Broadway Vet Manny Azenberg on the State of Broadway
Legendary Broadway producer Manny Azenberg, 92, talks ticket prices, the loss of playwrights to screens, the rise of investor 'producers,' and whether theater can reclaim its cultural footing.
Legendary Broadway producer Manny Azenberg, 92, talks ticket prices, the loss of playwrights to screens, the rise of investor 'producers,' and whether theater can reclaim its cultural footing.
It’s no secret that investing in shows is riskier than ever.
The biggest change from prior years is at The New York Times, where Helen Shaw became the first female chief theater critic at the paper of record earlier this year.
In December, word started spreading that the venue we know as 54 Below was hitting the rental market.
Critics used to come to opening nights and rush back and write their reviews to try to get them in the early editions of next day’s newspaper.
A nationwide look at regional theater marketing and community engagement, with lessons from Knoxville, Durham, Fayetteville, Nashville, Atlanta, and Branson on building awareness, loyalty, and support.
There has been a lot of press about the NYC Musical and Theatrical Production Tax Credit, but so much remains unclear.
It is bad for the state if Broadway falters.
I’ve been writing about the lack of female representation in creative teams for at least 15 years.
Theater makers have a “show must go on” spirit.
I was raised on television.
Buyers of tickets to live performances sometimes feel like they should get their money back, but it’s usually when a star drops out, after seeing a show, or at least after the reviews come out.
It’s a season of merriment and tourism, when Broadway producers hope to make enough extra money to compensate for the dark days of winter ahead.
When the wild project launched its do-or-die capital campaign a couple of weeks back, an industry reeling from several hits to the off-off-Broadway community braced for another one.
Rumors of the death of off-off-Broadway have been greatly exaggerated.
Over the years, I’ve heard several black actors complain about how their preferred hair plan was dismissed by producers.
Liz Kingsman’s One Woman Show arrived at off-Broadway’s Greenwich House Theater with what The New York Times’ Jason Zinoman called “enough buzz for an apiary.
Kim Moore, who appeared in Hadestown under the name Kim Steele, has sued the Hadestown producing entity alleging several counts of race discrimination and retaliation under New York State, New York City and federal law.
In January 2001, Carrington Vilmont made his Broadway debut in The Phantom of the Opera.
Remember Garth Drabinsky’s case against Actors’ Equity Association? It is now no more.
This week, the New York City Council passed a new ticket transparency bill.
Jujamcyn Theaters’ fight for Covid-related insurance coverage has suffered a mighty blow.
Broadway’s one-man A CHRISTMAS CAROL starring Jefferson Mays definitely managed magic.
Other than a handful of playwrights 30 and under, all the playwrights spoken to for this piece believe their sex has impacted their careers in the theater.
In this, the second installment in our series on women playwrights, the playwrights speak about critical interpretation of their work and the lack of powerful female critics.