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词条 Broadway theatre
释义

  1. History

     Early theatre in New York  Birth of the musical and post-Civil War  1890s and early 1900s  1900–1925  Competing with motion pictures  Between the wars  1950–1970  1980s 

  2. Description

     Schedule  Producers and theatre owners  Personnel  Runs  Audience  Off-Broadway and US tours  Awards 

  3. Broadway theatres and current productions

     Upcoming productions  Concert  Musicals  Plays 

  4. References

     Explanatory notes  Citations  Further reading 

  5. External links

{{short description|class of professional theater presented in New York City, New York, USA}}{{About|the type of theatre called "Broadway"|the street for which it is named|Broadway (Manhattan)|the individual theatre of this name|Broadway Theatre (53rd Street)}}{{Use mdy dates|date=March 2013}}

Broadway theatre,[1] commonly known as Broadway, refers to the theatrical performances presented in the 41 professional theatres, each with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in Midtown Manhattan, New York City.[2][3] Along with London's West End theatre, Broadway theatre is widely considered to represent the highest level of commercial theatre in the English-speaking world.

The Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2017–2018 season (which ended May 27, 2018) total attendance was 13,792,614 and Broadway shows had US$1,697,458,795 in grosses, with attendance up 3.9%, grosses up 17.1%, and playing weeks up 2.8%.[4]

The majority of Broadway shows are musicals. Historian Martin Shefter argues that "'Broadway musicals', culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture" and contributed to making New York City the cultural capital of the Western Hemisphere.[5]

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History

Early theatre in New York

New York did not have a significant theatre presence until about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 people. They presented Shakespeare plays and ballad operas such as The Beggar's Opera.[6] In 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager. They established a theatre in Williamsburg, Virginia and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad operas and ballad-farces like Damon and Phillida. The Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the year the 2,000-seat Park Theatre was built on Chatham Street (now called Park Row).[6] The Bowery Theatre opened in 1826,[7] followed by others.

By the 1840s, P.T. Barnum was operating an entertainment complex in Lower Manhattan. In 1829, at Broadway and Prince Street, Niblo's Garden opened and soon became one of New York's premiere nightspots. The 3,000-seat theatre presented all sorts of musical and non-musical entertainments. In 1844, Palmo's Opera House opened and presented opera for only four seasons before bankruptcy led to its rebranding as a venue for plays under the name Burton's Theatre. The Astor Opera House opened in 1847. A riot broke out in 1849 when the lower-class patrons of the Bowery objected to what they perceived as snobbery by the upper class audiences at Astor Place: "After the Astor Place Riot of 1849, entertainment in New York City was divided along class lines: opera was chiefly for the upper middle and upper classes, minstrel shows and melodramas for the middle class, variety shows in concert saloons for men of the working class and the slumming middle class."[8]

The plays of William Shakespeare were frequently performed on the Broadway stage during the period, most notably by American actor Edwin Booth who was internationally known for his performance as Hamlet. Booth played the role for a famous 100 consecutive performances at the Winter Garden Theatre in 1865 (with the run ending just a few months before Booth's brother John Wilkes Booth assassinated Abraham Lincoln), and would later revive the role at his own Booth's Theatre (which was managed for a time by his brother Junius Brutus Booth, Jr.). Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, and Charles Fechter.

Birth of the musical and post-Civil War

Theatre in New York moved from downtown gradually to midtown beginning around 1850, seeking less expensive real estate. In the beginning of the 19th century, the area that now comprises the Theater District was owned by a handful of families and comprised a few farms. In 1836, Mayor Cornelius Lawrence opened 42nd Street and invited Manhattanites to "enjoy the pure clean air."[9] Close to 60 years later, theatrical entrepreneur Oscar Hammerstein I built the iconic Victoria Theater on West 42nd Street.[9]

Broadway's first "long-run" musical was a 50-performance hit called The Elves in 1857. In 1870, the heart of Broadway was in Union Square, and by the end of the century, many theatres were near Madison Square. Theatres did not arrive in the Times Square area until the early 1900s, and the Broadway theatres did not consolidate there until a large number of theatres were built around the square in the 1920s and 1930s. New York runs continued to lag far behind those in London,[10] but Laura Keene's "musical burletta" The Seven Sisters (1860) shattered previous New York records with a run of 253 performances. It was at a performance by Keene's troupe of Our American Cousin in Washington, D.C. that Abraham Lincoln was shot.

The first theatre piece that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is considered to be The Black Crook, which premiered in New York on September 12, 1866. The production was five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy".[11]

Tony Pastor opened the first vaudeville theatre one block east of Union Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 (The Mulligan Guard Picnic) and 1890, with book and lyrics by Harrigan and music by his father-in-law David Braham. These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant step forward from vaudeville and burlesque, towards a more literate form. They starred high quality singers (Lillian Russell, Vivienne Segal, and Fay Templeton), instead of the women of questionable repute who had starred in earlier musical forms.

As transportation improved, poverty in New York diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to better profits and improved production values. As in England, during the latter half of the century, the theatre began to be cleaned up, with less prostitution hindering the attendance of the theatre by women. Gilbert and Sullivan's family-friendly comic opera hits, beginning with H.M.S. Pinafore in 1878, were imported to New York (by the authors and also in numerous unlicensed productions). They were imitated in New York by American productions such as Reginald Dekoven's Robin Hood (1891) and John Philip Sousa's El Capitan (1896), along with operas, ballets and other British and European hits.

1890s and early 1900s

Charles H. Hoyt's A Trip to Chinatown (1891) became Broadway's long-run champion, holding the stage for 657 performances. This would not be surpassed until Irene in 1919. In 1896, theatre owners Marc Klaw and A. L. Erlanger formed the Theatrical Syndicate, which controlled almost every legitimate theatre in the US. for the next sixteen years.[12] However, smaller vaudeville and variety houses proliferated, and Off-Broadway was well established by the end of the 19th century.

