WEBVTT - Businessweek Extra- Charlotte St. Martin

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<v Speaker 1>This is Bloomberg Business Week from Bloomberg Radio. I'm Jason

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<v Speaker 1>Kelly and I'm Carol Masser. Welcome to the Bloomberg Business

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<v Speaker 1>Week Extra. It's our weekly podcast bringing an in depth

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<v Speaker 1>interview you will not hear anywhere else, and this was

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<v Speaker 1>a big interview considering some of the news of the week.

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<v Speaker 1>Jason absolutely the president of Broadway League, Charlotte st. Martin,

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<v Speaker 1>you know Broadway. We had talked to her a little

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<v Speaker 1>bit earlier in the pandemic. There was some hope that

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<v Speaker 1>maybe later this year Broadway would get back. People would

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<v Speaker 1>be back on stage, people would be back in the audiences.

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<v Speaker 1>It's not gonna happen. We're not going to see Broadway

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<v Speaker 1>until at the earliest, and we don't even know what

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<v Speaker 1>it's going to look like that We've been watching everything

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<v Speaker 1>from a medical and scientific way, and our the people

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<v Speaker 1>we're working with and that we've hired have said we're

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<v Speaker 1>cautiously optimistic about after the first of the year, but

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<v Speaker 1>for now, there's just no way we can accomplish your goal,

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<v Speaker 1>which is to make sure that the cast, the crew

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<v Speaker 1>and the audience are all safe. So we won't be

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<v Speaker 1>back until they can be and so talk to us

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<v Speaker 1>about the the economics of this, Charlotte, because I mean,

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<v Speaker 1>obviously there are economic considerations, and you talked with us

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<v Speaker 1>about this the last time you're with us. Their economic

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<v Speaker 1>considerations on a socially distanced performance that makes it virtually impossible,

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<v Speaker 1>and you did a nice job of explaining that. But

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<v Speaker 1>the economic implications of no Broadway are are massive, they

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<v Speaker 1>really are, and not just for Broadway, but for all

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<v Speaker 1>of the businesses that depend on Broadway. We either hire

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<v Speaker 1>or are responsible for nine thousand jobs. That's the local restaurants,

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<v Speaker 1>that's the retail stores in the area, that's the hotels,

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<v Speaker 1>it's the museums and the vicinity, the parking garages, and

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<v Speaker 1>they don't go back to work until Broadway goes back

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<v Speaker 1>to work. So, uh, it's not just Broadway that's hurting,

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<v Speaker 1>it's everybody that depends on Broadway. Yeah, I am curious

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<v Speaker 1>some of the questions, you know, the conversations you guys

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<v Speaker 1>are having, because it's you know, this comes in a

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<v Speaker 1>week where we did talk to you know, someone who

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<v Speaker 1>manages a family owned hotel down in downtown New York,

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<v Speaker 1>and you know what they're doing, and I think Jason,

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<v Speaker 1>they said something like twenty or thirty pc capacity, you know,

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<v Speaker 1>and how they're doing things differently, and it is a

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<v Speaker 1>very different experience in terms of shoes being cleaned and

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<v Speaker 1>everything sanitized. There is there is just no way to

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<v Speaker 1>do Broadway physically or financially right on a smaller scale

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<v Speaker 1>of not really making the goal always filling as many

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<v Speaker 1>seats as possible. That's correct. The We are a heavy,

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<v Speaker 1>heavily unionized business and we have the best theatrical employees

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<v Speaker 1>in the world, but they're also the most expensive, and

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<v Speaker 1>the costs of Broadway continue to skyrocket because the world

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<v Speaker 1>expects us to deliver the best of everything, the best sets,

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<v Speaker 1>the best digital technology, as well as the best actors,

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<v Speaker 1>and it's it's an expensive business to run the The

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<v Speaker 1>history has shown that in the best years, one out

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<v Speaker 1>of four shows recoups on its investment, and for the

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<v Speaker 1>long run it's one out of five shows recoup on

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<v Speaker 1>their investments. So, uh, significantly reduced audience just doesn't work.

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<v Speaker 1>If if we open and have audiences of or less,

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<v Speaker 1>Broadway won't work. So we have to make sure that

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<v Speaker 1>when we open we have ticket sales to help keep

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<v Speaker 1>the shows open, because it would be a disaster to

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<v Speaker 1>have the shows open and then have to close three

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<v Speaker 1>weeks later. Right, So, Charlotte, I wonder, because I know

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<v Speaker 1>you're talking to producers and playwrights and all the folks

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<v Speaker 1>who are on the creative side as well. I mean,

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<v Speaker 1>what does this do for shows that were, you know,

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<v Speaker 1>maybe not quite ready to go, but we're teed up

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<v Speaker 1>to open in the second half of the year, or

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<v Speaker 1>maybe some shows that that we're scheduled to open at

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<v Speaker 1>the beginning of next year. Does everything get pushed? How

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<v Speaker 1>many things just don't happen? What's your sense of how

