© 2008 Symposion Publishing – The New Art of Leadership 1 Innovation leadership: Best practices from theatre creators Philippe Rixhon, Philippe Rixhon Associates Ltd, London Introduction Creation and innovation unfold in specific cultures. Leadership shapes these cultures. Relying on more than twentyfive years of innovation practice in the manufacturing, service and theatre sectors, the author presents five leadership characteristics of theatrical creation and recommends their broader application. This article tells you: • how theatre leaders innovate, • what kind of techniques they use and • what other business sectors can adopt. Innovation Innovation is the successful delivery of a new play, product, process or service. It is the combination of knowledge, materials and forces in original, relevant, valued new plays, products, processes or services. Picasso put existing paints on existing canvas with existing skills. The tools and paints of a painter are objects; the tools and paints of a theatre director are people. Innovation is the successful implementation of creative ideas within a context. Individual or collective creativity is a starting point for innovation; it is necessary but not sufficient. The creative insight must be put into action to make a genuine difference, to introduce a modified business process or to provide an improved product. Creativity may be displayed by individuals, but innovation – the production of the creation – occurs only in an organised environment. Innovation, like many functions, is an organisational process that requires specific tools, methods and leadership. The innovation leadership of theatre creators is characterised by five best practices: • a dynamic blend of leadership, management and coaching, • the leverage of dual leadership, • the convergence of leadership and collective creation, • a context of systemic leadership, • the extensive use of lateral thinking. Let us define the concepts, observe how they are applied in theatre and sketch some recommendations for other business sectors. The theatrical leaders interviewed for this work include men and women, stage directors and play producers, young and established professionals from Australia, Cyprus, England, France, Greece and the United States.