For a while now, I’ve been thinking about a conversation I read between Howard Sherman and Travis Bedard, two insightful men whose writing and thinking about theater I have often been inspired and challenged by. Both of their arguments seemed to rest, either explicitly or implicitly, on the notion that Broadway—a national presence for theater toward which the lion’s share of our resources and attention are directed—is an inherently good thing. Of that I am not quite convinced.
Unlike Mr. Bedard, I have spent plenty of time on Broadway, having extraordinary theatrical experiences and, to be sure, a few very disppointing experiences as well. My love of the place is undiminished, despite its all of its attendant flaws (chronicled elsewhere by others more suited to the task, but including commercialization, musical-ization, lack of gender parity, and several others). I do even begrudgingly like that Broadway is a symbol for our theatrical ambitions, even though (in this case like Mr. Bedard) I have no such ambitions myself. (Off Broadway would suit me just fine.) Broadway is exciting and it feels terribly important and it tells the world we’re serious about what we do… even if, generally speaking, most of what comes out of it isn’t very serious at all, sadly.
But I nonetheless hold onto the belief that aspiring to Broadway somehow gets in the way of our ambition to do great work no matter where we live. Why, instead, can we not create Broadways all over the country? In DC, where I live, why don’t we talk about the Penn Quarter, home to so much terrific theater, or perhaps 14th Street? Why don’t our city leaders, in marketing DC to tourists, speak about one of those areas with the same excitement and glamour? I cannot see a reason.
In fact, I believe that simply ceding the title of “home of the best theater in the country” to New York is tantamount to laying down our regional theater arms in the culture wars (such as they are—I immediately regret that phrase as soon as I’ve employed it). I would argue that the country would probably be better off if we stopped automatically importing our new plays (and our actors) from New York so often. If we developed locally-specific theatrical cultures. (Or, more accurately, if we took note of the cultures that already exist and did our best to enhance and promote them.) This is perhaps nothing more than an extension or re-energizing of the regional theater movement… but I still believe it’s worth talking about nationally.
I’m certain there’s a great deal of perspective I’m missing here—and I hope that Mr. Sherman and Mr. Bedard will weigh in, if they care to—but this has been on my mind, and I wanted to share it.
Gwydion, of course you are right to urge the creation of locally-specific theatrical cultures which appeal to the ‘locals’ and perhaps beyond, but I feel Broadway – or the ‘idea’ of Broadway – will never die in the US or elsewhere in the world for that matter. Despite all the negatives you cite, the ‘grass is greener’ on the ‘Great White Way’ plus a huge dollop of fantasy, romanticism and the cultural history it has engendered will work in Broadway’s favour for ever more I suspect. It’s the same with London’s West End. Locally, in Brisbane we have the South Bank precinct – a growing floating world – and one that local arts lovers are beginning to recognise as at least national-class. Sydney has its Walsh Bay area which is home to lots of performing arts companies. Time, perhaps? …
Yes, I think: time. All brands, eventually, tarnish somewhat, or transform in unexpected ways. We think of our institutions as so fixed and permanent, but really… how old is “Broadway” as a meme? Barely a blip in the course of human history. Will it last? Perhaps, but perhaps not. One cannot say; I cannot, I am sure of that.
What WILL survive? Theater, in one form or another… though I suspect that form will change as well.
If only I had a crystal ball… or believed in such things 🙂
Bravo! To your eloquence, may I add, let us “play where we are.” We don’t need buildings, just a garage, a platform and a few chairs. And, of course, playwrights, players, and some people from ‘the hood’ to come and “interact”.
I think there is good work being done by theatre companies all over this country. Not all of them import actors from New York and some of them put on plays that have never been on Broadway.
In many cities there “is” a local theatre culture. I don’t think someone in say, Kansas, who loves theatre is going to stay away from their local company because it’s not “Broadway.”
But that doesn’t lessen the allure of Broadway for tourists to New York City – an increasing number of whom come from outside the United States. Like it or not (and I do like it!) it’s a brand that generates excitement for a lot of people who may not be regular theatergoers but want to see a Broadway show when they visit New York.
In terms of Washington, I’ve been there many times but I have to admit I’ve only been to the theatre once, on a high school trip when we saw a show at Ford’s Theatre. Part of it is that I’m usually staying with friends who aren’t interested in theatre. And part of it is in New York, I can see a show and walk back to my hotel in Times Square at midnight feeling safe. I’m not sure there’s a similar theatre district in Washington where I could do that.
First, let me extend an invitation: next time you are planning to visit DC, allow me to help you arrange a visit to one of our spectacular theaters in the Penn Quarter, which are most certainly within walking distance (or a quick cab/metro ride) from some very fine hotels. It would be my pleasure. It is, in any event, quite possible!
I do of course realize that theater is made everywhere, and that it doesn’t always involve importing actors and/or plays from New York… but what has happened, you must agree, is that Broadway and Off Broadway have served as a kind of two-pole magnet, attracting theater practitioners… who then have to travel elsewhere to make theater. New York has become a net exporter of culture and a net importer of culture-makers. That’s the balance I’d like to see restored a bit.