Editor’s Note: Several producers/artistic directors of Los Angeles intimate theatres responded to our question: “What to Do With a Hit Show…Extend It or Move It?” We will post their replies over the next few days in the First Person section of LAStageBlog.
This past season the West Coast Ensemble has been fortunate to have two very successful shows - Big, The Musical and our current production Anita Bryant Died for Your Sins. With a hit show, of course, you want to keep it running as long as possible; however, there are contingencies.
One is the announced season and producing the season you have told your subscribers (and audience) you would present during a certain time limit. We do build in the possibility of a few weeks extension if the popularity of the show warrants it. Usually an extension can only be for about four weeks or in some cases adding an additional play date such as a Thursday or Sunday evening or a Saturday matinee.
The other possibility is moving the production to another theater. The additional rental expense and cost of remounting the show will most likely prove prohibitive and the cost would not be recouped in ticket sales without the guarantee of a higher ticket price and a sold-out run for at least six months at the alternate space. Even then it would be difficult because of the high cost of theater rental and the necessity of raising ticket prices to a level that might be prohibitive to the theatergoer and diminish the appeal the show had at the original space and price. Also with a different space and more performance dates a different Equity contract comes into play.
If by some chance you could find investors who might want to help move the show, full disclosure as to the rent, actor/director/stage manager(s)/backstage help compensation, production costs, etc…and the risk involved is necessary.
Other considerations also play a part. Can the original cast be held together and was it their particular talent and participation that made the show work so well? Can the design elements be duplicated with the same quality as the original show? Was there a particular element-size, configuration or use of the original space–that made the show work and can it be repeated?
If the desire is to move the show to another part of the country or to Off-Broadway, your (the producers) time and compensation comes into play. At this point you probably will lose some control of the production and if you are okay with that then you may lend your support to the playwright (or creative staff) in helping him/her take the production to the next level.
If your production was original there should have been an agreement with the playwright that you receive credit for the original production in all programs, promotions and releases for all future productions. Also, you may be a great help in aiding the playwright in getting the script published. Again, there should be credit for the original production at your theater. As an example, Jim Geoghan’s Two Gentlemen of Corona, which we first produced six years ago, is just now being published by Samuel French and Jim called this past week to assure me the West Coast Ensemble would receive credit for the original production. Nice!
Article by Les Hanson, co-Artistic Director of West Coast Ensemble
