www.backstage.com: Broadway is doing a lot of shuffling lately. The critically adored “Peter and the Starcatcher” returns to its Off-Broadway roots with a planned opening at New World Stages later this year after ending its Broadway run on Jan. 20. American Repertory Theater’s “Pippin” will become the first-ever Broadway revival of the musical when it lands at the Music Box Theatre in the spring. And on Jan. 10, “The Other Place” will open on the Main Stem, after a celebrated run in 2011 at MCC Theater.
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It seems that the actors who transferred with their shows had somewhat of a "special" experience. Although it is rare, I always find that an actor's performance when they move from a regional theatre or an Off-Broadway theatre to a Broadway venue is always inspired and, as an audience member, you can tell that the actor has a vested interest in their role and in the show. It is a shame that "stars" often land the lead roles in Broadway productions. Yes, the stars may have talent and bring in money, but they may not understand or be able to put on a performance that the original cast member did in the first place. From a stage management point of view, it would also be really interesting transferring with a show from Off-Broadway or a LORT theatre to Broadway. I would imagine that this would be a very interesting challenge for a stage manager, and it would certainly be even more of a challenge if an entire new cast was joining the show for the Broadway run.
So, lovely. You created a pretty little show off Broadway and the man with the money wants to move you uptown for a lot more money. Great, huh? I'm surprised this article didn't mention anything about the actors who, building a show in a Steppenwolf or OB venue, have to change their mindset to work in an exponentially bigger house. Mannerisms must get bigger, not to mention strengthening the voice to support a larger sound. Add to it the fact that some of these productions were extremely limited runs (even as little as 3 weeks or so) and now you're going to a permanent 8-shows-a-week gig. That takes some warming up. Sometimes you live in Chicago and don't want to move to New York; or maybe starting a long-term occupancy in New York represents a significant need for assistance in transportation and moving costs. There are serious considerations for both the actor and the producer, mentally/spiritually/physically and financially, that go beyond what the increase from LORT to Broadway salary scale is.
I couldn't agree more with the amazing Celia Keenan-Bolger when she says “When you move a show Off-Broadway to Broadway, I had some reservations because it was so special Off-Broadway.… And luckily, we were just with a bunch of people who made sure that it retained a lot of what made it so special downtown.” There is just something so magical about having the ability to do more risky and abstract/innovative performances off-broadway that sometimes just may not sell on Broadway. However, if these shows get a chance to move to the Great White Way, thats an amazing opportunity for all involved! For some reason, shows often loose their "Specialness" when they move to Broadway from Off-Broadway...but, I do not believe that Peter and the Starcatcher did at all. Glad to see that it is returning to Off-Broadway to live on!
By nature, not for profit theatre and for profit theatre have distinctly different goals in mind. In for profit theatre, the money is not feeding the organization. It is feeding the investors and producers who are making their living based off of the success of the show. So, when you go from working with a bunch of people who are in theatre for theatre, making the same salary despite how special their audience finds a certain production, you're going to see some variation in personality. Or at least attitude toward what the show is. And with this you are going to find different reactions from performers. Just like technicians, there are some who are perfectly happy in to NFP world and would like to continue doing art for art. However, some will find the for profit world more to their liking. I think it can be shocking to some people who always see Broadway as the goal that it is often different from what they were expecting.
It has to be tough to be an original cast member of an original show, then replaced by a "star" once the show makes it to Broadway. Especially if the actor played a huge role in the reason why the former off Broadway show made it to Broadway. Though this happens very often, I am just acknowledging those who may have been replaced by a star even if they may have been much more spectacular as the original character.
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