The Producers Guild of America (PGA) announced Saturday that Gail Berman and Lucy Fisher were elected as presidents — marking the first time two women will lead the Hollywood trade association.
Berman and Fisher ran unopposed and were introduced to their constituents during the guild’s annual General Membership Meeting on the Paramount Pictures lot.
“Gail and Lucy have long since established themselves as leaders in our industry, steering their respective networks, studios and companies to great success in an era of unprecedented change,” outgoing PGA presidents Gary Lucchesi and Lori McCreary said in a statement. “They are a pair of brilliant and fearless producers who are devoted to the ideals of the PGA and the professional welfare of its members. We can’t wait to watch the guild thrive under their stewardship.”
Berman has served on the PGA’s National Board of Directors and the guild’s Producers Council Board of Delegates since 2016. Fisher has served on the Producers Council Board of Delegates since 2015 and was a 2006 recipient of the PGA’s David O. Selznick Achievement Award in Theatrical Motion Pictures, alongside her husband and producing partner Douglas Wick.
Berman — who is the Chairman and CEO of The Jackal Group — has launched several award-winning TV, film, digital and Broadway properties. Her upcoming credits include “The Addams Family” and “I Almost Forgot About You” starring Viola Davis. In March 2005, she was named president of Paramount, before which she served as president of entertainment for Fox Broadcasting Company from 2000 to 2005.
After serving as founding president of Regency Television, she produced hits such as “American Idol,” “24,” “Arrested Development” and “Family Guy.”
Fisher is an award-winning producer known for her work on “The Great Gatsby,” “Memoirs of a Geisha” and “The Divergent” series, and is currently the Co-Head of Red Wagon Entertainment along with Wick. Previously, she served as vice chairman of Sony’s Columbia TriStar Motion Picture Group, where she supervised films like “Jerry Maguire” and “Air Force One.” She also served as executive vice president of worldwide production at Warner Bros. for 14 years.
Lucchesi and McCreary held the post since 2014. Over the past four years, they dealt with high-profile issues for the PGA, including the release of the guild’s anti-sexual harassment guidelines.
11 Best Theater Productions of 2017, From Oscar Isaac to 'A Doll's House Part 2' (Photos)
TheWrap theater critic Robert Hofler picks his favorites of the year.
10. "Harry Clarke," by David Cale (Off Broadway)
Patricia Highsmith didn't write plays, but fortunately Cale does. Playing a charismatic anti-hero, Billy Crudup gives the year's best non-musical performance. What with his awful father, Harry Clarke is a victim. The wonderful thing about Cale's play and Crudup's performance is that Harry never sees himself that way.
9. "Werther," by Jules Massenet (Metropolitan Opera)
Opera is theater too, and by far the best performance on the musical stage in New York City came from Vittorio Grigolo in Richard Eyre's staging of "Werther." The Italian tenor moves and acts like a young Kevin Kline, looks handsome enough to be Bryce Pinkham's slightly older brother, and possesses a Golden Age voice. "The Band's Visit" is the best new musical now on the boards. It would have made this list if it hadn't appeared on last year's.
8. "Oedipus el Rey," by Luis Alfaro (Off Broadway)
Alfaro not only has the audacity to update a Greek tragedy to a contemporary L.A. barrio. He makes a classic tale sizzle with new life.
7. "The Children," by Lucy Kirkwood (Broadway)
Martin McDonagh appears to be wrestling with Rod Serling in the play's very disturbing opening moments. But Lucy Kirkwood soon takes her three characters to an even scarier place when they are forced to re-examine their retirement in the aftermath of a nuclear-plant meltdown.
6. "Jitney," by August Wilson (Broadway)
Wilson's early play finally made it to Broadway in a near-definitive production directed by Ruben Santiago-Hudson.
5. "Illyria," by Richard Nelson (Off Broadway)
Nelson eavesdrops on Joe Papp and other players in the early days of the Public Theater, when it all seemed to be falling apart even before it really got going. Papp wanted to be a creative artist; he had to settle for being something much greater.
4. "The Glass Menagerie," by Tennessee Williams (Broadway) and "Hamlet," by William Shakespeare (Off Broadway)
Sam Gold brought these two controversial revivals to the stage, starring Sally Field and Oscar Isaac, and you will never see either of these classics in quite the same way. Which may be why some critics hate this director's work so much.
3. "Antipodes," by Annie Baker (Off Broadway)
There are no new plots, which doesn't mean that several characters trapped in a conference room for what seems to be forever aren't expected to come up with several stories to feed a new entertainment project (video game, podcast, TV series) for a boss who's nothing more than a crackling, disembodied voice. Chilling.
2. "If I Forget," by Steven Levenson (Off Broadway)
A Jewish family undergoes crisis after crisis when a favorite son dares to write a tome titled "Forgetting the Holocaust." Levenson is much-lauded for writing the "Dear Evan Hansen" book. His "If I Forget" shows an even greater mastery for mixing humor and pathos.
1. "A Doll's House, Part 2," by Lucas Hnath (Broadway)
Ibsen's Nora returns to the household she abruptly left years earlier. Everyone, including the housekeeper, has a very good reason to be pissed off. Sam Gold, helmer of the year, directs.
Now check out Robert Hofler's list of the worst stage shows of the year.
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TheWrap Best & Worst 2017: Several young playwrights, from Annie Baker to Steven Levenson, help to revitalize the stage
TheWrap theater critic Robert Hofler picks his favorites of the year.
