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San Jose Center for the Performing Arts Obstructed View Row 1 Seat 45 Amd 47

Type of theatre in New York City

Broadway theatre,[nb 1] or Broadway, are the theatrical performances presented in the 41 professional theatres, each with 500 or more seats, located in the Theater District and the Lincoln Center forth Broadway, in Midtown Manhattan, New York Urban center.[1] [2] Broadway and London's West End together represent the highest commercial level of live theater in the English language-speaking globe.[3]

While the thoroughfare is eponymous with the district and its collection of 41 theaters, and it is also closely identified with Times Foursquare, only 3 of the theaters are located on Broadway itself (namely the Broadway Theatre, the Palace Theatre, and the Winter Garden Theatre). The rest are located on the numbered cantankerous streets extending from the Nederlander Theatre 1 block southward of Times Square on West 41st Street, north along either side of Broadway to 53rd Street, too as the Vivian Beaumont Theater, at Lincoln Center on Westward 65th street. While exceptions exist, the term "Broadway theatre" is generally reserved for venues with a seating chapters of at least 500 people, smaller theaters in New York are referred to as off-Broadway (regardless of location), while very small venues (less than 100) are called off-off-Broadway, a term that tin can also use to non-commercial or avant-garde theater, or productions held outside of traditional theater venues.[4]

The Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2018–2019 flavour (which ended May 26, 2019) total attendance was 14,768,254 and Broadway shows had US$1,829,312,140 in grosses, with attendance upwardly 9.5%, grosses upward 10.3%, and playing weeks upwards ix.3%.[5]

About Broadway shows are musicals. Historian Martin Shefter argues that "'Broadway musicals', culminating in the productions of Rodgers and Hammerstein, became enormously influential forms of American popular culture" and contributed to making New York Metropolis the cultural majuscule of the earth."[half dozen]

History [edit]

Early theatre in New York [edit]

New York's start significant theatre presence arose about 1750 when thespian-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 people. They presented Shakespeare plays and carol operas such as The Beggar's Opera.[7] In 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager. They established a theatre in Williamsburg, Virginia, and opened with The Merchant of Venice and The Anatomist. The company moved to New York in 1753, performing ballad operas and carol-farces like Damon and Phillida. The Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the year the 2,000-seat Park Theatre was built on Chatham Street (at present chosen Park Row).[7] The Bowery Theatre opened in 1826,[8] followed by others.

By the 1840s, P.T. Barnum was operating an entertainment complex in Lower Manhattan. In 1829, at Broadway and Prince Street, Niblo'south Garden opened and soon became one of New York's premier nightspots. The iii,000-seat theatre presented all sorts of musical and non-musical entertainments. In 1844, Palmo's Opera Business firm opened and presented opera for only 4 seasons before defalcation led to its rebranding as a venue for plays under the name Burton'southward Theatre. The Astor Opera House opened in 1847. A riot broke out in 1849 when the lower-class patrons of the Bowery objected to what they perceived equally snobbery past the upper-course audiences at Astor Identify: "After the Astor Identify Anarchism of 1849, amusement in New York City was divided along form lines: opera was chiefly for the upper-center and upper classes, minstrel shows and melodramas for the middle-class, variety shows in concert saloons for men of the working class and the slumming heart-class."[9]

The plays of William Shakespeare were frequently performed on the Broadway stage during the period, near notably past American thespian Edwin Booth who was internationally known for his performance as Hamlet. Booth played the role for a famous 100 sequent performances at the Wintertime Garden Theatre in 1865 (with the run ending just a few months earlier Booth's brother John Wilkes Berth assassinated Abraham Lincoln), and would later revive the part at his own Booth's Theatre (which was managed for a time by his brother Junius Brutus Booth, Jr.). Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, and Charles Fechter.

Birth of the musical and post-Civil War [edit]

Theatre in New York moved from downtown gradually to midtown Manhattan start around 1850, seeking less expensive existent estate. At the first of the 19th century, the area that at present comprises the Theater District was owned by a handful of families and comprised a few farms. In 1836, Mayor Cornelius Lawrence opened 42nd Street and invited Manhattanites to "bask the pure make clean air."[10] Close to 60 years later, theatrical entrepreneur Oscar Hammerstein I built the iconic Victoria Theater on W 42nd Street.[10]

Broadway'due south offset "long-run" musical was a 50-functioning hit called The Elves in 1857. In 1870, the centre of Broadway was in Union Square, and by the end of the century, many theatres were near Madison Square. Theatres arrived in the Times Square surface area in the early 1900s, and the Broadway theatres consolidated there after a large number were built around the square in the 1920s and 1930s. New York runs connected to lag far behind those in London,[eleven] merely Laura Keene'south "musical burletta" The Vii Sisters (1860) shattered previous New York records with a run of 253 performances. It was at a performance by Keene's troupe of Our American Cousin in Washington, D.C. that Abraham Lincoln was shot.

