Also in this playlist...
This transcript is automatically generated
Peter well you know the lights are not quite so bright on the great white way these days America's economic downturn taken -- fall on Broadway.
-- but still they're closing after the holidays.
But -- play.
But the trend for revival of Arthur Miller's all my sons we're joined now by the show's lead producer Eric often seen -- Christian come Margot an actor and that's like -- Thanks for coming in -- -- so this is a limit to run.
You got a lot of star power and that Christian obviously big star here.
-- you made money but only two shows -- made money explain how this happened -- How it happened that we were able to how did you have to recruit three quarter million dollar investment which is.
Missed a strong and.
It's -- for play we think it's the highest of any commercial players ever -- so worked extraordinarily lucky especially in these times I think that it it comes down to -- -- purity identified Arthur Miller the fact that that Americans know.
His work and know that you're going to see a great player when you when you -- -- or play a great director assignment Bernie.
And end up in and a phenomenal cast.
Starting starting with -- let go as the father and Dianne Wiest.
Patrick Wilson Katie Holmes Christian can -- and and an additional -- terrific -- -- The -- -- you do television as well so you're not on television you're not and then you come to Broadway do you think that that.
Is a reason besides the Katie Holmes factor in the show that people came to.
Oh yeah I think that it starts out that way but the -- has to be good.
So they have to continue drawing an audience I think this play as fortunate as a great cast a great writer great production crew.
And it became a great place of people now are coming to see a great play not necessarily Katie Holmes are -- -- on the cover whoever can sell the TV to play helps to get you on the start to get you going.
But the -- has to be good but it fortunate.
That you know I'm a big Broadway fan and I mean it's it's tough to sell the -- closing I mean Harris fight and we missed some big names Greece.
Spam a lot.
Bit that have been going for years I mean it just seems the tourists and probably coming to New York -- mourn the -- Hurt your business by them being that -- you know it it depends they're they're different schools of thought some say that if one show closes there -- there's more audience for fewer.
-- plays but you know in the musical audience is very different especially after -- musicals been around hairspray.
And and -- -- a terrific runs they've they've long ago recouped and it's sad to see -- go because they're terrific productions but they're also once that may have been starting to -- -- near the end of their life I think what happens just quickly typically.
Is that you get the New York in Manhattan -- Brooklyn that it's some other some other places explode to the shows when their hot.
Then they're done seeing it and you've got to rely on tourists which are not as you identified so warrants.
-- in the UST investors.
In the shows -- -- as everything else out there on Wall Street are they saying.
-- we may not have as much money to put in to shows this year.
You know I've been lucky and so and some my productions of us who have been very lucky so I -- I haven't felt it but I've talked to.
And I've talked to a lot of investors saw some -- some others and and they do feel that way their investments in other places are down.
Broadway is always risky usually only a quarter -- so -- productions are profitable.
But I'll tell you this I I think that entertainment suffers a little bit less in a downturn.
Then some other industries people don't want to give that up they might give up vacation might do about getting a new car but I'm not so sure they wanna give up going in the movies.
You know and -- and going -- -- -- lots of people who who haven't gone vacations and haven't gone away and decided spent a little -- money go out this -- -- there's a lot more of those union outside you know leaving the theater and I love and having seen the play before so this actually can there's a lot of goodness as well and and -- -- -- -- you know play.
Isn't asking him about about what's happening -- -- right now could have been reporting on the potential of a strike at sag.
A lot of the New York actors are fairly upset that they -- at the LA actors to understand that they're the -- here in New York yeah you know I.
You know it's very -- because it's such large chasm in between those actors and make lots of money -- 90%.
Sag actors make 120 something thousand dollars a year so.
There's that there's a broad difference between what people want.
I think that we're all want having everyone realizes we're on the same we're on the same boat and I don't think there's as much.
Much antagonistic feelings as soon as people who is there a lot of work.
Scorer for the arts movement well right now we're also going in -- -- possible struggle rustling -- the holiday season which is always a slow time for for TV and everything.
So actors usually take a breath of this time anyway so we're taking a breath and after the new year when -- come back and see where we are and we have be positive.
And it's negative infighting this is actually ridiculous -- nowhere.
Yes of the would you come you can't come over to New York -- -- you know from television you've done about what we do it again with a comeback -- absolutely out doing a play after this so I don't have a.
I really don't believe -- -- not like Eric said and plays are always that it's a little risky to take that much time and it's not a high paying job and it's not written in this economy.
And everything else it's it's it's a group like Erica fifteen seconds what's next for you.
And who do play and in the -- -- impressionism we're bringing Joan Allen and -- -- back and it's been -- success got -- got thank you so much for coming in attention story in this economy appreciate it thanks for coming up.
Filter by section