Why do you assume you w/o t enjoy a straight play? How many professional plays have you seen?
To the rest? Shaking my head.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
HogansHero said: ""if he would lower his star salary, chances are producers could lower ticket prices, thereby attracting younger audiences. "
I'm afraid I'd have to call that wishful thinking. It would just put more money in the hands of scalpers."
Wishful thinking indeed. And even if Daniel Craig insisted on being paid only the minimum, why would producers lower the ticket price? There would still be an incredible demand to see the production (as demonstrated by Craig's two prior Broadway appearances). Why would they see the need to lower the price because they're saving $40k weekly? If the ticket is hot, the price will remain high so more profit can be made.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I actually see this more in my NYC theatre-going than in my DC theatre-going.
If I had a dollar for how many times I've had an older person tell me that it's "great to see such a young person attending theatre", I'd probably be able to see theatre a lot more often, haha.
It's definitely the ticket prices though. I have a ton of friends who would love to see a show but because of money conflict or work/school conflict they can never feel comfortable enough to spend that money or that time when they know they have other things going on.
It's easier for me because I am lucky enough to go to school and have a job that allows me the weekends off.
"The number of young people at straight plays is appalling."
The chance I'll enjoy a play is just so much higher than the chance I'll enjoy a musical.
I was so hyped when I heard Betrayal was coming, but alas, I couldn't afford a seat. There were no student discounts or any offereings. Kind of htpocritical of him to say.
Funny, when you see an Adam Rapp play or something being put on by the Amoralists, the majority of the audience is young.
"Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
~ Muhammad Ali
Off-Broadway and off-off-Broadway skews much younger, because the work is being created, generally, by and for younger people. Tickets are cheaper and the work is targetted differently. People going to see something by the Amoralists are more likely to be real theatre aficionados, creative types, people in the industry.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
When big stars go to off-Broadway the prices can be (nearly) just as high as Broadway prices. When Sarah Jessica Parker and Blythe Danner did The Commons of Pensacola at MTC a few years ago those tickets were going for $100. Likewise when Anne Hathaway did Grounded at The Public last season those tickets were $95.
I assume Craig wouldn't be performing at The Mint, and even if he did who's to say that they wouldn't price the show accordingly.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
I was so hyped when I heard Betrayal was coming, but alas, I couldn't afford a seat. There were no student discounts or any offereings. Kind of htpocritical of him to say.
Daniel Craig didn't set the prices. The producers did.
It's not that black and white. Many factors go into setting ticket prices -- salaries being one of them, but certainly not the sole factor. Also, while the premium ticket prices may have been high, I don't recall the regular price tickets being completely outrageous by current Broadway standards.
To be honest, I don't think the last row of the mezz was that expensive for Betrayal considering Craig's involvement. Maybe it was $62 or something like that? That's $30-40 less than the off-Broadway shows I mentioned above.
If anything it's much easier to get a cheap seat to a star vehicle on Broadway vs. off-Broadway. I know I saw Denzel in Fences from the balcony at a very reasonable price and got fairly priced rear mezz seats for Raisin in the Sun too. There were cheap seats in the balcony for Of Mice and Men with James Franco and plenty of younger people were up there. (Of course, Of Mice and Men is probably more appealing to a younger crowd than Betrayal; A Steady Rain could only have appealed to insomniacs desperate for a nice nap.)
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
It is demonstrable that ticket prices are a function of demand, not expenses. It is beyond ridiculous to suggest that high actor pay bears any relation to the price charged.
Producers hire high salaried actors in order to recoup for investors. I feel like all Craig was saying was that he has been on that assembly line and he doesn't want to get back on it.
To have a stage production appeal to a younger crowd and have lower ticket prices Craig would have to take a paycut most likely . Other actors have done that so good for him if that's the direction he wants to go. Otherwise I just don't see how else it would work out for him.
I did see him and Rachel in Betrayal at the Barrymore and its not like a Pinter play has all that much productions costs, to be honest, a handful of speaking parts and basically living rooms, bed rooms and maybe a restaurant scene.
That production could be mounted in any smaller theatre. Again its Pinter, not AIDA.
"when I’m on stage I see the abyss and have to overcome it by telling myself it’s only a play." - Helen Mirren
The primary function of a commercial Broadway production is to make money, which is why Betrayal had a quartet of stars and a legendary director at the helm and was put in a nice Broadway house. It was produced to make money, and make money it did, hand over fist.
As Namo stated, it sounds like Craig is no longer interested in this profit-driven model and may want to pursue different types of theatre productions.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I agree with Kad. Another way of looking at this is that shows on Broadway are, mostly, producer driven. It is hard for me to imagine that Craig had a compelling interest in either play he has been in. It is not unlike film and TV where actors who could do better find themselves in projects that some producer thought was marketable.
I also don think Craig could necessarily drive any play of his choosing to Broadway.
Off-Broadway, I think he could, and I think that is what he is contemplating.