WEBVTT - Broadway May Not Be Back Until Early September

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<v Speaker 1>This is Bloomberg Business Week with Carol Masser and Jason

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<v Speaker 1>Kelly on Bloomberg Radio. All right, so, when we talk

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<v Speaker 1>about how New York City has changed because of the virus,

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<v Speaker 1>one of the areas where the change is rather stark

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<v Speaker 1>is along the Great White Way Broadway in New York

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<v Speaker 1>City's Fame Time Square area. It's home to, you know,

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<v Speaker 1>so many theaters where millions typically flocked to every year

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<v Speaker 1>to see shows. And while it doesn't happen often, it

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<v Speaker 1>is happening now. The theaters are dark and have been

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<v Speaker 1>shut down like the rest of the city. Let's talk

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<v Speaker 1>about that and how Broadway finds its way back post

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<v Speaker 1>COVID nineteen. Charlotte st Martin is president of the Broadway League,

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<v Speaker 1>and she joins us on the phone in New York City. Charlotte,

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<v Speaker 1>nice to have you here with us. UM. First of all,

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<v Speaker 1>I hope you're doing okay, your family, UM, and your team.

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<v Speaker 1>I know it's a devastating time for so many it is,

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<v Speaker 1>and fortunately everyone is well. Early on we had quite

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<v Speaker 1>a few of our people affected with the virus, but

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<v Speaker 1>with the exception of Terence McNally, I think everybody has

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<v Speaker 1>made it so we feel great well, and that really

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<v Speaker 1>was quite a moment, his passing and just the the

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<v Speaker 1>reminder of just how how awful this is and and

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<v Speaker 1>certainly felt widely among those of us who have patronized

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<v Speaker 1>Broadway over the years. I mean, I have to ask you, Charlotte,

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<v Speaker 1>just to to go back a little bit. What was

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<v Speaker 1>it like sort of that moment where everything literally just

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<v Speaker 1>sort of went dark. Well, it was probably more shocking

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<v Speaker 1>than any business situation I've ever experienced, and I've experienced

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<v Speaker 1>quite a few strange ones, but the fact that we

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<v Speaker 1>were in the heat of our season. We were about

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<v Speaker 1>to have sixteen shows open in the next four weeks

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<v Speaker 1>when we closed that day. One was literally opening that night.

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<v Speaker 1>So we saw the hopes in dreams of sixteen producers

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<v Speaker 1>and all of the casts, uh, just throttled down into

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<v Speaker 1>pure misery that day. And some of those shows may

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<v Speaker 1>not ever make it back or won't be back for

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<v Speaker 1>some time sometime. And of course, with the Tony Awards

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<v Speaker 1>coming up, this was the heat of the Tony Awards

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<v Speaker 1>selection of nominees, so none of those shows can be

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<v Speaker 1>nominated at this point unless they do come back. Well, yeah,

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<v Speaker 1>I mean, you know, it's a reminder right that these

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<v Speaker 1>are you know, when you put together production, it's expensive.

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<v Speaker 1>It's a lot of money up front, and I do

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<v Speaker 1>think about, you know, financially, it's not easy for you

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<v Speaker 1>to either to you know, kind of be on hold

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<v Speaker 1>for a few months or even come back on the

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<v Speaker 1>other side. Right Well, I mean Broadway is a risky

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<v Speaker 1>business in the best of times, and we've certainly been

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<v Speaker 1>experiencing the best of times in the last ten to

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<v Speaker 1>fifteen years. But it's you know, one out of four

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<v Speaker 1>shows recoups on their investment if we're really lucky. And

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<v Speaker 1>these are very very expensive shows. A typical musical is

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<v Speaker 1>at least fifteen million dollars, and certainly some go thirty

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<v Speaker 1>five million, forty million. A typical play is three to

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<v Speaker 1>five million. And the only way they recoup is filled

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<v Speaker 1>those seats. And you know, you're looking at eight shows

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<v Speaker 1>a week with anywhere from seven hundred to two thousand seats,

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<v Speaker 1>so it takes a while just to recoup, not to

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<v Speaker 1>mention making money, and then the unemployment and the people

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<v Speaker 1>that have to put their careers on hold is just

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<v Speaker 1>so sad and so devastating, I have to say. And

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<v Speaker 1>you know, I think Jason, you'll agree, and Charlotte. One

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<v Speaker 1>of the things that made us realize, wow, this virus

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<v Speaker 1>going back to March was going to whole other level.