A Trip to Coontown (1898) was the first musical comedy entirely produced and performed by African Americans in a Broadway theatre (largely inspired by the routines of the minstrel shows), followed by the ragtime-tinged The Origin of the Cakewalk (1898), and the highly successful In Dahomey (1902). Hundreds of musical comedies were staged on Broadway in the 1890s and early 1900s made up of songs written in New York's Tin Pan Alley involving composers such as Gus Edwards, John Walter Bratton, and George M. Cohan (Little Johnny Jones (1904), 45 Minutes From Broadway (1906), and George Washington Jr. (1906)). Still, New York runs continued to be relatively short, with a few exceptions, compared with London runs, until World War I.[10]

A few very successful British musicals continued to achieve great success in New York, including Florodora in 1900–01.

1900–1925

In the early years of the 20th century, translations of popular late-19th century continental operettas were joined by the "Princess Theatre" shows of the 1910s by writers such as P. G. Wodehouse, Guy Bolton, and Harry B. Smith. Victor Herbert, whose work included some intimate musical plays with modern settings as well as his string of famous operettas (The Fortune Teller (1898), Babes in Toyland (1903), Mlle. Modiste (1905), The Red Mill (1906), and Naughty Marietta (1910)).[13]

Beginning with The Red Mill, Broadway shows installed electric signs outside the theatres. Since colored bulbs burned out too quickly, white lights were used, and Broadway was nicknamed "The Great White Way". In August 1919, the Actors' Equity Association demanded a standard contract for all professional productions. After a strike shut down all the theatres, the producers were forced to agree. By the 1920s, the Shubert Brothers had risen to take over the majority of the theatres from the Erlanger syndicate.[14]

During this time, the play Lightnin', by Winchell Smith and Frank Bacon, became the first Broadway show to reach 700 performances. From then, it would go on to become the first show to reach 1,000 performances. Lightnin' was the longest-running Broadway show until being overtaken in performance totals by Abie's Irish Rose in 1925.

Competing with motion pictures

The motion picture mounted a challenge to the stage. At first, films were silent and presented only limited competition. By the end of the 1920s, films like The Jazz Singer were presented with synchronized sound, and critics wondered if the cinema would replace live theatre altogether. While live vaudeville could not compete with these inexpensive films that featured vaudeville stars and major comedians of the day, other theatre survived. The musicals of the Roaring Twenties, borrowing from vaudeville, music hall and other light entertainments, tended to ignore plot in favor of emphasizing star actors and actresses, big dance routines, and popular songs. Florenz Ziegfeld produced annual spectacular song-and-dance revues on Broadway featuring extravagant sets and elaborate costumes, but there was little to tie the various numbers together. Typical of the 1920s were lighthearted productions such as Sally; Lady Be Good; Sunny; No, No, Nanette; Harlem; Oh, Kay!; and Funny Face. Their books may have been forgettable, but they produced enduring standards from George Gershwin, Cole Porter, Jerome Kern, Vincent Youmans, and Rodgers and Hart, among others, and Noël Coward, Sigmund Romberg, and Rudolf Friml continued in the vein of Victor Herbert. Clearly, the live theatre survived the invention of cinema.

Between the wars

Leaving these comparatively frivolous entertainments behind and taking the drama a step forward, Show Boat premiered on December 27, 1927, at the Ziegfeld Theatre. It represented a complete integration of book and score, with dramatic themes, as told through the music, dialogue, setting and movement, woven together more seamlessly than in previous musicals. It ran for 572 performances.[15]

The 1920s also spawned a new age of American playwright with the emergence of Eugene O'Neill, whose plays Beyond the Horizon, Anna Christie, The Hairy Ape, Strange Interlude and Mourning Becomes Electra proved that there was an audience for serious drama on Broadway, and O'Neill's success paved the way for major dramatists like Elmer Rice, Maxwell Anderson, Robert E. Sherwood, Tennessee Williams, and Arthur Miller, as well as writers of comedy like George S. Kaufman and Moss Hart. Classical revivals also proved popular with Broadway theatre-goers, notably John Barrymore in Hamlet and Richard III, John Gielgud in Hamlet, The Importance of Being Earnest and Much Ado About Nothing, Walter Hampden and José Ferrer in Cyrano de Bergerac, Paul Robeson and Ferrer in Othello, Maurice Evans in Richard II and the plays of George Bernard Shaw, and Katharine Cornell in such plays as Romeo and Juliet, Antony and Cleopatra, and Candida.

As World War II approached, a dozen Broadway dramas addressed the rise of Nazism in Europe and the issue of American non-intervention. The most successful was Lillian Hellman's Watch on the Rhine, which opened in April 1941.[16]

1950–1970

After the lean years of the Great Depression, Broadway theatre had entered a golden age with the blockbuster hit Oklahoma!, in 1943, which ran for 2,212 performances. According to John Kenrick writing of Broadway musicals, "Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theatre repertory."[17] Kenrick notes that "the late 1960s marked a time of cultural upheaval. The changes would prove painful for many—including those behind the scenes, as well as those in the audience."[18] Of the 1970s, Kenrick writes: "Just when it seemed that traditional book musicals were back in style, the decade ended with critics and audiences giving mixed signals."[19]

Ken Bloom observed that "The 1960s and 1970s saw a worsening of the area [Times Square] and a drop in the number of legitimate shows produced on Broadway."[20] By way of comparison, in the 1950 to 1951 season (May to May) 94 productions opened on Broadway; in the 1969 to 1970 season (June to May) there were 59 productions (fifteen were revivals).[21][22] In the twenties, there were 70–80 theaters but by 1969 there were 36 left.[23]

1980s

In the spring of 1982, Joe Papp, the theatrical producer and director who established The Public Theater, led the "Save the Theatres" campaign.[24] It was a not-for-profit group supported by the Actors Equity union, to save the theater buildings in the neighborhood from demolition by monied Manhattan development interests.[25][26][27][28] Papp provided resources, recruited a publicist and celebrated actors, and provided audio, lighting, and technical crews for the effort.[26]

