Industry Pro Newsletter: Theatres Aim to Hold True to Their Values, Some Audiences Are Being Left Behind

In the midst of the wider labor movement across the economy, theatre workers continue to fight for their own rights to a safe and non-abusive workplace. As theatres work to return to the new normal, we continue to find new ways in which the industry needs to find improvements on the way that they treat those that are creating the art - we have arrived at the "rubber meets the road" moment for every theatre that issued statements about their ideals in the past few years. We also received a new wrinkle in that conversation this week as more details emerged about the development process of Goodnight, Oscar - with excellent reporting first on the BroadwayWorld site by Cara Joy David, and continued below in this newsletter.

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Industry Trends

Can Theater's Hold to Their Own Values?

NPR continues its look at life in regional theatre, and the ways in which many organizations are working to improve the working conditions of their employees and artists. Click here to read more...

A Return to "Normal" Leaves Artists and Audiences Behind

Writing in The Guardian, Jasper Peach explores the many ways in which the arts opened up for both disabled and at-risk audiences and artists during the pandemic - and how those populations are being left behind as the industry returns back to the old normal. Click here to read more...

Broadway/New York

The Vulnerability of Playwrights in Development Deals by Cara Joy David

Whether you think it was David Adjmi or Sean Hayes who came up with the idea to write a play about Oscar Levant, one thing is not debatable: the related behind-the-scenes drama that unfolded (which BroadwayWorld had exclusive details about) helped reopen a discussion about authors' rights. Adjmi touched a chord with many playwrights, several of whom have felt abused by producers holding onto work they had no intention of presenting.

"One time I had a commercial producer option one of my plays and then he decided not to move forward with a production," Theresa Rebeck relayed to BroadwayWorld. "But then he wrote to me and said he was going to exercise his option, blocking all other productions of the play, for years, if I didn't pay him money."

Of course, deals work differently when producers option an already created work versus a commission and/or option of a new work. And arrangements with commercial producers are often extremely different from those with non-profits (which tend to be more standardized). But each of them has pitfalls, according to the dozen writers contacted for this story.

"Playwrights are very vulnerable in these relationships," Rebeck noted.

Jeremy O'Harris was one of the playwrights who came out on social media in support of Adjmi, tweeting, among other things: "The practice of artists/producers mining writers at paltry fees then stonewalling the work after a pass to keep theirs on track must end."

However, many people contacted for this story agreed to speak only anonymously for fear of retribution. Some of the stories were so bad, the agreements might be voided in court, if anyone wanted to sue (or even threaten suit) in an industry this small. One playwright spoke of having a play optioned by a producer who never had any intention of presenting it, but wanted to retain the rights while he developed a play with a similar subject matter. Another playwright said that a producer told him: "If you don't do what I say, I'll never produce your show, and I'll make sure no one else ever does." (Language that sounds like it could be from a theater-based gangster movie.)

Now, in all these situations, the creatives were paid; they entered into the bargain of which they now complain. But producers often have more power in negotiations - commission or option agreements are necessary for many writers' survival. Good lawyers and agents, therefore, are essential in crafting the best deal possible for a writer. And, when in doubt, the Dramatists Guild said in a statement that members should contact their Business Affairs department before signing anything. (The Guild also offers model contracts.)

Adjmi thought his story was rare, but it is not.

"I've had so many people telling me their stories; really, really well-known people, saying: 'You are not alone. This happens all the time,'" Adjmi said.

Drama League Fellowships Applications Open

The Drama League has begun the application process for its renowned umbrella of service initiatives known as The Directors Project for the academic year 2023-2024. These programs offer early and mid-career directors paid fellowships, residencies to develop new works, and assistantships at significant theatrical institutions. For the past 40 years, they have provided unparalleled industry-leading production opportunities, career development, and professional growth. Click here to read more...