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<v Speaker 1>It was certainly when the sports franchises just said they

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<v Speaker 1>were shutting down and then to see that, you know,

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<v Speaker 1>Broadway was just shutting down completely, because these are things

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<v Speaker 1>that just are open through almost every crisis that we've

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<v Speaker 1>seen in the past. Um I do wonder too about

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<v Speaker 1>workers within the theater, and I think you know, we've

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<v Speaker 1>been trying to educate our audience to um or at

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<v Speaker 1>least provide information when it comes to restaurants, like you

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<v Speaker 1>know that there's not a lot of safety nets there

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<v Speaker 1>when things like this happen. What about within the theater industry, Well,

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<v Speaker 1>it's very much the same way. I mean, you certainly

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<v Speaker 1>have your stars that uh do film and television and

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<v Speaker 1>do theater because they either started out in theater or

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<v Speaker 1>it is their passion. But most of the people that

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<v Speaker 1>work on Broadway and that work for Broadway, they work

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<v Speaker 1>there because it's their passion. They almost can't do anything

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<v Speaker 1>else because their passion is so strong. And that goes

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<v Speaker 1>all the way to producers. I mean, most of these

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<v Speaker 1>shows take six eight years to just bring to life,

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<v Speaker 1>and the blood, sweat and tears that goes into making

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<v Speaker 1>these shows, and all of the designers and people involved

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<v Speaker 1>while they're making it are all shut down at once.

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<v Speaker 1>Even after nine eleven, I think Broadway was only closed

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<v Speaker 1>for three days, and this will be at least six months,

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<v Speaker 1>six months. That's so, that's the soonest that it comes back, right,

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<v Speaker 1>I mean we closed March twelve. We're talking about refunds

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<v Speaker 1>and exchanges through September six, so in one more week

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<v Speaker 1>that would be six months, and there's absolutely no guarantee

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<v Speaker 1>that will be back on September six. I mean, we

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<v Speaker 1>are in the fourth phase of the governor's plan to reopen,

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<v Speaker 1>and a lot of that will depend upon, you know,

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<v Speaker 1>how all of the reopenings that he goes through with

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<v Speaker 1>all the different stages, and also, honestly, what kind of

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<v Speaker 1>medical treatments there are. I don't think we expect a

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<v Speaker 1>vaccine by the fall, but there may be other things

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<v Speaker 1>that make it easier for us to come back, but

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<v Speaker 1>we don't know that yet. Right, there's still so many questions.

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<v Speaker 1>We're going to come back there and continue that conversation

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<v Speaker 1>because I am curious about some of the conversations you

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<v Speaker 1>are having with UM public officials and others within your

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<v Speaker 1>industry and maybe even in other industries to figure out

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<v Speaker 1>how do you come back on the other side. I

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<v Speaker 1>also know you bring theater around the country, so we'll

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<v Speaker 1>get into that too, because certainly each state is experiencing

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<v Speaker 1>this virus to some extent. Uh differently. All right, we're

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<v Speaker 1>talking with Charlotte St. Martin, president of the Broadway League,

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<v Speaker 1>on the phone in New York. Will continue that conversation

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<v Speaker 1>in just a moment. Let's continue our conversation with Charlotte St. Martin,

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<v Speaker 1>president of the Broadway League, joining us on the phone

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<v Speaker 1>from New York City. And as I joked a little

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<v Speaker 1>bit going into uh that last news update, Charlotte, I

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<v Speaker 1>could tell from the moment you open your mouth that

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<v Speaker 1>you are not a New York City Nate. If I

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<v Speaker 1>can spot that lovely Texas accent from a mile away.

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<v Speaker 1>I do want to ask you sort of what it

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<v Speaker 1>looks like, what the theater business looks like beyond Broadway,

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<v Speaker 1>because I know you're talking to people all around the country. Well,

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<v Speaker 1>the Broadway League's members are in two hundred and forty

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<v Speaker 1>two cities where the Broadway series take place. So yes,

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<v Speaker 1>I talked to my colleagues in Dallas and Houston and

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<v Speaker 1>San Antonio in Austin. But the other two hundred forty, right,

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<v Speaker 1>you talked to them too. You don't just favor them, Yeah,

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<v Speaker 1>I do, would just stay with Texas. Uh. And it's

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<v Speaker 1>interesting there is talk of, uh, the touring market coming

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<v Speaker 1>back a bit faster because there are locations where they

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<v Speaker 1>haven't been as you know, as impacted as greatly as

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<v Speaker 1>New York has. But like we're thinking potentially October November

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<v Speaker 1>for the for the touring market to be up uh

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<v Speaker 1>and beginning to to do their annual tours. And we

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<v Speaker 1>do a lot of tours in this country. Hey, you know, Charlotte,

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<v Speaker 1>one thing I'm wondering too, because man, we've all realized,

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<v Speaker 1>I mean, here we are doing our four hour radio

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<v Speaker 1>show that we normally do in this incredibly gorgeous studio

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<v Speaker 1>back in our New York headquarters. And yet I'm at home,

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<v Speaker 1>you know, sitting at a desk, and we're able to

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<v Speaker 1>do this, And I do wonder. It's interesting as we've

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<v Speaker 1>seen more musical acts go on line and do performances

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<v Speaker 1>for people. My daughter's giving me heads up about something.

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<v Speaker 1>Taylor Swift is going to do a concert or an

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<v Speaker 1>old concert and they're gonna put it online. Do you

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<v Speaker 1>guys think about I know there's nothing like being a

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<v Speaker 1>Broadway being in a Broadway theater and seeing a production,

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<v Speaker 1>but I do wonder if you start to think about

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<v Speaker 1>doing something online where people can pay and and see performances.