At Papp's behest, in July 1982, a bill was introduced in the 97th Congress, entitled "H.R.6885, A bill to designate the Broadway/Times Square Theatre District in the City of New York as a national historic site".[29] The legislation would have provided certain US government resources and assistance to help the city preserve the district.[29] Faced with strong opposition and lobbying by Mayor Ed Koch's Administration and corporate Manhattan development interests, the bill was not passed. The Save the Theatres campaign then turned their efforts to supporting establishment of the Theater District as a registered historic district.[30][31] In December 1983, Save the Theatres prepared "The Broadway Theater District, a Preservation Development and Management Plan", and demanded that each theater in the district receive landmark designation.[31] Mayor Ed Koch ultimately reacted by creating a Theater Advisory Council, which included Papp.[26]

Description

Schedule

Although there are some exceptions, generally shows with open-ended runs have evening performances Tuesday through Saturday with a 7:00 p.m. or 8:00 p.m. "curtain". The afternoon "matinée" performances are at 2:00 p.m. on Wednesdays and Saturdays and at 3:00 p.m. on Sundays. This makes for an eight-performance week. On this schedule, most shows do not play on Monday and the shows and theatres are said to be "dark" on that day.[32][33] The actors and the crew in these shows tend to regard Sunday evening through Monday evening as their weekend. The Tony award presentation ceremony is usually held on a Sunday evening in June to fit this schedule.

In recent years, some shows have moved their Tuesday show time an hour earlier to 7:00 pm.[32] The rationale for this move was that since fewer tourists take in shows midweek, Tuesday attendance depends more on local patrons. The earlier curtain makes it possible for suburban patrons to get home by a reasonable hour after the show. Some shows, especially those produced by Disney, change their performance schedules fairly frequently depending on the season. This is done in order to maximize access to their target audience.

Producers and theatre owners

Most Broadway producers and theatre owners are members of The Broadway League (formerly "The League of American Theatres and Producers"), a trade organization that promotes Broadway theatre as a whole, negotiates contracts with the various theatrical unions and agreements with the guilds, and co-administers the Tony Awards with the American Theatre Wing, a service organization. While the League and the theatrical unions are sometimes at loggerheads during those periods when new contracts are being negotiated, they also cooperate on many projects and events designed to promote professional theatre in New York.

Of the four non-profit theatre companies with Broadway theatres, three (Lincoln Center Theater, Manhattan Theatre Club, and Roundabout Theatre Company) belong to the League of Resident Theatres and have contracts with the theatrical unions which are negotiated separately from the other Broadway theatre and producers. (Disney also negotiates apart from the League, as did Livent before it closed down its operations.) Second Stage Theatre is the non-profit owner of the Helen Hayes Theatre but is not a member of the League of Resident Theatres. However, generally, shows that play in any of the Broadway houses are eligible for Tony Awards (see below).

The majority of Broadway theatres are owned or managed by three organizations: the Shubert Organization, a for-profit arm of the non-profit Shubert Foundation, which owns seventeen theatres; the Nederlander Organization, which controls nine theatres; and Jujamcyn, which owns five Broadway houses.

Personnel

Both musicals and stage plays on Broadway often rely on casting well-known performers in leading roles to draw larger audiences or bring in new audience members to the theatre. Actors from movies and television are frequently cast for the revivals of Broadway shows or are used to replace actors leaving a cast. There are still, however, performers who are primarily stage actors, spending most of their time "on the boards", and appearing in television and in screen roles only secondarily. As Patrick Healy of The New York Times noted:

Broadway once had many homegrown stars who committed to working on a show for a year, as Nathan Lane has for The Addams Family. In 2010, some theater heavyweights like Mr. Lane were not even nominated; instead, several Tony Awards were given for productions that were always intended to be short-timers on Broadway, given that many of their film-star performers had to move on to other commitments.[34]

According to Mark Shenton, "One of the biggest changes to the commercial theatrical landscape—on both sides of the Atlantic—over the past decade or so is that sightings of big star names turning out to do plays has gone up; but the runs they are prepared to commit to has gone down. Time was that a producer would require a minimum commitment from his star of six months, and perhaps a year; now, the 14-week run is the norm."[35]

The minimum size of the Broadway orchestra is governed by an agreement with the musicians union (Local 802, American Federation of Musicians) and The Broadway League. For example, the agreement specifies the minimum size of the orchestra at the Minskoff Theatre to be 18, at the Music Box Theatre to be 9.[36]

Runs

{{See also|List of the longest-running Broadway shows|List of Broadway shows that have held the title of longest-running show}}

Most Broadway shows are commercial productions intended to make a profit for the producers and investors ("backers" or "angels"), and therefore have open-ended runs (duration that the production plays), meaning that the length of their presentation is not set beforehand, but depends on critical response, word of mouth, and the effectiveness of the show's advertising, all of which determine ticket sales. Investing in a commercial production carries a varied degree of financial risk. Shows do not necessarily have to make a profit immediately. If they are making their "nut" (weekly operating expenses), or are losing money at a rate which the producers consider acceptable, they may continue to run in the expectation that, eventually, they will pay back their initial costs and become profitable. In some borderline situations, producers may ask that royalties be temporarily reduced or waived, or even that performers—with the permission of their unions—take reduced salaries, in order to prevent a show from closing. Theatre owners, who are not generally profit participants in most productions, may waive or reduce rents, or even lend a show money in order to keep it running.

Some Broadway shows are produced by non-commercial organizations as part of a regular subscription season—Lincoln Center Theatre, Roundabout Theatre Company, Manhattan Theatre Club, and Second Stage Theater are the four non-profit theatre companies that currently have permanent Broadway venues. Some other productions are produced on Broadway with "limited engagement runs" for a number of reasons, including financial issues, prior engagements of the performers or temporary availability of a theatre between the end of one production and the beginning of another. However, some shows with planned limited engagement runs may, after critical acclaim or box office success, extend their engagements or convert to open-ended runs. This was the case with 2007's Osage County, 2009's God of Carnage, and 2012's Newsies.

