The Producers: A Flop That Shows Why Theatre Works

“The Producers has a litany of things that are wrong with it as long as Elton John’s wedding guest list. But the faults are instructive in the ways that they demonstrate why theatre has survived the onslaught of cinema and TV and why movies can be turned into great musicals, but seldom the other way round. The flaws flap around the film like munchkins in the Wizard of Oz.”

You Just Can’t Find Good Help These Days

“In the face of a national shortage of skilled technical staff, one leading regional [UK] theatre has launched a more traditional apprenticeship scheme to train the wig makers and lighting designers of the future. The Birmingham Repertory Theatre is giving six people, aged 16 to 21, training for 18 months in many departments including sound, lighting, make-up, wardrobe and stage management.”

Broadway’s Record Year

“Ticket sales were $825m in 2005, up from $749m the previous year, reported the League of American Theatres and Producers. Although ticket prices did rise in 2005, an extra 650,000 visited Broadway theatres this year. Of the total audience increase of 650,000 over 2004, according to the League’s data, it’s important to realise that ticket sales for plays alone were up by 530,000.”

Rethinking Sondheim

“Stephen Sondheim has always been ready for his close-up. There’s a reason his songs are picked up so quickly by cabaret performers who keep their hearts parked in their throats. But because he writes for Broadway, the original incarnations of his shows have tended to be big in ways that brought out the glitter in his intricate lyrics and scores but often kept audiences at an amused, admiring remove. Now a new generation of Sondheim interpreters are revealing just how directly this composer speaks to them.”

Theatre Of High Ambitions And Low Cost

Several off-Broadway theatres are keeping ticket prices low and the theatre experimental. It’s working. “These spaces measure success less by commercial cachet than by how well they keep up with exciting new work. All of them keep an eye on not only submissions and recommendations but also on offerings at the Edinburgh Festival Fringe and one another’s work. While each has a different economic model and aesthetic emphasis, all have infrastructure in place to market and offer technical support for everything on their stages, which means they have the prerogative, and the incentive, to choose only work they want to see there, whether or not their name is above the title as producer.”