Profile for HogansHero

Other than the que sera sera (Othello and its ilk) shows, it seems to me most of the "analysis" posted in this thread relate to statistically insignificant observations. We are, as noted, at or close to the nadir of the season, but many of the numbers referenced are either among those that never are useful tools because they are abstract (grosses as such, % capacity, and so on), or meaningless because they are viewed without any context. Thus, as an example, no effort

everythingtaboo said: "Kad said: "If he was genuinely loved and missed, a place would've been made for him somewhere. And yet none has."

Where in modern days is there a place for theatre journalism of any sort?"

Well... there are physical newspapers and magazines that have a place for theatre journalism on a regular basis, and there are a multitude of online newspapers and magazines that employ theatre journalists. All of these

George in DC said: "^ Sorry to disagree but I found his interviews very insightful and interesting. I can't think of anyone who interviews people from the theatre community as well as he did - certainly not the person who interviews for this site."

I assume you are talking about his work on Theatre Talk, not his gossip column in the Post. I don't disagree with you on the former, which was usually quite good, but I was under the impression the OP was talk

everythingtaboo said: "more often than not, I found him to be accurate in the end, which is why I'm sure people still spoke to him, on and off the record."

I seriously doubt that he was right 51% of the time, unless you count half-truths at 50%.

People spoke to him because he was more than willing to be their unquestioning conduit in exchange for either a promise of future info on shows (whether accurate or not) and/or a few drinks at Joe Allen&#

HeyMrMusic said: 

"I could have dugup more details regarding the contract, but honestly I just didn’t have time and so I let myself spew. I beg forgiveness. But Mezzo is correct to question the tier system. There seems to be no benefit and incentive for producers to go out on a higher-tiered tour, so huge hits in NYC likeThe OutsidersandHell’s Kitchen(which got so much free promo on the Grammys this past Sunday) go out on the same tier as

Mezzo, I certainly have no quarrel with advocating for a better, more rational contract, and for better execution of contracts that are in force, if that's the problem. I do wonder where most of the people commenting here are coming from as they do not seem to have a dog in this race, so it is curious to me. I also feel like people are confounding this contract with others and that makes mush of the analysis. I don't know what tours are operating because, at this point, I have no reas

@Mezzo, a few passing reactions, to you and others 

1. There is hardly ever a correlation between physical difficulty of a job and pay. The human who comes after everyone goes home and scrubs the restrooms makes far less than Tier 7. The hard truth is that Broadway is what people aspire to because it is the pinnacle. And the ensemble member on Broadway makes many times less than 44% of what the star(s) of their shows makes. This is not unique to actors. Top show business agen

What astonishes me in this thread is that NO one has supplied the first actual fact in support of a position. Jorge acknowledges he is short of details. Others do too. Surely we have actors who have worked on the contract on here, who have voted for the contract, who have voted against a strike. But what I am hearing appears to be coming from everyone else. Someone needs to throw some data at us to replace a ton of supposition. Maybe these tours are not making as much as some here think. Mayb

@Jorge Do you actually know the process for approval of the tier by Equity? I don't but if Equity is not properly analyzing these contracts and the requested tiers, that's on them and I would expect that members that are out on these tours would demand an accurate result. Also you don't seem inclined to talk about the additional payments that members would get if the revenue exceeds that pinned in the agreement. That revenue can be quite substantial. Bear in mind also that the tou

Call_me_jorge said: 

However, just because something is “legal and proper” does not mean it is ethical or beyond scrutiny—especially when it comes to labor contracts that impact the livelihood of working actors and stage managers.
 

Nothing is beyond scrutiny and I am not suggesting that anything anyone wants to say should be suppressed. But what seems to be missing in your analysis is the causation factor. There is a contract, and while

Jorge,

As a threshold matter, you need to understand the mechanics of the situation in order to assess how you might have an impact. You come out of the gate attacking the producer and presenter. There is no conflict of interest here; what they are doing is legal and proper. You can write to them but you might as well address your letter to the attention of the shredding department. All of what you speak of is contractual, so just as an actor who has a 5 minute part is paid the contrac

stageleftreport said: "What do we think about the state of the strike?"

The first question I have is who is "we"? The content of your post, your screen name, and the short time you have been a part of this board suggests that you are shilling in the most blatantly unpalatable way I can imagine. Indeed, whose lame idea was this post? I'd prefer to think you are an AI bot gone wrong rather than some intern doing publicity for the union. 

For t

kdogg36 said: "I know you're all discussing the commercial prospects for the show, but I think the fact that it's not based on hugely popular IP actually makes me more optimistic about its quality. Shows based on timeless classicsare beholden to their source material, lest fans be disappointed in what they see on stage; with quirkier titles, the creative team has more latitude to actually create an effective musical adaptation (cf.Kinky Boots, The Band's Visit, o

ErmengardeStopSniveling said: "But the theatre is functional as is, so from a financial standpoint there’s no reason to mess with it. I don’t go to off Broadway houses for the beauty of the architecture."

I agree about everything else but I do believe the 20 year old seat pads are in need of replacement. And that will not cost an arm and a leg. FWIW, I don't go to Broadway houses for the beauty of the architecture either. A lousy show in a beautiful s