The New York Times

Now Is the Winter of Broadway’s Discontent

Curtains are rising again after the Omicron surge caused widespread cancellations, but
attendance has fallen steeply. Nine shows are closing, at least temporarily.

Broadway’s latest challenge is wooing audiences after a string of December cancellations

and widespread Omicron concern. At “Girl From the North Country” last week, many
seats were empty just 10 minutes before curtain.Credit...An Rong Xu for The New York
Times

By Michael Paulson
Jan. 16, 2022

The reopening of Broadway last summer, following the longest shutdown in history,
provided a jolt of energy to a city ready for a rebound: Bruce
Springsteen and block parties, eager audiences and enthusiastic actors.

But the Omicron variant that has barreled into the city, sending coronavirus case counts
soaring, is now battering Broadway, leaving the industry facing an unexpected and
enormous setback on its road back from the pandemic.

In December, so many theater workers tested positive for the coronavirus that, on some
nights, half of all shows were canceled — in a few troublesome instances after audiences
were already in their seats.

Now, producers have figured out how to keep shows running, thanks mainly to a small
army of replacement workers filling in for infected colleagues. Heroic stories abound:
When the two girls who alternate as the young lioness Nala in “The Lion King” were
both out one night, a 10-year-old boy who usually plays the cub Simba went on in the
role, saving the performance.

Broadway shows have been using social media to remind potential ticket-buyers that
performances are still happening. The revival of “Company” is among many using the
hashtag #BroadwayIsOpen.Credit...An Rong Xu for The New York Times

But there’s a new problem: Audiences are vanishing.

During the week that ended Jan. 9, just 62 percent of seats were occupied. That’s the
lowest attendance has been since a week in 2003 when musicians went on strike, and
it’s a precipitous drop from the January before the pandemic, when 94 percent of seats
were filled during the first week after the holidays.

The casualty list is growing. Over the last month, nine shows have decided to close their
doors, at least temporarily. “To Kill a Mockingbird,” a huge hit before the pandemic,
announced last week that it would close until June; on Sunday “Ain’t Too Proud,” a
successful jukebox musical about the Temptations, closed for good.

Box-office grosses are falling off a cliff. The all-important Christmas and New Year’s
weeks, which producers count on each year to fatten their coffers in anticipation of the
lean weeks that follow, generated just $40 million this season, down from $99 million
before the pandemic. Requests for ticket refunds are now so high that on some days
some shows have negative wraps, meaning they are giving back more money than they
are taking in.

“This is the worst I have ever experienced,” said Jack Viertel, a longtime executive at
Jujamcyn Theaters, which operates five Broadway houses.

Over the long run, industry leaders say, there is every reason to remain bullish about
Broadway. Until the pandemic, the industry had been enjoying a sustained boom, fueled
by a rebound in the popularity of musicals and by New York’s gargantuan growth as a
tourist destination. And this downturn might not last long: There is some evidence that
the Omicron surge may be peaking, at least in some parts of the country, including New
York.
The musical “Ain’t Too Proud,” about the Temptations, was a hit before the pandemic,
but decided to close after coronavirus cases forced the show to cancel multiple
performances over the holidays. Credit...An Rong Xu for The New York Times

But before it eases, the slump will cost investors tens of millions of dollars, and will push
theater workers back into unemployment, as dwindling attendance forces productions
without abundant reserves to close. And the distress is not just financial: Artists spend
years developing shows before they get to Broadway, so a premature closing is a
crushing blow.

“It’s harrowing, and there will be a lot of damage done,” Mr. Viertel said. “Some shows
will be put out of business permanently, and this will be career ending for some
individuals.”

Dominique Morisseau, the playwright who wrote the book for “Ain’t Too Proud,” and
whose new play, “Skeleton Crew,” is now in previews following two virus-related delays,
called this moment “extremely painful.” “My play is about plants shutting down during
the auto industry collapse, and factory workers wondering every day, ‘Is it shutting
down?’” she said. “Now that’s how we’re coming to work.”

The Broadway League, which represents producers, has asked labor unions to consider
pay cuts to help shows survive this rough patch. At one point, in a step previously
reported by The Daily Beast, the League asked workers to accept half-pay when Covid-19
forced performance cancellations; there have also been discussions about offering lower
pay for scaled-back performance calendars.

“We’re doing everything we can to keep as many shows open as possible,” said Charlotte
St. Martin, the president of the Broadway League, citing safety protocols and marketing
efforts as well as labor discussions.

The talks stalled as unions sought more financial information.

