Love Is Alive And Well On Broadway

This past Monday night I was honored and overjoyed to attend the 4th annual Arts For Autism Broadway benefit concert!

For those of you who have not yet heard about this event, please allow me to tell you about the magic that is late June evening each year.

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Just The Perfect Blendship

One of the absolute best parts of the theater that I feel people don’t talk about enough is the people - the community.

Sure, every June as we all get ready to sit down together in NYC and across the country to watch the Tony Awards, or are preparing for one of the major benefits like Broadway Bares, or even just during Pride Month in general, theatrical and non-theatrical publications will talk briefly about how Broadway is a community. And it is! It’s a fantastic community with the same pros and cons that any community might have.

But only “Broadway” is discussed as being the community itself.

And as soon as you call something the “Broadway” community, there is an innate elitism to that term - whether geographically or in terms of production budget - which gets thrown into everyone’s minds.

But what is this Broadway community? Is it just the thousands of people actively working in NYC’s largest theatrical houses? Just those who contribute to the city’s multi-billion dollar industry?

I don’t think so, no.

I think the Broadway community is far larger than that. Personally, I would consider the Broadway community to include anyone and everyone working in theatre across the entire country. I would even consider the Broadway community to include the multitude of theatre lovers - those who don’t necessarily work in the industry, but participate through other means by supporting those who do, or even just attending all productions they can and keeping tabs on what’s happening in the industry.

In my opinion, it is crucial to consider everyone involved in the theatre everywhere as part of the Broadway community.

“But why?”

Allow me to explain!

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"It's An Old Song" Yet Somehow New

Last night I had the absolute pleasure of seeing Hadestown on Broadway, and there is so much I would like to say about the show and the experience.

Now, when I first began this blog I had promised that one of the things I would occasionally write is theatre reviews. However, I am not a reviewer or critic (well, everyone is a critic, aren’t they?) and I personally do not feel that the world needs another small-time reviewer to muddy the opinionated waters.

So what I am going to do is occasionally write about a show or theatrical experience that moved me, and then try to speak to why. What is it about this show? What in particular was enjoyable or exciting? What was new and/or different?

***This does mean there may be mild Hadestown spoilers today - but since I am including no pictures, video, or music, how spoiled could the experience really be? (Another question for another day?) Plus - well - the Orpheus story has also been around for a couple millennia, sooo… ;-)

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There's A Place For Us...

I was at a networking event earlier this week and got into a conversation - one that I’ve had countless times with theatre professionals and audience members alike - where the central questions are:

Should Broadway shows be about the art or the money?”

Is there a place on Broadway for shows that are only light and feel-good? What about dark, depressing shows?”

How do you expect to get new audiences if all shows look, feel, or sound alike?”

Now, I don’t find the mere asking of these questions to be problematic, but I do find the heart of this oft-had conversation to be problematic. Whichever side you fall on - and yes, there do ultimately seem to end up being two sides to this conversation - there is an insinuation that one type of theatre should exist on Broadway and another type should not.

But my big question is: Why?

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