Queen of all things pink and PR, we peek behind the scenes to get to know a little bit about Chloé Nelkin
For my money, Chloé Nelkin Consulting is one of the best PR companies around. The team’s work on the VAULT Festival this year was exemplary in making so many critics see so many shows run as smoothly as it did. And leading them with her brilliant and friendly smile is the woman herself.
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Where were you 10 years ago?
I was studying at The Courtauld Institute where I completed two degrees in History of Art. At the same time, I was freelancing as a PR in the visual arts world, working with some incredible artists and galleries and learning the ways I thought a PR company should operate. At this time I began to plan launching CNC which I did in March 2010. The time has flown by as it does when you’re having fun.
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Best show you’ve seen in the last 10 years?
Oh, that’s such a hard question as the list of amazing shows I’ve seen is endless. I won’t pick one of our clients’ shows as that would be biased so I’ll go for something I’ve seen recently. Come From Away absolutely blew me away. It’s a stunning production – simple, clever, catchy and moving with fantastic direction from Christopher Ashley. I haven’t stopped singing the music since I saw it.
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What has been your professional highlight of the last 10 years?
It has to be starting CNC and growing it into the business it is today. What I began working alone at the kitchen table has evolved into an established company based in Bloomsbury. CNC’s dream team work together to promote a wide range of amazing shows. We’ve worked on some incredible projects and met some fantastic people over the years and, coming up to our 10th anniversary, things are getting better and better.
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Top flavour of interval ice-cream?
Salted caramel! How can you even consider another flavour?
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What show do you wish theatres would give a rest for a few years?
That’s a cruel question – it would be wonderful to see more Fringe productions transfer to the West End. Some of the most important work in theatre happens in smaller spaces all around the UK and deserves a chance to be seen by larger, more mainstream audiences. Nurturing new talent is so important. Of course, it’s natural that we all want to see the current West End superstars (and we should) but don’t forgot about the up-and-coming talents who could be the stars of the future.
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Name someone who you think is a really underappreciated talent (in the world of theatre)?
I think sometimes it’s easy not to consider the people behind the scenes so I’ll choose David Ralf, the Executive Director at The Bunker. Together with Artistic Director Chris Sonnex he is doing amazing things and working to make The Bunker one of the foremost underground Fringe venues in London today.
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Elphaba or Glinda?
With branding as pink as mine, it’s got to be Glinda.
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What is one thing that you think would help theatre survive and/or thrive the next ten years?
Of course it’s important for theatre to make money for the ongoing success of the industry. But the industry also needs to work hard to ensure that theatres continue to offer accessible tickets as well as top price seats. We want to make sure we don’t alienate audiences with sky high prices. Also, theatre is making leaps and bounds, working on equality across race, sex and class and it’s vital that this carries on. Remarkable companies out there such as tiata fahodzi and The Queer House are really pioneering previously underrepresented voices.
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Which is your favourite theatre?
While not a conventional theatre, I love The Vaults. My first ever theatre project, VAULT Festival, was in this space and it’s been a privilege to watch the festival grow and see the amount of tremendous artists who come together in the arches under Waterloo station. It shows that any space can become a hotbed of creative talent.
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Can you say anything about what’s to come for you, (in the next ten years or otherwise)?
CNC has thrived and grown so much since its inception and I’m proud of what my team achieve. Keep an eye on what we’re up to because the sky is the limit.