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<v Speaker 1>We just haven't adopted that method yet. It's a completely

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<v Speaker 1>different financial model. That would basically means starting over with

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<v Speaker 1>all of our seventeen union contracts, so that that's a

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<v Speaker 1>significant effort. Now I can't say we will never do it.

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<v Speaker 1>We also have a number of producers who feel very

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<v Speaker 1>passionately about the fact that yes, it's good to see

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<v Speaker 1>it if you on air or online if you can't

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<v Speaker 1>see it any other way, but that there truly is

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<v Speaker 1>nothing like the live experience, sharing the emotional closeness with

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<v Speaker 1>the other people in the audience. And for so many

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<v Speaker 1>it's escape. You can't get up and go get a

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<v Speaker 1>cup of coffee or take a phone call or whatever.

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<v Speaker 1>And I think that's part of what makes theater special.

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<v Speaker 1>Is it truly is an escape, whether it's a funny

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<v Speaker 1>escape or a happy escape. Or even drowning yourself in

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<v Speaker 1>a tragedy. It is escape from whatever you left outside

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<v Speaker 1>the door of that theater. So if if the emails

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<v Speaker 1>and texts and uh tweets that we're getting are any indication,

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<v Speaker 1>I have a feeling people will be lined up to

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<v Speaker 1>get back to theater once they know it. And so

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<v Speaker 1>what are the what is this sort of the interim

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<v Speaker 1>step look like, because obviously we're all looking forward to

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<v Speaker 1>a day where you know, we've got this totally under

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<v Speaker 1>control and there's a vaccine and people feel safe sort

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<v Speaker 1>of sitting next to a stranger. Is there a middle step, Charlotte,

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<v Speaker 1>or is this a business that really can't get back

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<v Speaker 1>to anything resembling normal until there is a vaccine, either

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<v Speaker 1>a vaccine or something medically or some products that make

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<v Speaker 1>the danger seem significantly left. I mean, we're not a

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<v Speaker 1>business that can socially distanced. And really, for the same

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<v Speaker 1>reason that we can't do online streaming of our shows,

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<v Speaker 1>we'd have to redo seventeen union contracts because it's not

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<v Speaker 1>you can't have a audience. I've already explained that Broadway

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<v Speaker 1>is a very risky business, and you know, one of

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<v Speaker 1>our bigger producers socially distanced his theater on in concept

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<v Speaker 1>and he could get of the audience he used to get,

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<v Speaker 1>and that was not anywhere going to even cover the

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<v Speaker 1>weekly running costs. So unless a whole new financial model

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<v Speaker 1>is developed, and that's not only employee wages, it's theater rent,

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<v Speaker 1>is design fees, it's all of the things that make

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<v Speaker 1>up Broadway. They're eighty different careers that make a Broadway

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<v Speaker 1>show happen. People think of actors and ushers, they don't

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<v Speaker 1>think about all of the other people that put on

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<v Speaker 1>a Broadway show. But our theatrical and ployees are the

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<v Speaker 1>best in the world. But they're also the most expensive,

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<v Speaker 1>and we would have to find a way to make

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<v Speaker 1>that happen uh differently. So we just need our theaters

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<v Speaker 1>to get back up full or at least almost full

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<v Speaker 1>with those sharing audiences. You did say eighty three different careers,

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<v Speaker 1>Is that correct? That is wow? Yeah, it's it's massive.

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<v Speaker 1>I have to say, having seen Hamilton's and To Kill

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<v Speaker 1>a Mockingbird in the last year or so, um, it's

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<v Speaker 1>just there's nothing like it. I totally agree with you,

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<v Speaker 1>and it's I I look forward to things getting back

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<v Speaker 1>to normal, if only for for so many reasons, but

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<v Speaker 1>also to be able to go back, uh and see

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<v Speaker 1>a Broadway show. Charlotte, thank you so much. We wish

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<v Speaker 1>you well and hopefully we can check in with you again.

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<v Speaker 1>Charlotte Say Martin, she's president of the Broadway League, joining

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<v Speaker 1>us on the phone in New York City. I mean,

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<v Speaker 1>it's tough. It is tough, Jason. This is not one

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<v Speaker 1>of those things that you can do. Partially. Yeah, I

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<v Speaker 1>was really interested in that, and I really appreciate and

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<v Speaker 1>I think you do to her candor on that, because

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<v Speaker 1>there wasn't a sort of like, well we'll see and

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<v Speaker 1>we're we're sort of, you know, experimenting with some things.

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<v Speaker 1>She is realistic about the fact that the model as

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<v Speaker 1>it is currently created and as it will be for

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<v Speaker 1>the foreseeable future, will not be socially distanced. We call

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<v Speaker 1>this simple, we call this week reality check, right, and

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<v Speaker 1>it was very realistic.