Broadway is the pinnacle of the commercial theater, a billion-dollar cultural enterprise and a jewel of New York City. So why is it run like a Christmas tree farm?
I don’t mean that it invites too much tinsel. I mean that it operates at a very low hum for 10 months of the year and then goes into a two-month frenzy of product dumping.
This year, 18 shows, more than half of the season’s entire output, will open on Broadway in March and April — 12 in just the last two weeks before the Tony Awards cutoff on April 25. Like the film industry in December, angling for Oscars before its end-of-year deadline, theater producers bet on the short memory of voters (and a burst of free publicity on the Tonys telecast) to hoist their shows into summer and beyond.
From a business standpoint, this is obviously unwise. Instead of maintaining a drumbeat of openings throughout the year — as Hollywood, with hundreds of releases, can do despite its December splurge — Broadway, with only 30 to 40 openings in a typical season, keeps choosing to deplete the airspace, exhaust the critics and confuse the audiences with its brief, sudden, springtime overdrive.
Of course, I shouldn’t care about the business standpoint; I’m one of those soon-to-be-exhausted critics. Please pity me having to see a lot of shows from good seats for free.
But regardless of the as-yet-unjudgeable merits of the work, I find myself enthusiastic about the glut. I might even argue for more.