The first theatre piece that conforms to the modern conception of a musical, adding trip the light fantastic toe and original music that helped to tell the story, is considered to be The Black Cheat, which premiered in New York on September 12, 1866. The production was five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Blackness Domino/Between Yous, Me and the Post was the first show to call itself a "musical one-act".[12]

Tony Pastor opened the showtime vaudeville theatre one cake east of Spousal relationship Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 (The Mulligan Guard Picnic) and 1890, with book and lyrics past Harrigan and music by his father-in-law David Braham. These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant stride frontwards from vaudeville and burlesque, towards a more literate form. They starred loftier-quality professional singers (Lillian Russell, Vivienne Segal, and Fay Templeton), instead of the amateurs, often sex workers, who had starred in earlier musical forms.

As transportation improved, poverty in New York macerated, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to ameliorate profits and improved production values. As in England, during the latter half of the century, the theatre began to be cleaned up, with less prostitution hindering the attendance of the theatre past women. Gilbert and Sullivan's family-friendly comic opera hits, beginning with H.Thou.South. Pinafore in 1878, were imported to New York (by the authors and also in numerous unlicensed productions). They were imitated in New York by American productions such equally Reginald Dekoven's Robin Hood (1891) and John Philip Sousa's El Capitan (1896), along with operas, ballets, and other British and European hits.

Sheet music to "Give My Regards to Broadway"

Charles H. Hoyt'south A Trip to Chinatown (1891) became Broadway'south long-run champion when it surpassed Adonis and its 603 total performances in 1893, property the phase for 657 performances. Chinatown itself was surpassed by the musical Irene (1919) in 1921 every bit the longest-running Broadway musical, and even earlier, in March 1920, by Lightnin' (1918) every bit the longest-running Broadway show. In 1896, theatre owners Marc Klaw and A. L. Erlanger formed the Theatrical Syndicate, which controlled near every legitimate theatre in the U.Due south. for the next sixteen years.[13] However, smaller vaudeville and variety houses proliferated, and Off-Broadway was well established by the end of the 19th century.

A Trip to Coontown (1898) was the start musical one-act entirely produced and performed by African Americans in a Broadway theatre (largely inspired past the routines of the minstrel shows), followed by the ragtime-tinged Clorindy: The Origin of the Breeze (1898), and the highly successful In Dahomey (1902). Hundreds of musical comedies were staged on Broadway in the 1890s and early 1900s made upward of songs written in New York'south Tin Pan Aisle involving composers such every bit Gus Edwards, John Walter Bratton, and George M. Cohan (Little Johnny Jones (1904), 45 Minutes From Broadway (1906), and George Washington Jr. (1906)). Still, New York runs continued to be relatively short, with a few exceptions, compared with London runs, until World War I.[11] A few very successful British musicals continued to reach peachy success in New York, including Florodora in 1900–01.

Early 20th century [edit]

In the early years of 20th century, translations of popular late-19th century continental operettas were joined by the "Princess Theatre" shows of the 1910s by writers such as P. Yard. Wodehouse, Guy Bolton, and Harry B. Smith. Victor Herbert, whose work included some intimate musical plays with modern settings as well as his cord of famous operettas (The Fortune Teller (1898), Babes in Toyland (1903), Mlle. Modiste (1905), The Red Manufactory (1906), and Naughty Marietta (1910)).[14]

Beginning with The Red Manufactory, Broadway shows installed electric signs outside the theatres. Since colored bulbs burned out as well quickly, white lights were used, and Broadway was nicknamed "The Great White Manner". In August 1919, the Actors' Disinterestedness Association demanded a standard contract for all professional productions. After a strike close downward all the theatres, the producers were forced to concur. By the 1920s, the Shubert Brothers had risen to accept over the majority of the theatres from the Erlanger syndicate.[xv]

During this time, the play Lightnin' by Winchell Smith and Frank Bacon became the first Broadway testify to reach 700 performances. From and so, it would get on to become the outset show to accomplish 1,000 performances. Lightnin' was the longest-running Broadway show until being overtaken in performance totals past Abie'south Irish gaelic Rose in 1925.

Competing with motion pictures [edit]

Broadway north from 38th St., New York City, showing the Casino and Knickerbocker Theatres ("Mind, Lester", visible at lower right, played the Knickerbocker from December 23, 1918, to August sixteen, 1919), a sign pointing to Maxine Elliott'southward Theatre, which is out of view on 39th Street, and a sign advertising the Winter Garden Theatre, which is out of view at 50th Street. All simply the Winter Garden are demolished. The old Metropolitan Opera Business firm and the one-time Times Tower are visible on the left.