Historically, musicals on Broadway tend to have longer runs than "straight" (i.e. non-musical) plays. On January 9, 2006, The Phantom of the Opera at the Majestic Theatre became the longest running Broadway musical, with 7,486 performances, overtaking Cats.[37]

Audience

Attending a Broadway show is a common tourist activity in New York. The TKTS booths sell same-day tickets (and in certain cases next-day matinee tickets) for many Broadway and Off-Broadway shows at a discount of 20 to 50%.[38] The TKTS booths are located in Times Square, in Lower Manhattan, and at Lincoln Center. This service is run by Theatre Development Fund. Many Broadway theatres also offer special student rates, same-day "rush" or "lottery" tickets, or standing-room tickets to help ensure that their theatres are as full, and their grosses as high as possible.[39] According to The Broadway League, total Broadway attendance was 13.79 million in 2017–2018 compared to 13.27 million in 2016–2017.[4] The Broadway League also reports that approximately 66% of all Broadway tickets were purchased by tourists in the 2012–2013 season, an increase of three percent from the 2011–2012 season.[40] By way of comparison, London's West End theatre reported total attendance of 14.3 million for major commercial and grant-aided theatres in central London for 2009.[41]

Off-Broadway and US tours

The classification of theatres is governed by language in Actors' Equity Association contracts. To be eligible for a Tony, a production must be in a house with 500 seats or more and in the Theater District, which criteria define Broadway theatre. Off-Broadway and Off-Off-Broadway shows often provide a more experimental, challenging and intimate performance than is possible in the larger Broadway theatres. Some Broadway shows, however, such as the musicals Hair, Little Shop of Horrors, Spring Awakening, Next to Normal, Rent, Avenue Q, In the Heights, Fun Home, Dear Evan Hansen, and Hamilton, began their runs Off-Broadway and later transferred to Broadway, seeking to replicate their intimate experience in a larger theatre.

After, or even during, successful runs in Broadway theatres, producers often remount their productions with new casts and crew for the Broadway national tour, which travels to theatres in major cities across the country. Sometimes when a show closes on Broadway, the entire production, with most if not all of the original cast intact, is relaunched as a touring company, hence the name "Broadway national tour". Some shows may even have several touring companies out at a time, whether the show is still running in New York or not, with many companies "sitting down" in other major cities for their own extended runs. Smaller cities may attract national touring companies, but for shorter periods of time. Or they may even be serviced by "bus and truck" tours. These are scaled-down versions of the larger, national touring productions, historically acquiring their name because the casts generally traveled by bus instead of by air, while the sets and equipment traveled by truck. Tours of this type, which frequently feature a reduced physical production to accommodate smaller venues and tighter schedules, often run for weeks rather than months. Some will even play "split weeks", which are half a week in one town and the second half in another. On occasion, they will also play "one-nighters". The production values, while generally still good, are usually less lavish than the typical Broadway national tour or national touring production and the actors, while still members of the actor's union, are compensated under a different, less lucrative, union contract. The Touring Broadway Awards, presented by The Broadway League, honored excellence in touring Broadway.

Awards

Broadway productions and artists are honored by the annual Antoinette Perry Awards (commonly called the "Tony Awards", or "Tony") which are given by the American Theatre Wing and The Broadway League, and which were first presented in 1947.[42] The Tony is Broadway's most prestigious award, comparable to the Academy Awards for Hollywood film productions. Their importance has increased since 1967 when the awards presentation show began to be broadcast on national television. In a strategy to improve the television ratings, celebrities are often chosen to host the show, some with scant connection to the theatre.[43] The most recent Tony Awards ceremony was held on June 10, 2018. Other awards given to Broadway productions include the Drama Desk Award, presented since 1955, the New York Drama Critics' Circle Awards, first given in 1936, and the Outer Critics Circle Award, initially presented in 1950.

