The State of Broadway — Page 2

Theatrefanboy1, I would actually argue Broadway needs to focus on getting locals back in the theater.  There has been more and more focus on tourists, but I think producers should be producing new interesting work that on paper might not appeal to the masses.  That doesn’t mean liberal or conservative btw, but just something NEW.  The best work in the last five years has come from new works by Michael R Jackson, Shaina Taub, Bess Wohl, Bruce Norris, Annie Baker, Tracy Letts, David Lindsay Abaire, Abe Koogler,  Nazareth Hassan, Martyna Majok, David Ives, Jeremy O Harris.  We have brilliant American playwrights that are not getting an ounce of the attention they deserve.  No marketing, no buzz, the press barely talks about them.  These writers create the type of thing that New Yorkers actually want to see.  Broadway needs to get that audience back. We need strong producers who will actually command and demand attention and bring the people in.  I wouldn’t go near musicals given how expensive they are and the quality of writing has not been up to snuff.  

What makes you think the city can run a theater better than the owners?  Now you want the city/government to decide what shows to put on stage and what not?  Wow that’s a scary thought.  Theater owners are private entities. The city cannot just take private property without paying for it.  Where is the city going to come up with that money?  

It’s pretty obvious something is seriously wrong with Broadway.  It’s frightening when you have 5-6 shows close before July 4th weekend.  Usually shows make their way through the summer before closing.  Before this season, I have never seen so many empty theaters in the middle of the summer.  

This year for musicals was really weak.  I loved Schmigadoon but that show wouldn’t be nominated much less win best musical in a normal year.  Outside of Schmigadoon, Ragtime and Lost Boys, this season has been a disappointment.  

Only 2-3 musicals look appealing this upcoming season. It seems more plays are being produced because they are cheaper.  Then they cast a movie star or well known actor to generate ticket sales of $500+ per ticket. That seems to be the formula on Broadway right now. 

Someone mentioned less shows will come to Broadway due to cost and tours are doing better. Regional theaters might be more profitable. Maybe it is more profitable for a show to stay in a major city for a few weeks and move on to the next. I wonder if we will see “Broadway” eventually find its way to another city like Las Vegas, Boston, Chicago, Miami, LA or somewhere else.  

It is sad to see Broadway becoming less appealing but even being a regular fan, it’s hard not to see something is seriously wrong. 

Fred Mason said: "Theatrefanboy1, I would actually argue Broadway needs to focus on getting localsback in the theater. There has been more and more focus on tourists, but I think producers should be producing new interesting work that on paper might notappeal to the masses. That doesn’t mean liberal or conservative btw, but just something NEW. The best work in the last five years has come from new works by Michael R Jackson, Shaina Taub, Bess Wohl, Bruce Norris, Annie Baker, Tracy Letts, David Lindsay Abaire, Abe Koogler,Nazareth Hassan, Martyna Majok, David Ives, Jeremy O Harris. We have brilliant American playwrights that are not getting an ounce of the attention they deserve. No marketing, no buzz, the press barely talks about them. These writers create the type of thing that New Yorkersactually want to see. Broadway needs to getthat audience back. We need strong producers who will actually command and demand attention and bring the people in. I wouldn’t go near musicals given how expensive they are and the quality of writing has not been up to snuff."

I don't disagree with what you are saying here as well. I do believe that there is also nothing "new" being developed or told in a compelling or interesting way. I feel in recent years its been reliant on revivals, or existing properties, all of which do not support the new works at creations of this generations storytellers and creators. But that issue is not solely a Broadway issue, that is an issue throughout America, and Canada as well. My relations in Canada have consistently said how its easier for a Canadian writer to have their show developed and brought to life in America, than it is in Canada. They have found their to be no support from the industry leaders in seeing through (and developing (so much half-baked stuff is arriving) creations.

There are several factors that need to considered, as well as a few bright spots amid the gloom.

- Costs of Broadway musicals have skyrocketed for a variety of reasons in recent years. It seems like a combination of factors - not all of which can be attributed to greedy landlords or unions. But it is worse in New York City.

- Capitalization costs. This is related to the first, of course, but it means that expensive, ambitious shows need to make big money for years. That’s hard to do even for shows that appear to be hits, which is why I am less optimistic than some about the prospects for much-anticipated musicals like Warriors and Paddington. High-profile revivals usually start strong (Evita will; The Sound of Music probably will, though as a Lincoln Center production it’s in a different situation). But the revivals can’t afford to fade, because a show like Evita is dependent on its star’s drawing power for the year she is in it. That didn’t happen for Sunset Blvd.

- Foreign tourism is down for reasons we all know, and that hurts musicals more than plays. New Yorkers are seeing plenty of shows, I have read, but that’s an exhaustible resource. To really thrive, musicals are now more dependent than ever on domestic tourists.

- A dark cloud: Maybe Happy Ending. I may be overstating this, but the box office struggles of last year’s Tony winner for Best Musical makes me feel gloomy. This wasn’t an arty or niche show like some recent winners. It felt like the kind of musical that could run for a few years and recoup, despite its higher costs, because it is emotionally resonant and easy for tourists to grasp and enjoy. But that hasn’t happened. I think the decline of foreign tourism has really hurt the show. The musical should have been able to survive the departure of Darren Criss, who isn’t that big a star, but it has pretty much collapsed. It’s not a great sign for original musicals.

- Silver linings? The national tours of Kimberly Akimbo and Suffs both recouped, with the former recouping the Broadway production too. This suggests there is still an audience out there for Broadway musicals. The Broadway part was just promotion. The money was made on the road. 

- Off-Broadway. Is that a solution? Is any show making money that way except for Little Shop of Horrors? I realize this can work for new plays that are licensed and produced all over the country. Has it ever worked for musicals?