• Robert Butler

    No dearth of writers? I disagree. Lin-Manuel is not a writer. He is a squeaky-voiced wannabe rapper. ‘Hamilton’ is a poor, infantile play. It starts with the line “How does the son of a Scot and a whore…” Hamilton himself would have shot Manuel for calling his mother a whore, which she was not in any way. The South Park guys (Book of Mormon) are pure vulgarity. Mormons are, of course, a big target, but do they truly warrant such fun-loving lyrics like, “When God fucks you in the ass, fuck God back right in the cunt?” Beyond the Palest of Pale. This is what compromises the great wealth of the last ten years on Broadway in ‘original’ material. If we are searching for producers, let this search extend to investors that are willing to spend money on more than this ridiculous and shameful sizzle that seems to appease an uneducated mass of theatre-goers. It is indeed a long way from 1964. Is it possible to consider that stage art of that caliber still exiists?

  • William P Duffy

    Thank you for this article. I quote you Mr. Prince,I believe even today there is no dearth of writers—playwrights, composers, and lyricists—or brilliant designers and directors. Since what you wrote is true and there are few theatrical agencies that will even consider new writers, never mind enough theaters or creative producers, there doesn’t seem to be much point in presenting my serious dramatic plays to anybody in the theater. I am not complaining rather just seeing things the way they are.No wonder writers have turned to Netflix, HBO, etc. to have their work have a chance at reaching an audience. Television is not my first choice since there is something powerful about live theater which is real live people watching real live people in a big room bring something extraordinary to life

  • George Spelvin

    I respectfully disagree.
    As a fan of your work since your first show, the idea of saying you might be wrong pains me, but here we go.
    Using inflation as a guide, the price of a ticket today should be $22.
    As we all know too well, it is not. Budgets in the last 50 years have
    increased, not by 10 but by 100 times. Even 150 times if it is a bigger
    musical. This means cash must be raised. A lot of cash. Without it there
    is no Broadway.
    Many minds are better than a few. The
    idea that today’s “producers” whom you refer to as merely “investors”
    cannot contribute viable ideas, both creatively and with regard to
    marketing is, shall we say, ill-informed at best and elitist at worst.
    The concept of the “hive-mind” is inclusive, democratic and in the final
    tally, the best use of the passion that comes from a pool of investors
    who carry the title of producer.
    What better way to intern as a future producer than to be in the room where it happens? Call it “producer school” if you will.
    a producer who has contributed artistically to every show I have my
    name on and a few I do not have my name on, both creatively and
    marketing wise, I have quickly learned that “the idea wins” not the
    To lament and condemn today’s producers for
    getting credit for being a part of the process is simply silly,
    short-sighted, old-fashioned, selfish and unrealistic.
    Today’s theatre is more inclusive than ever before. That should include producers.
    is, some producers write a check and show up for the opening party. And
    some of us give notes, fret and worry and cajole and contribute at
    meetings. And that is a good thing. No one is going to use a bad idea
    simply because it comes from a producer. But they sure as hell are going
    to use it if it makes the show better. And isn’t that what we all want?
    The best possible show? I know that is what the audience wants.
    Especially at $160 a seat.