Broadway theatres and current productions

  • An after the opening date indicates that the listed show has not yet opened, but is scheduled to open on the given date at that theatre.
  • An after the closing date indicates that there is another production scheduled for this theatre.
  • Capacity is based on the capacity given for the respective theatre at the Internet Broadway Database.[44]
Theatre Address Capacity Owner/Operator Current production Type Opening Closing
Al Hirschfeld Theatre W. 45th St. (No. 302) 1424 Jujamcyn Theaters Kinky Boots Musical 2013-04-04April 4, 2013 2019-04-07April 7, 2019*
Ambassador Theatre W. 49th St. (No. 219) 1125 Shubert Organization Chicago Musical 1996-11-14November 14, 1996 Open-ended
American Airlines Theatre W. 42nd St. (No. 227) 740 Roundabout Theatre Company All My Sons[45] Play 2019-04-22April 22, 2019* 2019-06-23June 23, 2019
August Wilson Theatre W. 52nd St. (No. 245) 1228 Jujamcyn Theaters Mean Girls Musical 2018-04-08April 8, 2018 Open-ended
Belasco Theatre W. 44th St. (No. 111) 1018 Shubert Organization Network[46] Play 2018-12-06December 6, 2018 2019-06-08June 8, 2019
Bernard B. Jacobs Theatre W. 45th St. (No. 242) 1078 Shubert Organization The Ferryman[47] Play 2018-10-21October 21, 2018 2019-07-07July 7, 2019
Booth Theatre W. 45th St. (No. 222) 766 Shubert Organization Gary: A Sequel to Titus Andronicus[48] Play 2019-04-21April 21, 2019* 2019-08-04August 4, 2019
Broadhurst Theatre W. 44th St. (No. 235) 1186 Shubert Organization Frankie and Johnny in the Clair de Lune[49] Play 2019-05-30May 30, 2019* 2019-08-25August 25, 2019
Broadway Theatre W. 53rd St & Broadway (No. 1681) 1761 Shubert Organization King Kong[50] Musical 2018-11-08November 8, 2018 Open-ended
Brooks Atkinson Theatre W. 47th St. (No. 256) 1094 Nederlander Organization Waitress Musical 2016-04-24April 24, 2016 Open-ended
Circle in the Square Theatre W. 50th St. (No. 235) 840 Independent Oklahoma![51] Musical 2019-04-07April 7, 2019* 2019-09-01September 1, 2019
Cort Theatre W. 48th St. (No. 138) 1084 Shubert Organization King Lear[52] Play 2019-04-04April 4, 2019* 2019-07-07July 7, 2019
Ethel Barrymore Theatre W. 47th St. (No. 243) 1096 Shubert Organization The Band's Visit Musical 2017-11-09November 9, 2017 2019-04-07April 7, 2019
Eugene O'Neill Theatre W. 49th St. (No. 230) 1066 Jujamcyn Theaters The Book of Mormon Musical 2011-03-24March 24, 2011 Open-ended
Gerald Schoenfeld Theatre W. 45th St. (No. 236) 1079 Shubert Organization Come from Away Musical 2017-03-12March 12, 2017 Open-ended
Gershwin Theatre W. 51st St. (No. 222) 1933 Nederlander Organization Wicked Musical 2003-10-30October 30, 2003 Open-ended
Hayes Theater W. 44th St. (No. 240) 597 Second Stage Theater What the Constitution Means to Me[53] Play 2019-03-31March 31, 2019 2019-07-21July 21, 2019*
Hudson Theatre W. 44th St. (No. 141) 975 Ambassador Theatre Group Burn This[54] Play 2019-04-16April 16, 2019* 2019-07-07July 7, 2019
Imperial Theatre W. 45th St. (No. 249) 1443 Shubert Organization Ain't Too Proud[55] Musical 2019-03-21March 21, 2019 Open-ended
John Golden Theatre W. 45th St. (No. 252) 805 Shubert Organization Hillary and Clinton[56] Play 2019-04-18April 18, 2019* 2019-07-21July 21, 2019
Longacre Theatre W. 48th St. (No. 220) 1091 Shubert Organization The Prom[57] Musical 2018-11-15November 15, 2018 Open-ended
Lunt-Fontanne Theatre W. 46th St. (No. 205) 1519 Nederlander Organization Morrissey Concert 2019-05-02May 2, 2019* 2019-05-11May 11, 2019*
Lyceum Theatre W. 45th St. (No. 149) 922 Shubert Organization Be More Chill[58] Musical 2019-03-10March 10, 2019 Open-ended
Lyric Theatre W. 43rd St. (No. 214) 1622 Ambassador Theatre Group Harry Potter and the Cursed Child Play 2018-04-22April 22, 2018 Open-ended
Majestic Theatre W. 44th St. (No. 245) 1645 Shubert Organization The Phantom of the Opera Musical 1988-01-26January 26, 1988 Open-ended
Marquis Theatre W. 46th St. (No. 210) 1612 Nederlander Organization Tootsie[59] Musical 2019-04-23April 23, 2019* Open-ended
Minskoff Theatre W. 45th St. (No. 200) 1710 Nederlander Organization The Lion King Musical 1997-11-13November 13, 1997 Open-ended
Music Box Theatre W. 45th St. (No. 239) 1009 Shubert Organization Dear Evan Hansen Musical 2016-12-04December 4, 2016 Open-ended
Nederlander Theatre W. 41st St. (No. 208) 1235 Nederlander Organization The Musical[60] Musical 2018-08-16August 16, 2018 Open-ended
Neil Simon Theatre W. 52nd St. (No. 250) 1467 Nederlander Organization The Cher Show[61] Musical 2018-12-03December 3, 2018 Open-ended
New Amsterdam Theatre W. 42nd St. (No. 214) 1747 Disney Theatrical Group Aladdin Musical 2014-03-20March 20, 2014 Open-ended
Palace Theatre[62] W. 47th St. & Broadway (No. 1564) 1743 Nederlander Organization
Richard Rodgers Theatre W. 46th St. (No. 226) 1400 Nederlander Organization Hamilton Musical 2015-08-06August 6, 2015 Open-ended
St. James Theatre W. 44th St. (No. 246) 1709 Jujamcyn Theaters Frozen[63] Musical 2018-03-22March 22, 2018 Open-ended
Samuel J. Friedman Theatre W. 47th St. (No. 261) 650 Manhattan Theatre Club Ink[64] Play 2019-04-24April 24, 2019* 2019-06-09June 9, 2019*
Shubert Theatre W. 44th St. (No. 225) 1460 Shubert Organization To Kill a Mockingbird[65] Play 2018-12-13December 13, 2018 Open-ended
Stephen Sondheim Theatre W. 43rd St. (No. 124) 1055 Roundabout Theatre Company The Carole King Musical Musical 2014-01-12January 12, 2014 Open-ended
Studio 54 W. 54th St. (No. 254) 1006 Roundabout Theatre Company Kiss Me, Kate[66] Musical 2019-03-14March 14, 2019 2019-06-30June 30, 2019
Vivian Beaumont Theater W. 65th St. (No. 150) 1080 Lincoln Center Theatre My Fair Lady[67] Musical 2018-04-19April 19, 2018 Open-ended
Walter Kerr Theatre W. 48th St. (No. 219) 945 Jujamcyn Theaters Hadestown[68] Musical 2019-04-17April 17, 2019* Open-ended
Winter Garden Theatre W. 50th St. & Broadway (No. 1634) 1526 Shubert Organization Beetlejuice[69] Musical 2019-04-25April 25, 2019* Open-ended

Upcoming productions

The following have been announced as future Broadway productions. The theatre in which they will run may not yet be known, or, if known, may be currently occupied by another show.

Concert

  • Pure Yanni: May 28, 2019 (Lunt-Fontanne Theatre)[70]

Musicals

  • Moulin Rouge!: July 25, 2019 (Al Hirschfeld Theatre)[71]
  • Tina: The Musical: Fall 2019 (Theatre to be announced)[72]
  • Jagged Little Pill: Fall 2019 (Theatre to be announced)[73]
  • The Music Man: October 22, 2020 (Theatre to be announced)[74]
  • West Side Story: February 6, 2020 (Theatre to be announced)[75]

Plays

  • Grand Horizons: January 23, 2020 (Hayes Theater)[86]
  • The Height of the Storm: September 24, 2019 (Samuel J. Friedman Theatre)[76]
  • Linda Vista: October 10, 2019 (Hayes Theater)[77]
  • Take Me Out: April 23, 2020 (Hayes Theater)[77]

