicals were playing simultaneously in London's West End, on Broadway and on tour.

This weekend, ``Phantom'' is finishing an engagement at the Ahmanson Theatre - the musical's third visit to the Southland. The North American tour of Mackintosh's ``Oliver!'' opened Tuesday at the Kodak Theatre for an eight-performance run. His tour of ``Oklahoma!'' arrives in the summer of 2004. By the end of next year, a musical version of ``Mary Poppins''- produced with Disney Theatricals - will open in London.

Those who know him say the Mackintosh man could probably name you the hairdressers and chorus members of every cast. That's how involved he is in his franchises.

``I can say, without anybody contradicting me, that he is the greatest producer who has ever lived. If I ever needed an opinion on what is going on in the world of theater, he is the one I would always ask,'' says Peter Lawrence, the associate director of ``Les Miserables'' and ``Miss Saigon's'' touring companies.

Director Graham Gill, who has known Mackintosh since 1986, offers similar praise.

``He's revered and admired at the same time because of his absolute enthusiasm,'' says Gill, who directs the ``Oliver!'' tour after serving as assistant director on the original. ``He's so hands-on that he will never rest until he's happy with everything.''

Mackintosh has produced more-opulent musicals than ``Oliver!'' but this story has a special place in his life and career. Yes, it's a familiar musical, performed worldwide in junior high schools and community theaters. Yes, everybody knows songs like ``Food, Glorious Food,'' ``Consider Yourself'' and ``Where Is Love?''

And yes, there are good reasons why ``Oliver!'' is so often performed.

An adaptation of Charles Dickens' novel ``Oliver Twist,'' about a plucky orphan who falls in among thieves, ``Oliver!'' - with book and lyrics by Lionel Bart - became a stage and film classic. Mackintosh saw the original production as a boy.

``Five years later, I heard there was going to be a tour, and I applied to be the assistant stage manager. That's where I got to know how the set worked. The experience taught me how important design is in the theater,'' says the man who is known for lavish staging and special effects.

Mackintosh later produced revivals of the show in 1976 and 1983. The current production, first staged in 1994, featured direction by Sam Mendes and choreography by Matthew Bourne. Mackintosh not only owns the rights to the show, he now owns the theater in which ``Oliver!'' played.

By most accounts, this ``Oliver!'' should have had an easier journey across the Atlantic. It should have been here sooner, according to the producer.

``It was too expensive to do,'' says Mackintosh, speaking by phone from Saginaw, Mich., where ``Oliver!'' kicked off the tour earlier this month. ``The problem with Actors' Equity in America (the union that governs professional stage performers) is that they insist that all the children be members of Equity, which is not the way it's done anywhere else in the world. I don't personally see the logic in paying exactly the same scale to children who are sweet and talented and the people who are trained to make a Broadway career.''

The musical requires a huge cast including more than 20 children and an equal number of adults. Throw in chaperons and touring costs and, according to Mackintosh, the production wouldn't have a prayer at financial success.

``We couldn't last anywhere long enough to attract an audience,'' he says. ``But after four or five years, I said, 'I can't let this show not be done in America.' ''

His solution is a non-Equity tour - co produced with NETworks Presentations - in which company members are paid considerably less than what Equity would require. Mackintosh has clashed with Actors' Equity before - he famously threatened to cancel the Broadway run of ``Miss Saigon'' if Equity wouldn't allow Jonathan Pryce to reprise the role he originated in the London production.

Now, with the union having recently allocated $1.6 million to campaign against non-Equity tours, Mackintosh and his productions have drawn fire. Audiences at a Boston engagement of ``Miss Saigon'' in September were greeted by protesters from Equity, the Screen Actors Guild and other local unions. The Boston Musicians' Association AFM Local 9-535 refused to let its members play in the orchestra.

A spokesperson at Equity's national offices said there would be no such protests at ``Oliver!''

``We did try to negotiate a deal and figure out different options for dealing with the children,'' says Flora Stamatiades, national director of organizing and special projects for Actors' Equity. ``We have a good relationship with NETworks and with Cameron and his representatives. It would seem odd to put a protest in when we did try to negotiate in good faith.''

Stamatiades did add that Equity considers it unfortunate that non-union tours are ``pushing workers out of the middle classes.''

``A producer can make money doing an Equity tour. You can make a lot of money doing a non-Equity tour,'' she says. ``Actors are in such a precarious position anyway. Something like this puts them in a position where it makes it impossible for them to live the way they should be able to.''

Mackintosh, who says this kind of touring is ``essential,'' hopes his road gets progressively smoother.

Most important, he says, audiences paying up to $95 per ticket will not see an inferior-quality show.

``I did the bus and truck shows to such an exacting standard that it changed the perception on the road of what a touring musical should be,'' says Mackintosh. ``It's always been my ambition to make what people see on the road be as good as, if not better than, what they've seen or read about in Broadway and London. Non-Equity shows are going through exactly the same process.''

Evan Henerson, [phone]

evan.henerson(at)dailynews.com

OLIVER!

Where: Kodak Theatre, 6801 Hollywood Blvd., Hollywood.

When: 8 p.m. today through Friday, 2 and 8 p.m. Saturday, 2 and 7 p.m. Sunday; through Sunday.

Tickets: $30 to $95. Call [phone].

CAPTION(S):

3 photos

Photo:

(1) no caption (producer Cameron Mackintosh)

(2) no caption (theatrical scene with children in a church)

(3) Justin S. Pereira, in the title role, is one of more than 20 children in the touring production of ``Oliver!'' at the Kodak Theatre.