The movement picture mounted a challenge to the stage. At offset, films were silent and presented only express contest. Past the terminate of the 1920s, films similar The Jazz Singer were presented with synchronized sound, and critics wondered if the cinema would replace alive theatre altogether. While live vaudeville could not compete with these inexpensive films that featured vaudeville stars and major comedians of the day, other theatres survived. The musicals of the Roaring Twenties, borrowing from vaudeville, music hall, and other lite entertainment, tended to ignore plot in favor of emphasizing star actors and actresses, large trip the light fantastic toe routines, and popular songs. Florenz Ziegfeld produced annual spectacular song-and-dance revues on Broadway featuring extravagant sets and elaborate costumes, but there was little to necktie the various numbers together. Typical of the 1920s were lighthearted productions such equally Sally; Lady Exist Good; Sunny; No, No, Nanette; Harlem; Oh, Kay!; and Funny Face. Their books may have been forgettable, but they produced enduring standards from George Gershwin, Cole Porter, Jerome Kern, Vincent Youmans, and Rodgers and Hart, among others, and Noël Coward, Sigmund Romberg, and Rudolf Friml continued in the vein of Victor Herbert. Live theatre has survived the invention of cinema.

Betwixt the wars [edit]

Leaving these insufficiently frivolous entertainments behind and taking the drama a footstep forward, Prove Boat premiered on Dec 27, 1927, at the Ziegfeld Theatre. It represented a consummate integration of book and score, with dramatic themes, every bit told through the music, dialogue, setting, and movement, woven together more seamlessly than in previous musicals. It ran for 572 performances.[16]

Ina Claire Paul McCullough Bobby Clark George M. Cohan Ann Pennington Hassard Short Richard Bennett Marilyn Miller W. C. Fields Madge Kennedy Fanny Brice Raymond Hitchcock Billie Burke Florenz Ziegfeld Jr. Groucho Marx Harpo Marx Lenore Ulric Ed Wynn Eddie Cantor Al Jolson Ralph Barton

This February 21, 1925 Judge magazine cover by Ralph Barton features caricatures of various movie and theater personalities from the 1920s; click on a caricature to be taken to the respective person's Wikipedia commodity.

The 1920s also spawned a new age of American playwright with the emergence of Eugene O'Neill, whose plays Beyond the Horizon, Anna Christie, The Hairy Ape, Foreign Interlude, and Mourning Becomes Electra proved that there was an audience for serious drama on Broadway, and O'Neill's success paved the style for major dramatists like Elmer Rice, Maxwell Anderson, Robert Eastward. Sherwood, Clifford Odets, Tennessee Williams, and Arthur Miller, as well as writers of comedy similar George Southward. Kaufman and Moss Hart. Classical revivals also proved popular with Broadway theatre-goers, notably John Barrymore in Village and Richard III, John Gielgud in Hamlet, The Importance of Being Hostage and Much Ado Well-nigh Nil, Walter Hampden and José Ferrer in Cyrano de Bergerac, Paul Robeson and Ferrer in Othello, Maurice Evans in Richard II and the plays of George Bernard Shaw, and Katharine Cornell in such plays as Romeo and Juliet, Antony and Cleopatra, and Candida.

Every bit World War II approached, a dozen Broadway dramas addressed the rise of Nazism in Europe and the issue of American non-intervention. The near successful was Lillian Hellman's Watch on the Rhine, which opened in Apr 1941.[17]

Post-War era [edit]

Subsequently the lean years of the Great Low, Broadway theatre had entered a golden age with the blockbuster hit Oklahoma!, in 1943, which ran for 2,212 performances. Co-ordinate to John Kenrick's writings on Broadway musicals, "Every flavor saw new stage musicals transport songs to the top of the charts. Public need, a booming economy and arable creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theatre repertory."[eighteen]

Turn down [edit]

Kenrick notes that "the belatedly 1960s marked a time of cultural upheaval. The changes would prove painful for many—including those behind the scenes, as well every bit those in the audition."[19] Of the 1970s, Kenrick writes: "Simply when it seemed that traditional book musicals were back in style, the decade ended with critics and audiences giving mixed signals."[twenty]

Ken Flower observed that "The 1960s and 1970s saw a worsening of the surface area [Times Square] and a drop in the number of legitimate shows produced on Broadway."[21] By way of comparing, in the 1950 to 1951 flavour (May to May) 94 productions opened on Broadway; in the 1969 to 1970 flavor (June to May) there were 59 productions (fifteen were revivals).[22] [23] In the twenties, there were 70–lxxx theaters, but by 1969, there were 36 left.[24]

Resurgeance [edit]

In early on 1982, Joe Papp, the theatrical producer and manager who established The Public Theater, led the "Salvage the Theatres" entrada.[25] It was a non-for-profit group supported past the Actors Equity union to salvage the theater buildings in the neighborhood from demolition past monied Manhattan development interests.[26] [27] [28] [29] Papp provided resources, recruited a publicist and celebrated actors, and provided audio, lighting, and technical crews for the effort.[27]

