Tuesday, March 25, 2008

Los Angeles, the New Broadway?

If you want to see a Broadway show, go to LA. Okay, you can beat me now for those blasphemous words. We all know LA is a movie town and nobody here cares about theater, except if you're an actor and you want to do Hamlet as a showcase in a 99 seat plan theater so casting directors can come see you - which they never do. But...


The Center Theatre Group, which runs the Ahmanson, Kirk Douglas and Mark Taper Theaters here in LA, just announced they will be doing not one but TWO original musicals this season with an eye toward taking them to Broadway. Previously discussed here, 9 to 5 with music and lyrics written by Dolly Parton, and now Minsky's, the new title of the Charles Strouse-Susan Birkenhead musical comedy once known as The Night They Raided Minsky's. (see Playbill article here). Factoid, Casey Nicholaw and I did Scarlet Pimpernel together.


These are just the latest editions of The West Coast Broadway Pipeline. Curtains started at the Ahmanson, as did The Drowsy Chaperone. And just drive south on the 405 for a bit to La Jolla Playhouse where they gave birth to Cry-Baby (Braodway bound in 2008), The Farnsworth Invention, Jersey Boys, 700 Sundays, Throughly Modern Millly, Jane Eyre, The Who's Tommy and many others.


Oh and drive just a bit further down the 405 to The Old Globe where they premiered A Catered Affair, Dr. Seuss’ How the Grinch Stole Christmas!, Chita Rivera: The Dancer’s Life, The Times They Are A-Changin', Dirty Rotten Scoundrels, and The Full Monty, among others...

So what is it about LA or Southern California for that matter? Are original musicals or plays suddenly in the drinking water? Has all the New York talent moved to the beach for the weather? Yes, and no.


Dig just a bit further and you'll see the real reason why all of these Broadway shows are coming from the regions - Regional theaters are the only game in their respective towns. On any given night in New York, there must be at least 20 Broadway shows, 30 off-Broadway shows and every other media attraction that all the major cities have like movies, dining, etc. However, most of the New York theater shows have single producing entities that don't mitigate risk with investment over multiple shows. It's like a bunch of mom and pop shops, each having to compete against all odds.


Not LA. Everyone in LA knows that if you're going to go to the theater and if it is not at the Ahmanson or perhaps the Geffen, odds are it is NOT going to be good. And when I say NOT good, I mean, it will probably SUCK. Not always and I love it when I am pleasantly surprised, but odds are pretty good it will be pretty bad. So that leaves CTG as the only game in town, and this town has some serious money. So the money goes to the CTG in the form of subscribers. They know the shows will be well funded and produced (if not necessarily good) so they pay the price for the guarantee.


The other important characteristic about the surrounding environs of these theaters is they are in uber-affluent regions loaded with people with lots of money. I did not say these folks are foolhearty enough to throw some money into a show and roll the dice. No, these folks are the ones who have made very good livings in the non arts world (where else), who can actually afford to buy subscriptions series tickets and then fill in that seldom used line on the form that says "additional amount to support the theater." Not only do they add a bit of extra on that line, they also bring their friends as their guests and frequent the restaurants and bars either in or around the theater. These folks are worth their weight in GOLD.


These subscribers and art angels are the reason CTC, The Old Globe and La Jolla can produce and fully fund 1 out of 8 or so productions that they mount. The annual budget for CTG last year was somewhere around $32M, for The Old Globe revenues reached nearly $38M and for La Jolla, revenues were around $10M. The subscribers are the folks that contribute the most to those figures and each of them are happy to see the standard road tours that come through each of these houses (already vetted on Broadway) but they are even more happy when one of their original shows becomes the next hit on Broadway.

All I can say about this, is God bless 'em. Without these angels, we would see nothing but mermaids, dancing plates and singing lions on the stages of what used to be the Mecca for Theater Arts. Now it is often just a road stop for productions envisioned and created elsewhere.

Wednesday, March 19, 2008

Interview with Jim Hindman - Miracle or 2 Productions - Liscensing and Development Company

Hello all,

Just a quick break from the chapters Ed has been busy writing. Jim Hindman, Co-Executive Director of Miracle or 2 Productions, and fellow cast member from way back in The Scarlet Pimpernel, did an interview for the site while we were working on getting Fanny Hill up in Ohio. As their website says, Miracle or 2 Productions is a theatrical licensing company based on 42nd Street overlooking Times Square in New York City. They offer a wide range of options for theaters - from plays to musicals to revues. Whether you are seeking something large or small, edgy or for the family, for any time of year or for Christmas, they have the perfect show for you!

Jim is also a very talented writer and performer.

Dreampeddler: What exactly is the mission of Miracle or 2 productions?

Jim Hindman: At Miracle or 2 Productions we want to focus not only on licensing new shows, but also to take part in their development. Finding a theatre that is willing to take a risk on a title they don't know. Because we have personal relationships with these theatres, it makes it easy to talk to them and find out what their audiences want. We've even gone as far as starting a tour. This way a few theatres got to share the cost of the new show.

Dreampeddler: Why did you decide to get into the catalogue business when the 2 big ones seem to have a corner on the market? Samuel French and New Dramatists. Did you feel there were authors out there who were either being under served or completely looked over?

Jim Hindman: That's exactly why. There are so many wonderful writers out there that are not being served. This will give them a chance to have their voices heard. Again, the big companies focus on just the licensing, we focus on the development AND licensing.

Dreampeddler: How many shows that you represent have actually had stock or amateur productions?

Jim Hindman: I would say by now most of them have gotten productions. And even if the theatre 'passes' on a certain show, we can show them another one by the same author. We have also worked on Theme Park Shows that are not in our catalogue.

Dreampeddler: Do you actively seek out shows for your catalogue? And do you recommend that authors submit to you? Do you even take submissions?

Jim Hindman: Usually we ask people to email us and tell us a little bit about the show and themselves. If we are interested, we will contact them for a script. Sometimes it has less to do with their show and more to do with what we have on our plate at that time.

Deampeddler: How much Corporate Show work do you get as a percentage of the whole?

Jim Hindman: I would say the Corporate Shows are about 15% of what we do. They are always great to have because of the money they bring in.

Dreampeddler: Do you still have day job work or is Miracle or 2 the only company work you need to do now?

Jim Hindman: My 'day job' is acting in MARY POPPINS. I'm not sure I'd ever want to give that up. I actually get a lot of creative ideas and make great contacts staying in the theatre. And Ray is very busy directing around the country and in New York.

NOTE: RAY RODERICK is the other Co-Executive Director of Miracle or 2 Productions. he is also a Writer/Director/Choreographer.

Dreampeddler: Are you and Ray still actively writing your own projects? If so, tell me a little bit about them?

Jim Hindman: Yes, we are still writing. We have a show called COMING TO AMERICA - It's five short vaudeville musicals telling the stories of immigrants arriving in America at the turn of the century and how they changed our lives. We also have one called THE BIKINIS. This is about a girl group from the 60's getting together again after thirty years.

Dreampeddler: Are you performing anymore?

Jim Hindman: Aside from MARY POPPINS - Yes, I was just on LAW AND ORDER. I recently filmed a new show for television called BLUE BLOOD. I did a small part on RESCUE ME.

Thanks again, Jim. Best of luck with all your projects!