The economics of Broadway shows - How the pandemic has made Broadway’s risky business even riskier.
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In early October, Rachel Sussman felt catharsis as she sat among hundreds of people for the Broadway debut of Is This A Room at New York City’s Lyceum Theatre. After the curtain fell, the backstage crew joined the actors to glow in the applause. The person who inspired the show, Reality Winner, beamed in from Zoom, connecting the drama of the stage to real life.
“Going back… helped me remember this is what it all leads up to, getting to a theater and feeling such pride at watching a really incredible piece of work in front of your eyes,” Sussman, a coproducer of the show with her company Plate Spinner Productions, told The Hustle. Then, a few weeks later came some unfortunate news: Is This A Room, which had been lauded by critics, was closing early. Crowds were still hesitant to return to recently reopened Broadway, and the producers and investors who spent $3.5m to bankroll Is This A Room and a sister play, Dana H., were not making enough.
So how do the economics of Broadway function? To find out, The Hustle researched statistics dating back to the 1920s and spoke with several insiders about production, theater ownership, and the difficulty of predicting a hit.
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The economics of Broadway shows (thehustle.co)