What is it like to have mild success (only) on Broadway?

Creative industries are tough to work in. For those that don't get any work at all, however - it can be pretty easy to know when to cut your losses and move to a different career. For those that are constantly getting work, it's also an easy decision to continue and enjoy a successful career. However, what about those who get a taste of success but then can't repeat it? E.g., a one-time supporting tony nomination/role, or a couple of ensemble roles  - it's a bit more difficult to know what to do in these situations. They've had a taste of success and probably want to continue, but when do you cut your losses and want to continue? I'm curious if anyone knows anyone (or is) someone from this latter group. How does it feel to be in such a situation and how do you decide whether you should continue or change career?

P.s., I don't work in the creative industries, it's more just a personal curiosity. 

Updated On: 10/31/15 at 06:47 PM

Agreed with Kad. People strike out to California and New York both for performing reasons, and there's crossover. I imagine the real practical question is simply what can pay the bills.

I think I'm a little confused by your examples of "mild" success, though. A Tony-nominated supporting role is, to me, still quite different from an ensemble role...

That's certainly another way to look at it. I suppose "mild" is too subjective.

What does it even mean to "make it" from a performer's perspective? Not having to worry about bills due to royalties, or never having to audition for anything? etc.

(Not to hijack the original question, of course. )

Updated On: 10/31/15 at 08:03 PM

My youngest daughter has danced for a professional ballet company in fairly big city and even with that she needed to teach to survive.

I think Chicago theatre is the greatest example for this. Like Rachel Rockwell maybe the greatest director/coreographer in all of Chicago, but she's barely known in the theatre world in general.

Interesting topic!

I think that 90% of the performers eventually move on to do something else. I worked on the West End years ago and lately I was looking up people who performed with me in shows as Les Mis and Phantom and a big number of them (Cosettes, Eponines and Raouls included) are not performing anymore. Including thousands of performers from other shows.

"There is a big difference between a frustrated performer and a realistic dreamer."

True, but it's also different per person. It can be very hard to know what is realistic, because you have this "proof" that it can actually happen, as it did in the past. So who is to say that it will not happen again if you go for it? I also think that many people love performing, but get tired of the business, as 90% of the business is actually moving around in a snake pit, beating competition and sending out CV's and headshots and auditioning. It's like top sport. Some people eventually desire a more laid back/normal life, or focus on completely different aspects of life. 

(mild) success can either leave you craving for more, or give you a sense of fulfillment, a beautiful achievement you carry in your pocket for the rest of your journey of life. For me, it was somewhere in the middle. Grateful for the achievements in the past, I would have liked to continue, and actually still do, but at one point I had to do something else to pay the bills. I learned to love that life too, a bit more "normal" in a way, enjoying all the other beautiful things in life, out of the spotlight, it gave me a sense of satisfaction too, which I never thought I could have without performing. The older I get, the more I am content with the latter. Maybe the need of self-affirmation slowly disappears over the years, maybe I just realized that it's impossible to keep up with the huge amount of new actors each year and the crazy business. I still have an agent and an audition every now and then, as I could combine certain projects with my current job. But it feels very different than it did 15 years ago. Which also helps me perform better, as I just see every opportunity as a "nice extra" in life. A cherry on the cake. This less "pressured" energy works better for me.

Updated On: 11/1/15 at 04:42 AM

All success is "mild success" when compared to others and "great success" when appreciated as the gift it is.

One example off the top of my head: Don Correia (Tony nominated star of SINGIN IN THE RAIN, also Sandy Duncan's husband) pretty much left his performing career behind to work as a high-end real estate agent. Although he's worked occasionally on stage (2011's FOLLIES), his primary work has been in real estate for 25 years. 

Other good examples are Tony award winner Michael Maguire, or longest running Evita in the world Florence Lacey or Maureen Moore.

When I first saw this thread, the first thing that came to mind was "mildly successful" in terms of a show.  After reading the responses, the OP was referring to an individual's success.