ErmengardeStopSniveling said: "J
I suspect they couldn't get Fiennes for longer than 9 weeks, which makes a Broadway transfer tricky, and by the time they had availability in place most of the Bway nonprofits were booked.
Was this production environmental in London? I believe The Shed can be a less traditional playing space? (to my knowledge...I haven't seen a show there yet because I have coincidentally had to cancel tickets both times I've had covid...fingers crossed for a clean bill of health when this rolls around!)"
Very true, good points! All the more reason I’m happy to have these other options in NYC.
Don’t know if it was environmental in London, but yes I believe the Shed’s playing spaces are flexible – even though, to my knowledge, they haven’t made much use of that flexibility for their high-profile mainstage shows yet.
To respond to the other poster above about the Shed’s programming:
It seems like they’re trying to tackle a wide range of programming. They’ve put on maybe 4 or 5 fully-staged productions, with high profile artists attached. But they’ve been done at very inconsistent intervals.
My guess is that they want to do more of that sort of thing, but they’ve had trouble securing as many starry productions as they’d like. So it’s true that, by sheer percentage, most of what they’ve done has been their other, smaller stuff: installations, dance, music, and their “open call” series.
In the grand scheme of things, their focus on emerging artists is probably a better, more noble use of their funds. Bit it seems like they’re ALSO trying to be taken seriously as a major non-profit theatre house, and their disparate programming might be getting in the way of that goal.