References

Explanatory notes

1. ^Although theater is the generally preferred spelling in the United States (see American and British English spelling differences), many Broadway venues, performers and trade groups for live dramatic presentations use the spelling theatre.
2. ^Pincus-Roth, Zachary. "Ask Playbill.com: Broadway or Off-Broadway—Part I". Playbill, February 7, 2008, accessed September 11, 2016
3. ^Viagas, Robert. "Hudson Theatre Will Be Reopened as Broadway House". Playbill, December 16, 2015
4. ^1 [https://www.broadwayleague.com/press/press-releases/2017-2018-broadway-end-of-season-statistics/ "2017–2018 Broadway End-of-Season Statistics"]. Broadway League, May 29, 2018.
5. ^{{cite book|author=Martin Shefter|title=Capital of the American Century: The National and International Influence of New York City|url=https://books.google.com/books?id=7oW4BgAAQBAJ&pg=PA10 |year=1993|publisher=Russell Sage Foundation|page=10}}
6. ^1 Kenrick, John. "John Kenrick article on the history of NY theatre" Musicals101.com, accessed August 26, 2011 (Copyright 2003–2005)
7. ^"Bowery Theatre history, Internet Broadway Database listing" Internet Broadway Database, accessed August 26, 2011
8. ^Snyder, Robert W. The Encyclopedia of New York City (New Haven: Yale University Press, 1995), Kenneth T. Jackson, editor, p. 1226.
9. ^1 {{cite web|title=Urban Development|url=http://www.spotlightonbroadway.com/broadway-history|website=spotlightonbroadway.com|accessdate=3 November 2017}}
10. ^1 "Longest Running Plays in London and New York" dgillan.screaming.net (stagebeauty.net), copyright 2007, accessed August 26, 2011
11. ^1 Sheridan, Morley. Spread A Little Happiness:the First Hundred Years of the British Musical, New York: Thames and Hudson, 1987, {{ISBN|0-500-01398-5}}, p.15
12. ^Kenrick, John. "Kenrick's summary of New York theatre from 1865–1900" Musicals101.com, accessed August 26, 2011
13. ^Midkoff, Neil. "Discovering Dorothy" home.earthlink.net, accessed August 26, 2011
14. ^Kenrick, John. "Kenrick's summary of the 20th century history of theatre in New York". Musicals101.com, accessed August 26, 2011.
15. ^{{cite book|last1=Lubbock|first1=Mark|title=The Complete Book of Light Opera|date=1962|publisher=Appleton-Century-Crofts|location=New York|pages=807–8}}
16. ^{{cite news|last=Atkinson|first=Brooks|title=Lillian Hellman's Watch on the Rhine Acted With Paul Lukas in the Leading Part|url=https://timesmachine.nytimes.com/timesmachine/1941/04/02/85474481.pdf|accessdate=October 18, 2012|newspaper=The New York Times|date=April 2, 1941}}
17. ^Kenrick, John. "History of The Musical Stage. 1950s I: When Broadway Ruled" musicals101.com, accessed December 2, 2012
18. ^Kenrick, John. "History of The Musical Stage.1960s II: Long Running Hits"musicals101.com, accessed December 2, 2012
19. ^Kenrick, John. "History of The Musical Stage. 1970s Part V: Change" musicals101.com, accessed December 2, 2012
20. ^Bloom, Ken. [https://books.google.com/books?id=GBiEO8q59f0C&printsec=frontcover&dq=Broadway&hl=en#v=onepage&q=Broadway&f=false "Introduction"] Broadway: Its History, People, and Places (2004) (books.google.com) Taylor & Francis, {{ISBN|0-415-93704-3}}, p.xvi
21. ^"Shows Opening During The 1950–1951 Season" {{webarchive|url=https://web.archive.org/web/20131029215026/http://www.ibdb.com/season.php?id=1052 |date=October 29, 2013 }} InternetBroadwayDatabase, accessed December 3, 2012
22. ^"Shows Opening During The 1969–1970 Season" {{webarchive|url=https://web.archive.org/web/20131029215029/http://www.ibdb.com/season.php?id=1071 |date=October 29, 2013 }} InternetBroadwayDatabase, accessed December 3, 2012
23. ^"Broadway 1950–1970" {{Webarchive|url=https://web.archive.org/web/20131029202426/http://www.mapsites.net/gotham01/webpages/alisonhannah/broad1950to1970.html |date=October 29, 2013 }} mapsites.net, December 2, 2012
24. ^The name of the organization was "Save the Theatres, Inc., as noted in court papers. See Shubert Organization, Inc. v. Landmarks Preservation Commission of the City of New York and Save the Theatres, Inc. {{webarchive|url=https://web.archive.org/web/20130521025233/http://www.arch.ksu.edu/jwkplan/cases/shubert.pdf |date=May 21, 2013 }}, Supreme Court of New York, Appellate Division, First Department, May 16, 1991, accessed March 10, 2013
25. ^"Proposal to Save Morosco and Helen Hayes Theaters" {{webarchive|url=https://web.archive.org/web/20150520041113/http://www.lhparch.com/project.aspx?cat=&id=28 |date=May 20, 2015 }}, LHP Architects, accessed March 10, 2013
26. ^1 2 {{cite book|url=https://books.google.com/books?id=S_-joU2OLf4C&pg=PA403 |title=Joe Papp: An American Life |author=Helen Epstein |publisher= |date= 1996-03-01|accessdate=February 22, 2013|isbn=0-306-80676-2 }}
27. ^{{cite web|author= |url=https://www.nytimes.com/1984/04/15/realestate/city-panel-near-vote-on-save-the-theaters-proposals.html |title=City Panel Near Vote on Save-The-Theaters Proposals |location=New York City |publisher=NYTimes.com |date=April 15, 1984 |accessdate=February 22, 2013}}
28. ^Corwin, Betty "Theatre on film and tape archive" {{webarchive|url=https://web.archive.org/web/20130921061623/http://www.sibmas.org/congresses/sibmas94/antw_20.html |date=September 21, 2013 }}, International Association of Libraries and Museums of the Performing Arts, accessed May 10, 2013
29. ^1 {{cite web|url=http://thomas.loc.gov/cgi-bin/bdquery/z?d097:HR06885:@@@D&summ2=m& |title=Bill Summary & Status – 97th Congress (1981–1982) – H.R.6885 |publisher=Thomas.loc.gov |date= |accessdate=February 22, 2013}}
30. ^{{cite book|url=https://books.google.com/?id=7BP6qjN8UGcC&pg=PA266&dq=%22save+the+theaters%22#v=onepage&q=%22save%20the%20theaters%22&f=false |title=Times Square Roulette: Remaking the City Icon |author=Lynne B. Sagalyn |publisher=MIT Press |year=2003 |accessdate=February 26, 2013|isbn=978-0-262-69295-3 }}
31. ^1 {{cite book|url=https://books.google.com/?id=JYLmNywHow0C&pg=PA107&dq=%22save+the+theaters%22#v=onepage&q=%22save%20the%20theaters%22&f=false |title=Representation of Places – Imprimé: Reality and Realism in City Design |author=Peter Bosselmann |publisher= |date=August 28, 1985 |accessdate=February 26, 2013|isbn=978-0-520-91826-9 }}
32. ^1 Blank, Matthew. "Weekly Schedule of Current Broadway Shows" Playbill.com, August 21, 2011
33. ^Simonson, Robert. "When Did Broadway Shows Start Offering Sunday Performances?" {{webarchive |url=https://web.archive.org/web/20131029204123/http://www.playbill.com/news/article/149291-ASK-PLAYBILLCOM-When-Did-Broadway-Shows-Start-Offering-Sunday-Performances |date=October 29, 2013 }} Playbill.com, April 1, 2011
34. ^Healy, Patrick. [https://www.nytimes.com/2010//06/15/theater/theaterspecial/15tony.html "Time Is Short to See Tony Winners"]. The New York Times, June 14, 2010
35. ^Shenton, Mark. "Rewarded today, gone tomorrow…" {{webarchive |url=https://web.archive.org/web/20100626223256/http://blogs.thestage.co.uk/shenton/2010/06/rewarded-today-gone-tomorrow/ |date=June 26, 2010 }}. The Stage, June 17, 2010
