Cara Joy David - Page 4

In January 2001, Carrington Vilmont made his Broadway debut in The Phantom of the Opera. He has spent the majority of the years since in the company, appearing in the final company as the Auctioneer. As of last night, he had played 6066 performances in the musical. Today he woke up without it.

Remember Garth Drabinsky’s case against Actors’ Equity Association? It is now no more. Equity has won its motion to dismiss the complaint filed by Drabinsky.

This week, the New York City Council passed a new ticket transparency bill. The law was not opposed by any of the major ticket services--Ticketmaster, SeatGeek, etc.--but it was opposed by one major player in the city: The Broadway League. Just why the League was so opposed to the bill gets a little confusing.

During the second act of Kimberly Akimbo, eagle-eyed fans may notice that Alli Mauzey, playing the character of Pattie, switches the leg brace she is wearing from one leg to the other between scenes. The move is missed by the vast majority of the audience and it’s possible some who do catch it may think it an accident. But for Mauzey it has meaning. It saves her hips, but it also adds another layer to the character: Pattie, already established as a hypochondriac, is so much of one that she could easily forget which leg the brace belongs on.

When SHUCKED opened on Broadway last week, it marked the first time a musical that tried out in Utah made it to the big time. We hear a lot about the more mainstream regional tryout venues—La Jolla Playhouse, the Old Globe, 5th Avenue Theatre—but very few producers utilize lesser-known non-profits to try out their shows.

Last month, when the Lucille Lortel Theatre announced the purchase of a new building in Chelsea, there was some surprise. What caught some off-guard is that the Lortel also announced new artistic leaders focusing on the development of new works.

This time of year, most know the most important people in the industry are sadly not anyone putting on a show, but rather the Tony nominators. Usually, this is the time that many selected nominators start dropping out, typically because of involvement in an eligible production or failure to see all eligible productions. This season, we’ve so far had very few recusals, so as of now there is a pretty full slate.

Theater is often focused on the young. One would think this is only true on the stage—actors and appearance receive the bulk of attention. But behind-the-scenes it is that way too. With a few exceptions for established writers like Tom Stoppard, emerging writers are given way more attention than older ones.

Theater fans are used to seeing multiple shows with the same name. We all know about the dueling WILD PARTYs. Yet the producer of ANNE OF GREEN GABLES: A NEW MUSICAL has felt the need to go to court to ask the court to declare the show legally entitled to keep its name.

Jujamcyn Theaters’ fight for Covid-related insurance coverage has suffered a mighty blow. A Court in the Southern District of New York, which is a federal court, decided against Jujamcyn in its lawsuit against Federal Insurance Company and trimmed Jujamcyn’s case against another insurer, Pacific Indemnity Company.

In some ways, it was a surprise that antisemites took to the streets last week to demonstrate outside of PARADE. We don't see that sort of thing outside a Broadway show. We don't typically see it at all in New York City. But, if you were paying attention--and, as a member of an Anti-Defamation League NextGeneration Advisory Board, I have been--you would know that antisemitic sentiment is increasingly spilling onto the streets.

When walking into MCC Theater to see Hansol Jung‘s WOLF PLAY, you are greeted by very little on the floor where the action will take place—a couch, a table, some balloons—but yet an entire wall chock full of stuff. Where did the stuff come from? Some came from part productions the team members have worked on, but much of it came from NYC.

As last year wound to a close, the Hal Luftig Company, Inc. (which I'll call the 'Company' for short), well-known producer Hal Luftig's theatrical production company, filed for Chapter 11 bankruptcy. In layman’s terms, the goal is to come out of bankruptcy with a payment plan which will enable the Company to pay off its debts on a set schedule. Meanwhile, Luftig continues to produce.

On October 7, 2022--a mere three days before 2nd Annual Antonyo Awards were supposed to take place at the Apollo Theater--the Antonyos were canceled. The related press release was light on details. Rumors swirled. Broadway Black founder Drew Shade, who originally conceived of the awards in 2020, stayed silent publicly.

Brian d'Arcy James is Tony eligible this season for Best Actor in a Musical for his performance in INTO THE WOODS. But he didn't perform on INTO THE WOODS on what appeared to be the revival's opening night, July 10, as required by the Tony rules for eligibility. So how is he eligible? The Broadway League allowed the show to change its opening night after the fact.

Sometimes seasons go by without any truly perplexing questions for the Tony Award Administration Committee to answer. This will not be one of those seasons. As I wrote last month, there are close calls on what will be considered a new play versus revival and now thrown into the mix is the play or musical decision involving ROOM.

A couple of weeks ago, I wrote about the problems regional theaters are having attracting audiences. Unfortunately, there is no magic formula. Audience members I’ve spoken to on my trips to regionals have cited all kinds of reasons for being there.

We've got the latest scoop on the Equity/SAG-AFTRA streaming deal. Actors Equity Association is no longer in charge of theater streaming, at least according to SAG-AFTRA.

Theater folks in New York tend to be focused on what is happening in New York. But theaters all across the country -- the professional regional theaters, the community theaters, the commercial houses -- are part of the same theater ecosystem that New York theaters are part of.

Back when 2021 became 2022, it was hoped that live theater could return to pre-pandemic normality in the new year. Alas, 2022 was not smooth sailing for the theater. Not only were there still plenty of Covid cancellations, but there were also a host of other problems plaguing the industry. (Many of which were discussed in a prior column, archived here.) In this piece, there are three takeaways from 2022.