Observer: Let’s unpack that headline. This season on Broadway you can see musicals based on actual events from circa 1911, 1925 and 1943 (Smash only feels like a throwback to pre-pandemic camp). As for canonical plays, writers and directors tinker with great dramas by Arthur Miller, Anton Chekhov and T.S. Eliot. Finally, there’s a healthy sampling of the Weird: absurd or surreal takes on space travel, academia, women’s fertility—plus whatever experimental icon Caryl Churchill is smoking. Something for everyone. If the concept of “inclusiveness” is under fire by dark forces, at the theater, all are welcome.
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This article expanded on the sheer variety of shows on Broadway and on Off-Broadway. There are musicals and plays that run the gamut from comedy to tragedy, everywhere in between, and even where those labels don’t give a particularly good description. In general, I wonder if the theatres of Broadway and Off-Broadway discuss their seasons at all to ensure that they do have a broad range of shows and stories. Theoretically, it seems like it would make sense for them to do so. It seems like it would be in all of their best interests to have as varied a set of shows as possible, so there is something for everyone as this article claims. On a practical level, however, I see how that might pose a logistical problem. That level of coordination might be out of the scope of practicality for the theatres and prove to be more trouble than it’s worth. I would be curious to know more about how that process works, or if that is part of the process at all.
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