Industry Trends Weekly

This time of year, most know the most important people in the industry are sadly not anyone putting on a show, but rather the Tony nominators. Usually, this is the time that many selected nominators start dropping out, typically because of involvement in an eligible production or failure to see all eligible productions. This season, we’ve so far had very few recusals, so as of now there is a pretty full slate.

Theater is often focused on the young. One would think this is only true on the stage—actors and appearance receive the bulk of attention. But behind-the-scenes it is that way too. With a few exceptions for established writers like Tom Stoppard, emerging writers are given way more attention than older ones.

Theater fans are used to seeing multiple shows with the same name. We all know about the dueling WILD PARTYs. Yet the producer of ANNE OF GREEN GABLES: A NEW MUSICAL has felt the need to go to court to ask the court to declare the show legally entitled to keep its name.

In some ways, it was a surprise that antisemites took to the streets last week to demonstrate outside of PARADE. We don't see that sort of thing outside a Broadway show. We don't typically see it at all in New York City. But, if you were paying attention--and, as a member of an Anti-Defamation League NextGeneration Advisory Board, I have been--you would know that antisemitic sentiment is increasingly spilling onto the streets.

When walking into MCC Theater to see Hansol Jung‘s WOLF PLAY, you are greeted by very little on the floor where the action will take place—a couch, a table, some balloons—but yet an entire wall chock full of stuff. Where did the stuff come from? Some came from part productions the team members have worked on, but much of it came from NYC.

As last year wound to a close, the Hal Luftig Company, Inc. (which I'll call the 'Company' for short), well-known producer Hal Luftig's theatrical production company, filed for Chapter 11 bankruptcy. In layman’s terms, the goal is to come out of bankruptcy with a payment plan which will enable the Company to pay off its debts on a set schedule. Meanwhile, Luftig continues to produce.

On October 7, 2022--a mere three days before 2nd Annual Antonyo Awards were supposed to take place at the Apollo Theater--the Antonyos were canceled. The related press release was light on details. Rumors swirled. Broadway Black founder Drew Shade, who originally conceived of the awards in 2020, stayed silent publicly.

Brian d'Arcy James is Tony eligible this season for Best Actor in a Musical for his performance in INTO THE WOODS. But he didn't perform on INTO THE WOODS on what appeared to be the revival's opening night, July 10, as required by the Tony rules for eligibility. So how is he eligible? The Broadway League allowed the show to change its opening night after the fact.

Sometimes seasons go by without any truly perplexing questions for the Tony Award Administration Committee to answer. This will not be one of those seasons. As I wrote last month, there are close calls on what will be considered a new play versus revival and now thrown into the mix is the play or musical decision involving ROOM.

A couple of weeks ago, I wrote about the problems regional theaters are having attracting audiences. Unfortunately, there is no magic formula. Audience members I’ve spoken to on my trips to regionals have cited all kinds of reasons for being there.

We've got the latest scoop on the Equity/SAG-AFTRA streaming deal. Actors Equity Association is no longer in charge of theater streaming, at least according to SAG-AFTRA.

Theater folks in New York tend to be focused on what is happening in New York. But theaters all across the country -- the professional regional theaters, the community theaters, the commercial houses -- are part of the same theater ecosystem that New York theaters are part of.

Back when 2021 became 2022, it was hoped that live theater could return to pre-pandemic normality in the new year. Alas, 2022 was not smooth sailing for the theater. Not only were there still plenty of Covid cancellations, but there were also a host of other problems plaguing the industry. (Many of which were discussed in a prior column, archived here.) In this piece, there are three takeaways from 2022.

By the end of December, there has traditionally been one meeting of the Tony Awards Administration Committee to determine Tony eligibility. This season there has yet to be a meeting, leaving open a big question: which plays will be revivals and which will be new.

This past week, there have been updates in a couple of the big theater-related lawsuits. BroadwayWorld has the latest on Paradise Square and Garth Drabinsky, and The New York Post and Laura Osnes.

Slipping under the radar this past week was the news that Roundabout Theatre Company would not be presenting a winter/spring offering at the American Airlines Theatre for the first time (pandemic excluded) since the space opened in 2000. In fact, Roundabout will not be presenting anything at its three Broadway houses this spring.

It’s no secret that Broadway has not rebounded to pre-pandemic levels. The Thanksgiving week box office gross was $37,475,773, compared to $41,687,333 for Thanksgiving week 2019. (While fewer shows were playing, capacity was also down, as was average ticket price.) The list of reasons for this is long: tourism is not fully back, we have a strong dollar, Covid is still keeping many traditional theatergoers away, at-home entertainment is booming, crime is constantly in the news, etcetera.

Streaming helped the industry stay alive through the pandemic. Now, as audiences are again heading to the theater, many theaters are ceasing streaming options. However, some are digging in on their commitment to virtual viewing.

The theater we see is not usually a first draft of a work. That seems obvious, but very little press attention is paid to just how a show gets developed. One way has traditionally been through theater development programs. These programs are intensive communal experiences, often pairing the artist with a dramaturg and advisors to develop a piece.

In late September, The Broadway League and Actors’ Equity Association kicked negotiations into high gear for the next Broadway and sit-down production contract. The last contract expired, but was extended while the two groups worked through various pandemic-related issues. Equity, ever the fan of a social media hashtag campaign, this week asked its members to share the hashtag #ItsAboutTimeBroadway along with their support for the union.

Last week Actors’ Equity announced that it was one step closer to unionizing the dancers at Star Garden Topless Dive Bar—the National Labor Relations Board approved a petition for a union recognition election. In other words, if the dancers (and DJs) want a union, they can join one by voting.