First night nerves for the ‘civil engineer’
ONLY one member of staff works full time on the Proms, all year round, and she is the Proms Planning Assistant Jacky Kohn.
She began the job at around the time the Proms were taken over by John Drummond in 1986, and works alongside him throughout the planning process:”John is the architect of the Proms, I am the civil engineer,” she said.
As with any great building project, preparatory work has to start well in advance. “I’m already taking the first bookings for the 1994 season,” she said, “and for 1991, the last month and the first 10 days are already full.” The coming season was well in hand in 1987.
Factors which are important in the earliest stages are the commitments of the BBC Symphony Orchestra, whose concerts form the backbone of any Proms season, and the significant events and anniversaries which could help to determine the theme, if any, of the year in question.
“In 1991, for example, we have both Prokofiev’s centenary, and the 200th anniversary of Mozart’s death, both of which will be reflected
Decisions about repertory, artists, balance between UK and foreign musicians, or standard and contemporary works, are are made by John Drummond and the senior Radio 3 proms producer Chris Marshall. Jacky’s chief job is finding out if artists will be available, then booking them.
“Most of this is through agents, most of whom I know well, but some artists are managed by their wives or husbands, and these tend to be slightly harder to get hold of,” she said.

Jacky Kohn: coping with last minute changes

Absorbed
Sometimes a strong theme suggests itself as a season takes shape, and artists will prepare pieces specifically for a Prom, such as the BBC Singers’ special Orpheus evening, in keeping with the mythology strand of the 89 season.
As from now, two months before the season starts, Jacky’s work changes radically and she begins to concentrate on the day to day running of Proms 89.
This means coping with last minute changes in programme, finding rehearsal venues, and hoping and praying that artists do not meet with accidents (as Pierre Boulez did a few years ago, having to withdraw both himself and his specially composed work and leaving an ugly gap in the schedule).
.Once the Proms are under way, she is one of a team of four backstage assistants, who ensure that every artists need is catered for, down to providing the bouquets, and who will liaise with producers in the Radio 3 box. “During the Proms, I seem constantly to be looking at a watch, counting down the seconds”
‘1 do not usually have the leisure to enjoy the Proms. There was just one occasion last year, when I became so absorbed in the music that I forgot all the problems. It doesn’t happen often.”