At Papp's behest, in July 1982, a bill was introduced in the 97th Congress, entitled "H.R.6885, A bill to designate the Broadway/Times Square Theatre Commune in the City of New York equally a national historic site".[thirty] The legislation would have provided certain U.S. government resources and assistance to aid the urban center preserve the district.[30] Faced with strong opposition and lobbying by Mayor Ed Koch's Administration and corporate Manhattan development interests, the bill was not passed. The Save the Theatres campaign then turned their efforts to supporting the establishment of the Theater District as a registered celebrated district.[31] [32] In December 1983, Save the Theatres prepared "The Broadway Theater Commune, a Preservation Development and Management Plan", and demanded that each theater in the district receive landmark designation.[32] Mayor Ed Koch ultimately reacted by creating a Theater Informational Council, which included Papp.[27]

Recent years [edit]

Due to COVID-xix pandemic in the United States, Broadway theaters closed on March 12, 2020, shuttering 16 shows that were playing or were in the process of opening. The Broadway League shutdown was extended first to April, and so to May, and then June, then September 2020 and Jan 2021,[33] and later to June ane, 2021.[34]

When Governor Andrew Cuomo announced that most sectors of New York would have their restrictions lifted on May 19, 2021 (including venues being able to operate at full capacity if all attendees are verified as having recently tested negative, or are fully vaccinated), he stated that Broadway theatres would not be able to immediately resume performances on this appointment due to logistical reasons. Before he resigned, Cuomo and the Broadway League initially targeted that those theatres would not be able to reopen until September 2021. On May 5, 2021, Cuomo announced that Broadway would be allowed to reopen on September xiv, and the League confirmed that performances would brainstorm to resume in the autumn flavour.[35]

Springsteen on Broadway became the showtime full-length show to resume performances on June 26, 2021.[36] Information technology opened at the St. James Theater to 1,721 vaccinated theatergoers.[37] Laissez passer Over then had its commencement preview on August 4, and opened on August 22, 2021, becoming the first new play to open.[38] [39] Hadestown and Waitress were the first musicals to resume performances on September 2, 2021.[forty] Hadestown's reopening was worked out by special arrangement of the Governor'south role, the Broadway League, and Walter Kerr Theatre. The earlier engagement was required due to commitments past the producers to set for its national touring product.[41] The 74th Tony Awards were also postponed; later the Tony nominations were announced on Oct 15, 2020, by James Monroe Iglehart,[42] it was ultimately appear the following May that the ceremony would take place on September 26, 2021.[43]

In 2022 admist the COVID-nineteen Omicron variant in the The states, Governor Kathy Hochul announced that Broadway theaters had a new rules on Jan. 10, requiring fully vaccinated for kids ages five and older showtime January. 29 and those under 5 must have a negative COVID-19 PCR examination within 72 hours of the functioning beginning time, or, negative rapid antigen test taken within six hours of the performance start fourth dimension.[44]

Description [edit]

Schedule [edit]

Although there are some exceptions, shows with open up-ended runs generally have evening performances Tuesday through Saturday, with a 7:00 p.m. or viii:00 p.m. "curtain". The afternoon "matinée" performances are at 2:00 p.m. on Wednesdays and Saturdays and at 3:00 p.g. on Sundays. This makes for an eight-operation calendar week. On this schedule, most shows exercise not play on Mon and the shows and theatres are said to be "night" on that day.[45] [46] The actors and the crew in these shows tend to regard Sunday evening through Monday evening every bit their weekend. The Tony honor presentation ceremony is usually held on a Sunday evening in June to fit this schedule.

In recent years, some shows accept moved their Tuesday show fourth dimension an hr earlier to 7:00 pm.[45] The rationale for this move was that since fewer tourists take in shows wed, Tuesday attendance depends more than on local patrons. The before drapery makes it possible for suburban patrons to go habitation past a reasonable hour after the prove. Some shows, especially those produced by Disney, change their operation schedules adequately ofttimes depending on the flavour. This is washed in order to maximize access to their target audition.

Producers and theatre owners [edit]

Most Broadway producers and theatre owners are members of The Broadway League (formerly "The League of American Theatres and Producers"), a merchandise organization that promotes Broadway theatre every bit a whole, negotiates contracts with the various theatrical unions and agreements with the guilds, and co-administers the Tony Awards with the American Theatre Wing, a service organization. While the League and the theatrical unions are sometimes at loggerheads during those periods when new contracts are being negotiated, they as well cooperate on many projects and events designed to promote professional theatre in New York.