36. ^"Local 802 Agreement". local802afm.org. p. 10. Retrieved August 10, 2013.
37. ^Playbill Staff. "Long Runs on Broadway" Playbill.com, November 20, 2011
38. ^{{cite web |title=TKTS Discount Booths in NYC, Theatre Development Fund |url=https://www.tdf.org/nyc/7/TKTS |website=www.tdf.org}}
39. ^Blank, Matthew. "Broadway Rush and Standing Room Only Policies" {{webarchive |url=https://web.archive.org/web/20080510144653/http://www.playbill.com/celebritybuzz/article/82428.html |date=May 10, 2008 }}. Playbill.com, March 1, 2011
40. ^Hetrick, Adam. Broadway League Announces 2012–13 Demographics; Young Theatregoers and International Tourists on the Rise" {{webarchive |url=https://web.archive.org/web/20140109185216/http://www.playbill.com/news/article/186318-Broadway-League-Announces-2012-13-Demographics-Young-Theatregoers-and-International-Tourists-on-the-Rise?tsrc=hph |date=January 9, 2014 }} playbill.com, January 9, 2014
41. ^"Society of London Theatre Annual Report, 2009, p.4" solt.co.uk, retrieved January 4, 2011
42. ^"Tony Awards History" {{webarchive |url=https://web.archive.org/web/20100507103143/http://www.tonyawards.com/en_US/archive/history.html |date=May 7, 2010 }} tonyawards.com, accessed February 25, 2011
43. ^McKinley, Jesse. [https://query.nytimes.com/gst/fullpage.html?res=9C04E4DC1E31F934A35755C0A9629C8B63&sec=&spon=&pagewanted=1 "Tony Awards Finish Up With a Fuzzy Surprise; Puppet Musical Wins Big, as Does 'My Own Wife'"] The New York Times, June 7, 2004
44. ^"Venues at the Internet Broadway Database InternetBroadwayDatabase.com, accessed August 26, 2011
45. ^Clement, Olivia. "Annette Bening and Tracy Letts to Star in Broadway Revival of All My Sons" Playbill.com, September 20, 2018
46. ^Clement, Olivia. "Emmy Winner Tatiana Maslany to Join Bryan Cranston in Network on Broadway" Playbill.com, September 10, 2018
47. ^McPhee, Ryan. "Jez Butterworth’s The Ferryman Will Open on Broadway October 21" Playbill.com, March 5, 2018
48. ^Clement, Olivia. "Nathan Lane and Andrea Martin to Star in Taylor Mac’s Gary: A Sequel to Titus Andronicus" Playbill.com, September 11, 2018
49. ^Clement, Olivia. "Spring Revival of Frankie and Johnny in the Clair de Lune Sets Broadway Theatre and Dates" Playbill, February 22, 2019
50. ^Hetrick, Adam. "King Kong Sets Broadway Opening Night; Tickets Now on Sale" Playbill.com, November 8, 2017
51. ^McPhee, Ryan. "Reimagined 'Oklahoma!' Will Transfer to Broadway" Playbill, December 11, 2019
52. ^Lefkowitz, Andy. [https://www.broadway.com/buzz/193827/hillary-and-clinton-to-play-broadways-golden-theatre-king-lear-will-now-appear-at-the-cort/ "Hillary and Clinton to Play Broadway's Golden Theatre; King Lear Will Now Appear at the Cort"] Playbill.com, October 25, 2018
53. ^Clement, Olivia. "Heidi Schreck’s What the Constitution Means to Me to Transfer to Broadway" Playbill.com, January 14, 2019
54. ^Clement, Olivia. "Brandon Uranowitz and David Furr Join Burn This on Broadway at the Hudson Theatre Playbill, November 27, 2018
55. ^McPhee, Ryan. "Ain't Too Proud—The Life and Times of the Temptations Sets Dates for Spring Broadway Bow" Playbill.com, October 2, 2018
56. ^Lefkowitz, Andy. [https://www.broadway.com/buzz/193827/hillary-and-clinton-to-play-broadways-golden-theatre-king-lear-will-now-appear-at-the-cort/ "Hillary and Clinton to Play Broadway's Golden Theatre; King Lear Will Now Appear at the Cort"] Playbill.com, October 25, 2018
57. ^{{Cite web|url=http://www.playbill.com/article/musical-comedy-the-prom-switches-theatres-ahead-of-broadway-premiere|title=Musical Comedy The Prom Switches Theatres Ahead of Broadway Premiere {{!}} Playbill|last=McPhee|first=Ryan|date=2018-07-13|website=Playbill|language=en|access-date=2018-07-13}}
58. ^http://www.playbill.com/article/be-more-chill-will-transfer-to-broadway-in-2019
59. ^{{Cite web|url=http://www.playbill.com/article/tootsie-musical-starring-santino-fontana-sets-broadway-dates-and-theater|title=Tootsie Musical, Starring Santino Fontana, Sets Broadway Dates and Theater|last=McPhee|first=Ryan|date=2018-08-09|website=Playbill|language=en|access-date=2018-08-09}}
60. ^Clement, Olivia. "Pretty Woman Musical Finds Its Broadway Home, Sets Summer 2018 Opening" Playbill.com, November 21, 2017
61. ^McPhee, Ryan. "Micaela Diamond and Teal Wicks Join Stephanie J. Block as Title Role in The Cher Show, Full Cast Announced" Playbill.com, April 17, 2018
62. ^The Palace Theatre closed for renovation in September 2018. It is scheduled to reopen in or around 2021.
63. ^McPhee, Ryan. "Frozen Musical Sets Date for Official Broadway Opening" Playbill.com, August 23, 2017
64. ^Clement, Olivia. "West End Hit Ink to Premiere on Broadway in 2019" Playbill.com, April 30, 2018
65. ^{{Cite web|url=https://www.broadwayworld.com/article/Free-From-Legal-Battles-TO-KILL-A-MOCKINGBIRD-Will-Play-the-Shubert-Theatre-on-Schedule-20180510|title=Free From Legal Battles, TO KILL A MOCKINGBIRD Will Play the Shubert Theatre on Schedule {{!}} BroadwayWorld|date=2018-05-10|website=BroadwayWorld|language=en|access-date=2018-05-10}}
66. ^Clement, Olivia. "Broadway Revival of Kiss Me, Kate, With Kelli O’Hara, Sets Theatre and Dates" playbill.com, June 11, 2018
67. ^McPhee, Ryan. "My Fair Lady Will Return to Broadway in 2018" Playbill.com, March 6, 2017
68. ^McPhee, Ryan. "Hadestown Musical Sets Broadway Dates and Theatre" Playbill.com, November 27, 2018
69. ^McPhee, Ryan. "Beetlejuice Musical Sets Spring 2019 Broadway Opening Date" Playbill.com, September 13, 2018
70. ^Gans, Andrew. "Composer-Musician Yanni Will Play Limited Run at Broadway’s Lunt-Fontanne Theatre" Playbill.com, March 18, 2019
71. ^McPhee, Ryan. "Moulin Rouge! Musical Sets Broadway Dates and Theatre; Aaron Tveit and Karen Olivo to Star" Playbill.com, November 19, 2018
72. ^{{Cite news|url=https://www.broadwayworld.com/article/Official-TINA-THE-TINA-TURNER-MUSICAL-Will-Open-on-Broadway-in-Fall-2019-20181003|title=Official: TINA – THE TINA TURNER MUSICAL Will Open on Broadway in Fall 2019!|last=Desk|first=BWW News|work=BroadwayWorld.com|access-date=2018-10-03|language=en}}
73. ^{{cite web|url=http://www.playbill.com/article/alanis-morissette-musical-jagged-little-pill-will-transfer-to-broadway|title=Alanis Morissette Musical Jagged Little Pill Will Transfer to Broadway|work=Playbill|last=McPhee|first=Ryan|accessdate=January 28, 2019}}
74. ^McPhee, Ryan. "Hugh Jackman to Star in The Music Man on Broadway" Playbill.com, March 13, 2019
75. ^McPhee, Ryan. "West Side Story Will Return to Broadway, Directed by Ivo van Hove" Playbill.com, July 12, 2018
76. ^McPhee, Ryan. "Jonathan Pryce and Eileen Atkins Will Reprise Star Turns in Florian Zeller’s The Height of the Storm on Broadway" Playbill.com, February 6, 2019
77. ^1 2 Clement, Olivia. "Second Stage Season Includes First Broadway Revival of Take Me Out, Plus New Plays by Bess Wohl and Tracy Letts" Playbill.com, March 26, 2019

