It’s Show Time!
Behind the scenes of making a Broadway show.
by Stewart. F. Lane

TWEENS & TEENS News March 2008

What does it take to be a Broadway producer? I could say it takes nerves of steel, iron-man stamina and an endless supply of aspirin. I could say it takes living with a project 24 hours a day, seven days a week, and trying to figure out ways to make it work. I could say it takes all your time, as you travel a lot and you must make your family a part of the experience. Being a Broadway producer takes all these things; but most of all it takes total commitment. It’s a total commitment to your vision and your investors’ money.

My commitment to the theater began at age 11 when I attended my first Broadway show. My best friend at the time, Ricky, had a father who was an actor. And Ricky invited me to see his father perform, live on stage. I was intrigued by the concept of working at night in a business that centered around storytelling.

The ritual of putting on my only tie and jacket and driving into New York City heightened my anticipation of seeing the show. Crossing the East River and viewing the skyline with complete wonder fed the fire growing in me. That fire was further stoked by the sheer excitement of entering a real Broadway theater. The architecture was beautiful. It was so different than the matchbox movie houses I was accustomed to. Even getting a ticket with the name of the show printed on it, instead of “admit one,” was thrilling.

Then I was given a Playbill. Wow, two souvenirs and the show hadn’t even begun! We marched down to the front row, got comfortable, and the curtain rose on the musical Little Me. The show’s music was by Cy Colman, lyrics by Carolyn Leigh and book by Neil Simon. And Ricky’s father, Sid Ceasar, had a starring role. Sid Ceasar was perhaps the Jack Black of his day. The laughter from the audience was overwhelming, and that fire inside of me had become a bonfire by the start of the first scene.

Sitting in the front row offered me the opportunity to see the actors preparing in the wings, making me feel like an insider. Afterward, we went backstage to meet Ricky’s father in his dressing room. We walked through this labyrinth under the stage and finally arrived to what looked like a party in full swing. There was Sid, holding court, laughing and joking with his friends. There were an endless series of congratulations, backslapping and merriment. I looked around the cozy room and saw a bed, television, refrigerator and hot plate. It was like a home away from home in this magnificent theater in this magical city.

By then, I was consumed by the blaze within me. What a wonderful life I could have if I could be part of Broadway! From that moment on, my commitment to the theater was total and all consuming. I took every theater class available and became an officer of my school’s theater club. I majored in acting at Boston University and went on to do performance tours, summer stock, television and film. Even when I made the transition from the creative side to the management side, my commitment to theater was absolute. There are easier ways to make a living, if all you want to do is make money. But for the ride of a lifetime, I recommend the theater.

Another important aspect of being a Broadway producer is to be judicious. Theater is an expensive business, and you must spend your money wisely. You should choose your projects carefully, because you work on theatrical projects for a long time. Also, no matter how much you are in love with your show, you should know when to fish versus when to cut bait— or find another project.

When I get an idea for a show, I ask myself: Do I really like it? Does it make economic sense? And what do I expect to get out of it? I produced my first production so I could show myself off as an actor and playwright. In the theater business, we call this a “showcase.” This is a production in which the actors get minimal compensation but get to show off their talents. My showcase cost me $6,000 that I “borrowed” from my parents. I accomplished what I set out to do, and received good reviews, good press and the experience of producing my first show. I also made back half of my money.

I later discovered that making half of the investment back is practically a hit in show business parlance. For my second show, I was assistant to the producer on a play called Whose Life Is It Anyway? I chose the production because it was dramatic, poignant and thought provoking, and it would help establish me as a serious producer. The show won a Tony Award— Best Actor for Tom Conti— and paid back 75 percent to its investors. I was improving in my craft.

When I produced Frankenstein, it was the most expensive straight play ever produced. It cost $2 million dollars, had a magnificent cast and used the best special effects person in the business. We had everything except good reviews. They were terrible! The morning after the opening, we five producers sat around in silence as we read one devastating notice after another.

Finally one of the producers jumped up and said: “What do the critics know? Let’s fight this thing. How much more money do we need to keep this show running and how much for a major advertising campaign?”

The ad agency representative responded, “About a million more would give us some television time and cover losses at the theater until we could build that audience up.”
My partner turned to me and said, “Stewart, with no advance sales and not a single good review, you would have to be crazy to put any more money into this show. Let’s cut bait and save it for the next one.”

Never fall in love with a project and let it cloud your judgment. The next show we did was Woman of the Year, which was a hit.

My advice to teens like you is to pursue your dreams in the theater. The theater needs good producers, both in the commercial and nonprofit arena. There are summer camps and organizations that can help you in your endeavors. The risks are high but the rewards are higher.

Stewart F. Lane is the author of Let’s Put On a Show— Theater Production for Novices (Heinemann), which is available at www.heinemanndrama.com and www.amazon.com. His current Broadway productions include Cyrano de Bergerac starring Kevin Kline and Jennifer Garner and Legally Blonde— the Musical. For further information, visit www.mrbroadway.com.