Tewder
Senior Member
... true, but all theatres need bums in seats, whether it's the Humm-Son-O'Keefe Centre or the Factory Theatre, or risk facing perpetual dark nights. The nature of the risk may be different (will Priscilla recover the multi-million dollar capital investment required vs can Stratford/Shaw break even this year vs can Buddies keep its doors open for another month) but risk is present at all levels of the arts food-chain. Even with seemingly obvious slam-dunks like Mamma Mia (which was a little campy fringe show in London before the worldwide phenomenon... who knew?) the only sure bet is that there is no sure bet.
I also understand your point that Mirvish has to play it safe to fill his four theatres but I'm simply questioning that business strategy. Good shows fill seats. I'm not necessarily saying they have to be high art either. The box office at Stratford this season looked truly dismal until the reviews started to come out motivating GTAers to brave the drive, and now the situation has been reversed.
Ouch
Many producers/impresarios are passionate about theatre and will take risks with shows or performers or crew, even if there are a lot cheesy bad ones out there to be sure. Then again, it is relatively easy to be edgy and inaccessible when you don't have to care about a profit, but it is also relatively easy to eschew quality or true talent for the same reason.
I also understand your point that Mirvish has to play it safe to fill his four theatres but I'm simply questioning that business strategy. Good shows fill seats. I'm not necessarily saying they have to be high art either. The box office at Stratford this season looked truly dismal until the reviews started to come out motivating GTAers to brave the drive, and now the situation has been reversed.
I’ll paraphrase an old saying: “This theatre impresario doesn’t put on a play because we want to see one; he puts on a play to make money.â€
Ouch