Of the four non-turn a profit theatre companies with Broadway theatres, all four (Lincoln Center Theater, Manhattan Theatre Club, Roundabout Theatre Company, and Second Stage Theatre) belong to the League of Resident Theatres and have contracts with the theatrical unions which are negotiated separately from the other Broadway theatre and producers. (Disney likewise negotiates apart from the League, as did Livent before it closed down its operations.)

The majority of Broadway theatres are endemic or managed by three organizations: the Shubert Organization, a for-turn a profit arm of the non-profit Shubert Foundation, which owns seventeen theatres; the Nederlander Organisation, which controls nine theatres; and Jujamcyn, which owns five Broadway houses.

Personnel [edit]

Both musicals and stage-plays on Broadway oft rely on casting well-known performers in leading roles to draw larger audiences or bring in new audience members to the theatre. Actors from movies and television set are often cast for the revivals of Broadway shows or are used to replace actors leaving a cast. In that location are even so, however, performers who are primarily stage actors, spending most of their time "on the boards", and appearing in television and screen roles only secondarily. Equally Patrick Healy of The New York Times noted:

Broadway in one case had many homegrown stars who committed to working on a show for a yr, as Nathan Lane has for The Addams Family unit. In 2010, some theater heavyweights like Mr. Lane were not even nominated; instead, several Tony Awards were given for productions that were e'er intended to exist brusque-timers on Broadway, given that many of their film-star performers had to move on to other commitments.[47]

According to Marking Shenton, "One of the biggest changes to the commercial theatrical mural—on both sides of the Atlantic—over the past decade or then is that sightings of big star names turning out to practise plays has [sic] gone upward; merely the runs they are prepared to commit to has gone down. Time was that a producer would crave a minimum commitment from his star of six months, and perhaps a year; now, the 13-week run is the norm."[48]

The minimum size of the Broadway orchestra is governed by an understanding with the musicians' union (Local 802, American Federation of Musicians) and The Broadway League. For case, the understanding specifies the minimum size of the orchestra at the Minskoff Theatre to exist xviii, while at the Music Box Theatre it is nine.[49]

Runs [edit]

Most Broadway shows are commercial productions intended to make a profit for the producers and investors ("backers" or "angels"), and therefore take open-ended runs (duration that the product plays), meaning that the length of their presentation is non set beforehand, simply depends on critical response, word of mouth, and the effectiveness of the evidence'south advert, all of which determine ticket sales. Investing in a commercial production carries a varied degree of financial risk. Shows need not make a profit immediately; should they make their "nut" (weekly operating expenses), or lose money at a charge per unit acceptable to the producers, they may continue to run in the expectation that, eventually, they will pay dorsum their initial costs and get profitable. In some deadline situations, producers may ask that royalties be temporarily reduced or waived, or even that performers—with the permission of their unions—take reduced salaries, to prevent a show from endmost. Theatre owners, who are non mostly profit participants in most productions, may waive or reduce rents, or fifty-fifty lend money to a testify to keep it running.

Some Broadway shows are produced by non-commercial organizations as part of a regular subscription flavour—Lincoln Heart Theatre, Roundabout Theatre Company, Manhattan Theatre Club, and 2d Stage Theater are the four non-turn a profit theatre companies that currently accept permanent Broadway venues. Some other productions are produced on Broadway with "limited engagement runs" for several reasons, including financial issues, prior engagements of the performers, or temporary availability of a theatre between the end of one production and the beginning of another. All the same, some shows with planned limited engagement runs may, afterward critical acclaim or box office success, extend their engagements or convert to open-ended runs. This was the case with 2007'due south August: Osage County, 2009's God of Carnage, and 2012's Newsies.

Historically, musicals on Broadway tend to have longer runs than "straight" (i.due east., non-musical) plays. On January 9, 2006, The Phantom of the Opera at the Regal Theatre became the longest-running Broadway musical, with vii,486 performances, overtaking Cats.[50]

Audience [edit]

Attending a Broadway show is a common tourist action in New York. The TKTS booths sell same-day tickets (and in certain cases, next-day matinee tickets) for many Broadway and Off-Broadway shows at a discount of twenty to 50%.[51] The TKTS booths are located in Times Square, in Lower Manhattan, and at Lincoln Center. This service is run past Theatre Development Fund. Many Broadway theatres too offer special educatee rates, aforementioned-24-hour interval "rush" or "lottery" tickets, or continuing-room tickets to help ensure that their theatres are equally full—and their grosses as loftier—every bit possible.[52] According to The Broadway League, total Broadway attendance was xiv.77 million in 2018–2019, compared to 13.79 million in 2017–2018.[5] The Broadway League too reports that approximately 66% of all Broadway tickets were purchased by tourists in the 2012–2013 season, an increment of iii percent from the 2011–2012 flavor.[53] By way of comparison, London's West End theatre reported a total omnipresence of 15.five million for major commercial and grant-aided theatres in central London for 2018.[54] The average age of the Broadway audition in the 2017–18 theater flavor was xl, the lowest it had been in well-nigh two decades.[55]

