A Strange Loop at Playwrights Horizons — Page 3

OffOnBwayHi said: "I don't agree with everything you and others have said(Don't have a house! Scared investors! Tough content! lol No. Anything is possible. It's bigger than what we see on the surface. Those things havehistoricallybeen saidas an easy way to veilbiases —conscious or unconscious. This is a huge problem with the theater industry because the gate holders are not diverse. But I digress)but yourspecific example of other shows' journeyscertainly rings true. I accept that."



I hear what you're saying, and I agree that it's important to start diversifying the gate-keepers, and acknowledging biases both conscious and unconscious. But I don't think it's fair to dismiss to the logistical concerns off-hand just because of that. Like I said, there are multiple factors at play.

In fact, "scared investors" - one of the excuses you dismissed - could be viewed as perfect example of your argument. Maybe wouldn't be as scared of commercial viability if this were about white people. But that said, I think the content IS tough and complex, and tough content can be seen as a financial risk for an industry that relies so heavily on tourists who want safe entertainment. I think you and would both agree that this is a problem, and that there may be some bias behind this, as well as a sense of closed-mindedness to serious content. But it sounds like you're saying that "scared investors" and "bias" are mutually exclusive, when they could very well be one and the same.

As for theatre availability, I don't think it's fair of you to dismiss that so completely. Theatre availability is quantifiable and observable. It's simply a fact that there are very few available theatres for this spring. And as for the Barrymore, we simply don't know what the situation is with it. Maybe they are facing roadblocks to booking the Barrymore - but that goes back to our earlier point about risk-taking and bias. But even if that is the case, the mere fact that there are only 3 available theatres this Spring - and 2 of them are way too large for this show - hurts their chances (and any show's chances) of going to Broadway.

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djoko84 said: "Do we think it has time to open next year or should it even open for next season?It looks like Broadway may not come back till at least January so investors will be wary of putting any money into new shows since there may be a lot of empty seats."

This one will be a few years away. They were already planning another developmental production in D.C. for this fall before announcing anything further. When shows as mindless as Tina and Moulin Rouge have no idea when they’ll be coming back, artistic shows like Girl from the North Country and Sing Street have no idea in which season they’d be competing for awards, and fun, and seemingly previously safe bets such as The Music Man and Almost Famous find their immediate future schedules decidedly up in the air, the producers of this one know that they’ll be committing theatrical suicide unless they take their time.


Accordingly, I’m sure they won’t bring it in until after they’re able to continue working on the show at the previously planned regional engagements, and well after Broadway is back up and running at close to full strength. Considering Girl in the North Country waited a year and a half even under ‘normal’ times, with this one, Pulitzer or no Pulitzer, vaccine or no vaccine, my guess is it winds up being at earliest the 2021-2022 or even 2022-2023 season.

They've been pretty open that the intent is to transfer to Broadway, but I haven't heard any sort of timeline. I, personally, would be surprised if it's in the spring, but who knows?