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The real problem is NOT the artists or unions, a handful of greedy producers are doing this. When it comes to assigning blame, you can spread it pretty easily, I think. Look at that all time favourite, "stunt casting": some TV or movie star does a Broadway turn (and usually not very well). You think that's just because the producer is greedy? Think again -- that star's hit a dry spot, needs some ready money, and sees a cash cow sitting off 42nd Street. Anyone want to guess what Julia Roberts made for phoning in her performance?
The unions? Dont get me started there. I was a member of USA 839, and it was a waste of three thousand dollars in fees, "exams", and annual dues. The union was happy to be there when the money was coming in, but it knows jack sh*t about quality. Anyone with five grand can buy a membership into what used to be one of the most prestigious unions in theatre. Insofar as quality control, my "exam", such as it was, was with a committee of six people who had no clue what they were supposed to be looking for. Five minutes after it started, it was done, and I felt no more qualified to be a professional designer afterwards than I did going in.
I realize that a career in New York theatre is dicey and ephemeral at best, and as a result, everyone wants to make as much cash as possible in the shortest amount of time... because you never know when and/or if there's going to be another job down the road. But that doesnt excuse the rampant greed on all sides.
Sadly, nothing will change, not as long as mediocre but pretty shows like WICKED run for three years (and counting) at 80+ per cent capacity. There will always be folks willing to pay that kind of money (or have the company pay it for them) just so they can say they saw a "Broadway" show.
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