Off-Broadway [edit]

The classification of theatres is governed by linguistic communication in Actors' Equity Clan contracts. To be eligible for a Tony, a production must be in a house with 500 seats or more and in the Theater District, which are the criteria that define Broadway theatre. Off-Broadway and Off-Off-Broadway shows often provide a more experimental, challenging, and intimate performance than is possible in the larger Broadway theatres. Some Broadway shows, however, such as the musicals Hair, Little Shop of Horrors, Leap Enkindling, Side by side to Normal, Hire, Artery Q, In the Heights, Fun Home, Dear Evan Hansen, and Hamilton, began their runs Off-Broadway and subsequently transferred to Broadway, seeking to replicate their intimate experience in a larger theatre. Other productions are first developed through workshops and and then out-of-town tryouts before transferring to Broadway. Merrily We Roll Forth famously skipped an out-of-boondocks tryout and attempted to practise an in-town tryout—actually preview performances—on Broadway before its official opening, with disastrous results.[56] [57]

Broadway national tours [edit]

Later on, or fifty-fifty during, successful runs in Broadway theatres, producers often remount their productions with new casts and crew for the Broadway national tour, which travels to theatres in major cities beyond the country. Sometimes when a evidence closes on Broadway, the entire product, with most if non all of the original cast intact, is relaunched as a touring company, hence the proper name "Broadway national bout". Some shows may even have several touring companies out at a time, whether the show is yet running in New York or not, with many companies "sitting downwards" in other major cities for their own extended runs. For Broadway national tours of top-tier cities, the entire Broadway production is transplanted most entirely intact and may run for many months (or years) at each stop. For example, the first U.Due south. tour of The Phantom of the Opera required 26 53-foot-long (16.1 thousand) semi-trailers to transport all its sets, equipment, and costumes, and information technology took near 10 days to properly unload all those trucks and install everything into a theater.[58]

Second-tier and smaller cities tin can besides attract national tours, but these are more likely to be "bus and truck" tours.[58] These are scaled-down versions of the larger, national touring productions, historically acquiring their name because the casts more often than not traveled by omnibus instead of past air, while the sets and equipment traveled by truck. Tours of this blazon often run for weeks rather than months, and frequently feature a reduced physical production to arrange smaller venues and tighter schedules, and to fit into less trucks.[58] A typical 2nd-tier city can usually sell only upward to virtually 8 weeks of tickets.[58] For cities smaller than that, a touring production might move twice a calendar week ("split weeks") or every 24-hour interval ("one-nighters").[58] For "jitney and truck" tours, the production values are usually less lavish than the typical Broadway national tour or national touring product, and the actors, while still members of the actors' matrimony, are compensated under a dissimilar, less lucrative union contract. The Touring Broadway Awards, presented by The Broadway League, honored excellence in touring Broadway.

Awards [edit]

Broadway productions and artists are honored by the almanac Antoinette Perry Awards (normally chosen the "Tony Awards", or "Tony"), given by the American Theatre Wing and The Broadway League, and that were outset presented in 1947.[59] The Tony is Broadway's most prestigious award, comparable to the Academy Awards for Hollywood film productions. Their importance has increased since 1967 when the awards presentation show began to be circulate on national television. In a strategy to meliorate the television ratings, celebrities are oft chosen to host the evidence, some with scant connection to the theatre.[60] The nigh recent Tony Awards ceremony was held on September 26, 2021. Other awards given to Broadway productions include the Drama Desk Award, presented since 1955, the New York Drama Critics' Circle Awards, first given in 1936, and the Outer Critics Circle Accolade, initially presented in 1950.

Broadway theatres and current productions [edit]