Second City Is Coming to New York

The Chicago-based improv theater and training center, which has its first site in New York City, announced on Thursday that it would expand. The Second City established colonies over the years in Detroit and Las Vegas, all of which have since closed, as well as Toronto and Hollywood, both of which are still active. The location will be in the Williamsburg neighborhood of Brooklyn. Click here to read more...

Regional

Jen Bender New Associate Artistic Director at Paper Mill Playhouse

Jen Bender will replace longstanding associate artistic director Patrick Parker, who resigned on September 30, 2022, after 27 years in the position, according to an announcement from Paper Mill Playhouse. Bender was a member of the commercial production team of The Sting (2018) and served as associate director of Paper Mill Playhouse's production of Honeymoon in Vegas (2013). Click here to read more...

A Denver Ballet Company Quits Social Media

In a move that feels shocking to many in the modern marketing space, Wonderbound, a Denver based dance company has closed all of their social media accounts. At the same time, they have been seeing tremendous growth in their subscription sales - while the results are still early, it does call into question the amount of investment in both time and resources that should be going into a social presence for companies - and if there isn't a higher ROI alternative available for those efforts. Click here to read more...

Molly Rose Houlahan Joins Team at People's Light

One of Pennsylvania's most distinguished professional non-profit theaters, People's Light was established in 1974 and is renowned for its in-house artist company, extensive repertoire, and creative work with children. Molly Rosa Houlahan takes on the role of Associate Producing Director, working alongside the organization's artistic and managerial leadership to manage its creative and civic mission. She will also serve as the director of a few productions during the season. Click here to read more...

International

Opera Australia Artistic Director Leaves Year Earlier Than Planned

The creative director of Opera Australia has announced his resignation, more than a year before his contract is set to expire, less than a week after former Australian Consumer and Competition Commission head Rod Sims assumed leadership. Lyndon Terracini, the 13-year creative director of Opera Australia, announced on Thursday that he would step down from his job early and formally leave the organization the following Friday, October 14. Click here to read more...

Missed our last few newsletters?

October 3, 2022 - Broadway Lawsuits Find Resolution, Garret Receives Death Threats

Settlement was the word of the week on Broadway, with both the Rudin/SpotCo suit and JPP/Wagner Johnson lawsuits finding resolution through settlement - the latter is the subject of a new regular feature for this newsletter from our Industry Editor Cara Joy David. On the regional front, we continue to explore the challenges of reopening - from new audience trends in the Chicago market to the far more serious death threats received by Oregon Shakespeare Festival Artistic Director Nataki Garret. Click here to read more...

September 26, 2022 - Checking in on Industry Evolution, Gender Pay Gap in the UK Closing

Stories of transformation highlight the newsletter this week - with two different stories below - one looking at the evolution of Broadway, the other examining how Regional Theatres are transforming. Both are asking questions in light of the work done by We See You White American Theatre and other, wider racial justice protests that have occured over the past few years, alongside an increasingly powerful moment for the American labor movement. We've discussed many times in this newsletter how the industry is at a crossroads, and both articles serve as a strong check in on where the industry is in its development toward a more equitable future. Click here to read more...

September 19, 2022 - New CEO of Second City, New Leadership Across the Country

While the fall season gets underway, this week's newsletter is packed with stories of new leaders settling into their jobs - and facing the new realities of the theater industry. With the announced closing of Broadway's longest running show, questions have risen about tourism (the numbers in New York actually look much stronger than a hot take on Phantom might suggest), about the resiliency of brands (also highlighted by what the future might hold for Second City), and what gets audiences excited to come out to the theater. There aren't easy answers, but we'll continue to bring you the newly developed industry best practices as they develop each week in this newsletter. Click here to read more...

BroadwayWorld Resources

BroadwayWorld Stage Mag - A Fully Interactive Show Program

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As audiences get set to return to in-person performances, and as your company works to market your own return to the stage, make sure you've got your upcoming shows in our regional events calendars. Listings are free of charge, with boosting options available. Get your show listed now

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