The total take was a 14 percent uptick over last year boosted by premium pricing, making 2014 the highest grossing calendar year on Broadway. And there was a 13 percent increase in attendance over 2013.
He had his first successes in made-for-TV plays, but once shows like Playhouse 90 ended, he was unable for decades to get theaters to consider his plays. Even his lauded screenplays for To Kill a Mockingbird and Tender Mercies didn’t help his theater career. How did he find the strength to keep at it?
“The Théâtre de la Ville and the Théâtre du Châtelet … will close for extensive renovations at the end of the 2016 season, darkening the houses for one and a half to two years. The theaters, which face each other on the Place du Châtelet, next to the Seine in the heart of the city, were designed by Gabriel Davioud and constructed between 1860 and 1862.”
“Art was done the same way for a long time — you were young, you came, you watched a lot of other people and you started to struggle to make your own work, and eventually people came to see you and you made a little bit of money. Now that economic structure is totally broken. Young people only go to see a few other people; they only go to see people whose careers they want to emulate. And they mostly stay within their own age group. So you have tons of people who are all 22 who make their work with other 22-year-olds. You can’t get much mileage out of that. You need the inter-generational thing, I believe: the energy of the young and the wisdom and experience of the old.”
“For all the changes that have come to Broadway, where the only thing more drastic than the astronomical ticket prices are the astronomical rents for apartments in the area, the Whitby has largely remained a bastion for performers and their patrons. But rather than being a haven for struggling artists, the building is now much more a home for successful ones.”
“The Broadway League said Monday that shows on the Great White Way pulled in $40,993,950 for the week ending Sunday, better than the same week last year when 30 shows attracted $38,783,854. Attendance also went from 290,386 in 2013 to 318,721 this year, with crowds taking advantage of mild New York weather and Christmas falling on a Thursday.”
“As holiday traditions go, the play Burning Bluebeard doesn’t exactly seem like a natural: no Cratchits, no elves, no Grinches, no sugarplum fairies. Its place in the season is all about timing. It’s based on the real-life story of a fatal fire that happened in the week between Christmas and New Year’s Day – and it’s told by clowns.”
“It depicted what to me was a fantasy as attractive as any I’d ever seen: that you could be in your twenties, living in New York City, surrounded not by the family you’d left behind but by the ones you’d made. That you could pursue above all else art and love. At its end, I leapt to my feet in applause.”
“Civil society has a role to play in bringing political actors together. It is all intertwined. The work that theater people do and the work that journalists do and people to people initiatives outside of the political sphere have in moving society forward toward reconciliation, or any type of coexistence is critical.”