  • An * after the opening date indicates that the listed show has not yet opened, but is scheduled to open up on the given date at that theatre.
  • An * subsequently the closing engagement indicates that there is another production scheduled for this theatre.
  • Capacity is based on the capacity given for the respective theatre at the Internet Broadway Database.[61]
Theatre Address Chapters Owner/Operator Electric current production Type Opening Closing
Al Hirschfeld Theatre W. 45th St. (No. 302) 1424 Jujamcyn Theaters Moulin Rouge! Musical 2019-07-25July 25, 2019 Open-ended
Ambassador Theatre Westward. 49th St. (No. 219) 1125 Shubert Organization Chicago Musical 1996-11-xivNovember 14, 1996 Open-concluded
American Airlines Theatre W. 42nd St. (No. 227) 740 Roundabout Theatre Company Birthday Candles [62] Play 2022-04-xApr 10, 2022 2022-05-29May 29, 2022*
August Wilson Theatre W. 52nd St. (No. 245) 1228 Jujamcyn Theaters Funny Girl [63] Musical 2022-04-24Apr 24, 2022 Open-ended
Belasco Theatre W. 44th St. (No. 111) 1018 Shubert Organization Girl from the North Country [64] Musical 2020-03-05March 5, 2020 2022-06-11June 11, 2022
Bernard B. Jacobs Theatre W. 45th St. (No. 242) 1078 Shubert Organisation Company [65] Musical 2021-12-09December nine, 2021 Open-concluded
Booth Theatre W. 45th St. (No. 222) 766 Shubert Organization For Colored Girls Who Take Considered Suicide / When the Rainbow Is Enuf [66] Play 2022-04-20April 20, 2022 2022-08-xivBaronial 14, 2022
Broadhurst Theatre W. 44th St. (No. 235) 1186 Shubert Organization
Broadway Theatre West. 53rd St & Broadway (No. 1681) 1761 Shubert Arrangement The Little Prince [67] Special 2022-04-11Apr 11, 2022 2022-08-fourteenAugust 14, 2022
Brooks Atkinson Theatre W. 47th St. (No. 256) 1094 Nederlander Organization 6 [68] Musical 2021-10-03October three, 2021 Open up-ended
Circle in the Square Theatre West. 50th St. (No. 235) 840 Independent American Buffalo [69] Play 2022-04-14April fourteen, 2022 2022-07-xJuly 10, 2022
Ethel Barrymore Theatre Due west. 47th St. (No. 243) 1096 Shubert System Paradise Foursquare [70] Musical 2022-04-03April 3, 2022 Open-concluded
Eugene O'Neill Theatre Due west. 49th St. (No. 230) 1066 Jujamcyn Theaters The Book of Mormon Musical 2011-03-24March 24, 2011 Open up-ended
Gerald Schoenfeld Theatre West. 45th St. (No. 236) 1079 Shubert Organization Come up from Away Musical 2017-03-12March 12, 2017 Open up-ended
Gershwin Theatre W. 51st St. (No. 222) 1933 Nederlander Organization Wicked Musical 2003-10-30October 30, 2003 Open-ended
Hayes Theater W. 44th St. (No. 240) 597 Second Phase Theater Take Me Out [71] Play 2022-04-04Apr 4, 2022 2022-06-11June 11, 2022*
Hudson Theatre Due west. 44th St. (No. 141) 970 Ambassador Theatre Group Plaza Suite [72] Play 2022-03-28March 28, 2022 2022-07-06July 6, 2022
Imperial Theatre W. 45th St. (No. 249) 1443 Shubert Organization
James Earl Jones Theatre West. 48th St. (No. 138) 1084 Shubert Organization The James Earl Jones Theatre is airtight for renovation. It is scheduled to reopen in or around 2022.[73]
John Gilded Theatre W. 45th St. (No. 252) 805 Shubert Arrangement Hangmen [74] Play 2022-04-21April 21, 2022 2022-06-18June 18, 2022
Longacre Theatre W. 48th St. (No. 220) 1091 Shubert Arrangement Macbeth [75] Play 2022-04-28April 28, 2022* 2022-07-10July ten, 2022
Lunt-Fontanne Theatre W. 46th St. (No. 205) 1519 Nederlander Organization Tina—The Tina Turner Musical Musical 2019-eleven-07November 7, 2019 Open-ended
Lyceum Theatre W. 45th St. (No. 149) 922 Shubert Organization A Foreign Loop [76] Musical 2022-04-26Apr 26, 2022* Open-ended
Lyric Theatre W. 43rd St. (No. 214) 1622 Ambassador Theatre Group Harry Potter and the Cursed Child Play 2018-04-22April 22, 2018 Open-ended
Majestic Theatre W. 44th St. (No. 245) 1645 Shubert Organisation The Phantom of the Opera Musical 1988-01-26January 26, 1988 Open up-ended
Marquis Theatre W. 46th St. (No. 210) 1612 Nederlander Organization Beetlejuice [77] Musical 2022-04-08April 8, 2022 Open-ended
Minskoff Theatre West. 45th St. (No. 200) 1710 Nederlander Organization The King of beasts King Musical 1997-11-13Nov xiii, 1997 Open-concluded
Music Box Theatre West. 45th St. (No. 239) 1009 Shubert Organization Dear Evan Hansen Musical 2016-12-04Dec iv, 2016 Open-ended
Nederlander Theatre W. 41st St. (No. 208) 1235 Nederlander Organization Mr. Saturday Dark [78] Musical 2022-04-27Apr 27, 2022* Open up-ended
Neil Simon Theatre W. 52nd St. (No. 250) 1467 Nederlander Organization MJ the Musical [79] Musical 2022-02-01Feb 1, 2022 Open-concluded
New Amsterdam Theatre W. 42nd St. (No. 214) 1747 Disney Theatrical Group Aladdin Musical 2014-03-20March 20, 2014 Open-ended
Palace Theatre W. 47th St. & Broadway (No. 1564) 1743 Nederlander Organization ZzThe Palace Theatre closed for renovation in September 2018. Information technology was scheduled to reopen in or effectually 2023.[eighty]
Richard Rodgers Theatre W. 46th St. (No. 226) 1400 Nederlander System Hamilton Musical 2015-08-06August 6, 2015 Open-ended
St. James Theatre W. 44th St. (No. 246) 1709 Jujamcyn Theaters The Piano Lesson [81] Play 2022-09-xixSeptember 19, 2022* Limited Engagement
Samuel J. Friedman Theatre W. 47th St. (No. 261) 650 Manhattan Theatre Lodge How I Learned to Bulldoze [82] Play 2022-04-xixApril 19, 2022 2022-05-29May 29, 2022
Shubert Theatre West. 44th St. (No. 225) 1460 Shubert Organization POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Proceed Him Live [83] Play 2022-04-27Apr 27, 2022* 2022-08-xivBaronial 14, 2022*
Stephen Sondheim Theatre W. 43rd St. (No. 124) 1055 Roundabout Theatre Company Mrs. Doubtfire [84] Musical 2021-12-05December 5, 2021 Open up-ended
Studio 54 W. 54th St. (No. 254) 1006 Roundabout Theatre Visitor The Minutes [85] Play 2022-04-17April 17, 2022 2022-07-10July 10, 2022
Vivian Beaumont Theater West. 65th St. (No. 150) 1080 Lincoln Center Theatre The Skin of Our Teeth [86] Play 2022-04-25April 25, 2022 2022-05-29May 29, 2022*
Walter Kerr Theatre W. 48th St. (No. 219) 945 Jujamcyn Theaters Hadestown Musical 2019-04-17Apr 17, 2019 Open-ended
Winter Garden Theatre W. 50th St. & Broadway (No. 1634) 1526 Shubert Organization The Music Human being [87] Musical 2022-02-10February ten, 2022 Open-concluded

