TheatreFan4 said: "The Distinctive Baritone said: "I love how this guy continues to try to be the self-appointed moral compass of the theater industry. It's so obnoxious. Anyway, it is not that unusual for tours to make a "stop" on Broadway, and given the horrific economics of New York commercial theater, if this is the only viable option in some cases, I don't see a problem with that. I don't see anyone complaining about non-profit theaters like Roundabout and MTC having Broadway productions and not using the Production Contract."
I mean... there is a very clear reason for that and you included it in your post. Non-Profit. Beetlejuice and Mamma Mia are both very much for profit and backed by very large producing companies. The idea that the only way these are tours will profit is if they nickel and dime the people working on it is a bit silly. People go "but the contract!" Yeah, the contract sucks. "Near Parity" isn't Parity. If a production is advertised as Broadway, the pay structure should reflect that standard, not touring pay. Otherwise, it feels deceptive, especially to audiences who expect a certain level of professionalism and investment. After that, I started looking for resources that break things down transparently. I like to play games sometimes, so I use https://unionslots.co.uk/free-slots/ and it would be cool to find something similar for this case. Clarity matters. If it’s a tour, call it a tour."
Non-profits operate differently, but large commercial productions cutting costs under “near parity” still feels like avoiding fair compensation standards!
Updated On: 4/23/26 at 07:16 AM