Citations

{{reflist|30em}}

Further reading

  • Ackerman, Alan. "Liberalism, Democracy, and the Twentieth-Century American Theater," American Literary History (2005) 17#4 pp. 765–780.
  • Bordman, Gerald. American Musical Comedy (Oxford University Press, 1982)
  • Bordman, Gerald. American Operetta (Oxford University Press, 1981)
  • Knapp, Raymond. The American Musical and the Formation of National Identity (Princeton University Press, 2005)
  • Middeke, Martin, et al. The Methuen Drama Guide to Contemporary American Playwrights (2013)
  • Mordden, Ethan. Anything Goes: A History of American Musical Theatre (2013)
  • Roudane, Matthew Charles. American Drama Since 1960: A Critical History (1996)
  • Shiach, Don. American Drama 1900–1990 (2000)
  • Stempel, Larry. Showtime: A History of the Broadway Musical Theater (WW Norton, 2010) 826 pp.
  • Weales, Gerald Clifford. American drama since World War II (1962)
  • White, Timothy R. Blue-Collar Broadway: The Craft and Industry of American Theater (2014)
  • Wolf, Stacy. Changed for Good: A Feminist History of the Broadway Musical (2010)

External links

{{Commons category|Broadway theatre}}
  • The Internet Broadway Database
  • [https://www.nytimes.com/interactive/2010/04/30/theater/stages.html?ref=multimedia The Houses of Broadway], The New York Times, April 30, 2010
{{Broadway theatres}}{{authority control}}{{DEFAULTSORT:Broadway Theatre}}

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