Upcoming productions [edit]

The following have been announced as future Broadway productions. The theatre in which they will run may not notwithstanding be known, or, if known, may be currently occupied by another evidence.

Production Type Theatre Opening Ref
1776 Musical American Airlines Theatre Autumn 2022 [62]
Between Riverside and Crazy Play Hayes Theater Fall 2022 [71]
Camelot Musical Vivian Beaumont Theater 2022-12-08Dec viii, 2022 [88]
Kimberly Akimbo Musical Shubert theatre to be announced 2022-11-tenNovember 10, 2022 [89]
The Kite Runner Play Hayes Theater 2022-07-21July 21, 2022 [90]
KPOP Musical Circle in the Square Theatre 2022-11-xxNovember twenty, 2022 [91]
Sing Street Musical Shubert Theatre to be appear 2022–23 Flavor [92]
Some Like It Hot Musical Shubert Theatre 2022-12-xiDecember eleven, 2022 [93]
To Kill a Mockingbird Play Theatre to be announced To be appear [94]

Notes [edit]

  1. ^ Although theat er is the generally preferred spelling in the United states of america (see American and British English spelling differences), many Broadway venues, performers, and trade groups for live dramatic presentations apply the spelling theat re .

References [edit]

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  89. ^ Harms, Talaura. "Victoria Clark Volition Be Kimberly Akimbo in Broadway Transfer of New Musical This Fall" Playbill.com, February 25, 2022
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Further reading [edit]

  • Ackerman, Alan. "Liberalism, Democracy, and the Twentieth-Century American Theater," American Literary History (2005) 17#4 pp. 765–780.
  • Bordman, Gerald. American Musical Comedy (Oxford Academy Press, 1982)
  • Bordman, Gerald. American Operetta (Oxford University Press, 1981)
  • Knapp, Raymond. The American Musical and the Germination of National Identity (Princeton Academy Press, 2005)
  • Middeke, Martin, et al. The Methuen Drama Guide to Gimmicky American Playwrights (2013)
  • Mordden, Ethan. Annihilation Goes: A History of American Musical Theatre (2013)
  • Roudane, Matthew Charles. American Drama Since 1960: A Disquisitional History (1996)
  • Shiach, Don. American Drama 1900–1990 (2000)
  • Stempel, Larry. Showtime: A History of the Broadway Musical Theater (WW Norton, 2010) 826 pp.
  • Weales, Gerald Clifford. American drama since World State of war 2 (1962)
  • White, Timothy R. Bluish-Collar Broadway: The Craft and Manufacture of American Theater (2014)
  • Wolf, Stacy. Changed for Good: A Feminist History of the Broadway Musical (2010)

External links [edit]

  • The Cyberspace Broadway Database
  • The Houses of Broadway, The New York Times, April 30, 2010

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Source: https://en.wikipedia.org/wiki/Broadway_theatre