SECOND STAGE COMES TO BROADWAY: THE GOOD, THE BAD AND THE UGLY

An Ambitious Plan to Boost American PlaywrightsI know I’m not saying anything you don’t already know (if you work in the theatre industry), but the not-for-profit theatre Second Stage is buying the Helen Hayes theatre. The Hayes is the smallest Broadway house, with just under 600 seats. It’s last tenant was “ROCK OF AGES.”I’ve read a lot about who will benefit from this move. Owning a Broadway theatre can be very profitable. Also, with so few Broadway houses available, owning a Broadway theatre gives you the power to pick which plays the public gets to see – which is probably why Broadway Spotted lists Phil Smith, Bob Wankel, James Nederlander, Jimmy Nederlander and Jordan Roth as the most powerful people in the industry. So it’s easy to see how Second Stage benefits.I’ve also read a lot about Second Stage’s commitment to new works and new writers, particularly women writers. I agree that bringing greater diversity to Broadway benefits everyone. Another check mark in the plus column.But . . . here’s the rub. I often write and speak about how Broadway works on a broken financial model. The only shows that get produced are either produced by a corporate producer or by a few lead producers and a gazillion investing producers – meaning independent producers spend more time developing investors than they do developing plays. Too many musicals are being produced that need to be blockbuster hits in order to survive – many of those productions just can’t meet their nut at 80% capacity. With theater owners picking potential blockbusters over potential modest successes and limited run star-driven plays bringing in $250 or more for premium seats, there is little room left for the independent producer and the small scale musical.So when I see a small Broadway house that can present a small scale musical get pulled off the market, I see one more nail in the coffin of the independent producer. And I believe that, without the independent producer, Broadway becomes more like an amusement park than an outlet for art.And then there’s the fact that when not-for-profit theatres produce on Broadway, they get better rates from the unions. Lincoln Center’s production of “THE KING AND I” will probably cost less to produce than the 1998 production presented by Dodger Productions. That means that everyone working on the show makes less money. The more Broadway shows are presented by not-for-profit theatres, the harder it becomes to make a living working in theatre.Change is inevitable, and those who adapt survive. I just wish that I saw more changes that allow independent producers and people working to get shows up every day be able to make a decent living.