A revival of “The Music Man” canceled multiple performances just days after starting
previews when both of its stars tested positive for the coronavirus, but it is now up and
running again.Credit...An Rong Xu for The New York Times

“It’s fair to say that all the unions recognize that shows remaining open is important —
that represents jobs for actors and stage managers and everyone else who makes a living
in the live theater,” said Kate Shindle, the president of Actors’ Equity. But Ms. Shindle
noted that Broadway shows had received tens of millions of dollars in federal aid last
year, and that the industry is no longer even disclosing weekly box-office grosses for
individual shows, as it did before the pandemic. “Pretty universally, the unions’
response has been that if you want us to make financial concessions, we need financial
transparency,” she said.

Meanwhile, shows are collapsing. There are always closings in January, a soft time of
year for Broadway, but this season a crush of announcements started in December,
usually one of the most lucrative months. The musicals “Ain’t Too Proud,” “Diana,”
“Flying Over Sunset,” “Jagged Little Pill” and “Waitress,” as well as the play “Thoughts
of a Colored Man,” all decided to close earlier than planned after Omicron hit. And three
other shows, including “Mrs. Doubtfire” and “Girl From the North Country” as well as
“Mockingbird,” said they would close for a few months and then attempt to reopen.

“If it means that shows get to come back, hooray,” said Jenn Gambatese, the lead actress
in “Mrs. Doubtfire.” “The alternative was, run another week and buh-bye.”

More and more theaters are now dark. By next Sunday, there will be only 19 shows
running in the 41 Broadway theaters. Cast and crew members from shuttered
productions are trying to figure out whether they even worked enough weeks to qualify
for unemployment; those who do will get less assistance than they did earlier in the
pandemic, because the maximum weekly benefit in New York is now $504, down from
$1,104 when the federal government was offering a supplement.
This is a good time for bargain hunters: Discounts are available for many shows at the
TKTS booth, and NYC & Company’s annual Broadway Week, which offers 2-for-1 tickets
to most shows, has been extended to 27 days. Credit...An Rong Xu for The New York
Times
The surviving shows seem to have figured out how to avert the cancellations that
bedeviled the industry last month.

One reason: So many workers have already tested positive, and are now back at work
(and, notably, no performers are known to have been hospitalized during this latest
round). More important: Productions have trained and hired additional replacement
workers, including for crew members.

Playbills are regularly stuffed with cast-change inserts. One night, Keenan Scott II, the
playwright of “Thoughts of a Colored Man,” kept his show afloat by going on to replace
an actor who tested positive. “Come From Away” saved a performance by deploying
eight swings, including alumni and a touring performer who had never worked on
Broadway. At “Wicked,” a longtime understudy who had left Broadway to become a
software engineer in Chicago returned and performed as Elphaba.

And then there was “The Lion King,” where the young Simba went on as young Nala
(uncostumed, and after a preshow explanation to the audience).

“I didn’t want the show to close,” explained the child actor, who performs as Corey J. “I
was nervous at first, but then the person who plays Shenzi winked at me, and I wasn’t
nervous anymore.”

In the wings between scenes, cast members cheered him on, and at the end of the show,
the cast gave him the honor of the show’s final bow.
Broadway shows have implemented a variety of protocols in an effort to keep patrons
safe: mandatory vaccinations, mandatory masks and, at the moment, no food or drink
sales at many theaters.Credit...An Rong Xu for The New York Times

Producers say they are confident Broadway will regain strength, although they can’t be
sure exactly when.

“Let’s face it — producing on Broadway in the best of times is a ridiculous proposition,

and the amount of risk involved doesn’t make sense for any sane person,” said Mara
Isaacs, a lead producer of “Hadestown.” “But the dreamers will continue to dream. Yes,
it’s going to be harder for a little while, but I do believe we will recover.”

One major challenge producers face now is shoring up consumer confidence. Follow the
social media account of any Broadway show and you’re likely to see a simple
message: Broadway is open. Worried about safety? All patrons are vaccinated and
masked, and many theaters have stopped selling food and drinks so masks can stay up.

The most popular shows are still packed, but not quite as tough to get into as they were:
Last week, there were seats available even at the industry’s most in-demand shows,
including “Hamilton,” “The Music Man” and “Six.” (Premium seats at “Hamilton” were
selling for $299, compared to $847 before the pandemic.)

And this has become a good time for bargain hunters. Tickets to shows like David
Byrne’s “American Utopia” and the best musical Tony winner “Moulin Rouge!,” both of
which were routinely sold out before the pandemic, are now discounted at the TKTS
booth in Times Square. And the city’s annual Broadway Week, which starts Tuesday and
offers 2-for-1 tickets for most Broadway shows, this year will last 27 days — the longest
in the program’s history.

“I would never be able to afford a normal Broadway ticket, but now it seems super
affordable to someone like me,” said Amy Grimm, a 45-year-old administrative assistant
from Brooklyn, who this month has seen “Girl From the North Country” and “Six.” She
said she enjoyed “Girl,” but added, “There was hardly anyone in the audience, and it was
sad to see.” “Six,” she said, felt more normal. “I hooted and hollered through my mask,”
she said, “and it was fine.”