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<v Speaker 1>this sort of ripples through what we see when hopefully

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<v Speaker 1>we are able to return to Broadway early next year. Well,

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<v Speaker 1>I mean, fortunately, um, we have only had two shows

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<v Speaker 1>that were too open right after we closed Broadway on

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<v Speaker 1>March twelve, and one long running show, uh decide not

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<v Speaker 1>to come back and that was frozen. And then there

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<v Speaker 1>were the two that aren't going to be performing. But

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<v Speaker 1>that leaves about thirty five shows that could be coming

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<v Speaker 1>back when we reopen. And what happens is if they

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<v Speaker 1>all come back, there won't be enough theaters for the

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<v Speaker 1>shows that we're coming in because many of the shows

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<v Speaker 1>on Broadway are what you call limited runs. They say,

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<v Speaker 1>we're going to be running for twelve weeks or sixteen weeks.

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<v Speaker 1>And if those shows do in fact come back, and

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<v Speaker 1>we hope they do, then everything that was scheduled for

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<v Speaker 1>January or the spring will be pushed back a bit.

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<v Speaker 1>And we sure hope that all of those shows get

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<v Speaker 1>to come back. Those people work four to six years,

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<v Speaker 1>sometimes more to bring their show to Broadway, so we

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<v Speaker 1>want them to have their day. I have to say

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<v Speaker 1>I was kind of looking forward to it. I think

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<v Speaker 1>it was going to be a limited run. Sara Disca

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<v Speaker 1>Parker and Matthew Broderick. Right, they were just about to open,

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<v Speaker 1>weren't they. They were, but they are scheduled to come

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<v Speaker 1>back in the spring. Okay, that's good to hear local

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<v Speaker 1>residents making good on their profits. Right, Yeah, exactly what happens?

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<v Speaker 1>You know, I love you coming on because you do

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<v Speaker 1>explain kind of the economics, um, and you know how

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<v Speaker 1>Broadway works. What happens to all of those workers. You

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<v Speaker 1>say it's heavily unionized. Do they have they been getting

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<v Speaker 1>payments of some sort or are they getting money from

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<v Speaker 1>the government? Like, how does it work? What happens to

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<v Speaker 1>those workers. Well, when we shuddered, we paid the workers

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<v Speaker 1>for two and a half weeks, and then healthcare was

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<v Speaker 1>covered for longer than that, and many of the unions

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<v Speaker 1>are getting healthcare coverage still, and many are getting unemployment insurance.

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<v Speaker 1>But there's no question everyone on Broadway, producers, the people

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<v Speaker 1>that work in the producer's office, the people that work

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<v Speaker 1>in theaters, everyone is UH is experiencing difficulty. I mean

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<v Speaker 1>most people think Broadway wow big business, big big corporations.

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<v Speaker 1>Broadway is made up of hundreds of small little businesses

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<v Speaker 1>that put everything they have to bring their show to Broadway.

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<v Speaker 1>I mean, yes, you have Disney and a couple of

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<v Speaker 1>the big shows that big companies that bring their shows

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<v Speaker 1>to Broadway, but most are small, entrepreneurial businesses and they're

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<v Speaker 1>all suffering as well as the actors and stage hands

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<v Speaker 1>and designers. There's nothing good about this shutdown. And Charlotte,

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<v Speaker 1>you know, one of the things we talked about the

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<v Speaker 1>last time you were with us was you know, obviously

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<v Speaker 1>you have UH a window into this through the touring

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<v Speaker 1>companies as well. I mean, this is a national epidemic

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<v Speaker 1>and we're seeing it really flare up in a lot

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<v Speaker 1>of different places. I know, I believe if I remember,

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<v Speaker 1>you hail from Dallas, so you understand all different parts

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<v Speaker 1>of the of the country. How is the touring business

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<v Speaker 1>looking amid all of this? Is it completely shut down

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<v Speaker 1>as well? Are you seeing any movement there? Broadway tours

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<v Speaker 1>are in two hundred and forty two cities around our

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<v Speaker 1>country and they're all shuttered. The one slight glimmer of

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<v Speaker 1>hope is many of the other markets where the Broadway

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<v Speaker 1>shows two or two we're not as heavily hit by

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<v Speaker 1>the virus. So there is some thought that some some

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<v Speaker 1>of the cities can open up before the end of

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<v Speaker 1>the year. And most of our cities are not as

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<v Speaker 1>dependent on tourism as New York City is. They have subscribers,

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<v Speaker 1>and subscribers are very loyal to their theater. I mean,

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<v Speaker 1>I didn't miss a show at the Dallas Summer Musicals

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<v Speaker 1>for as long as I could remember, because that's where

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<v Speaker 1>I learned to love Broadway, and that's that's the way

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<v Speaker 1>people are in many of the markets across the country.

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<v Speaker 1>So hopefully we will get some of those people back

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<v Speaker 1>to work before the end of the year. Do you

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<v Speaker 1>see it as it's not until we get a vaccine

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<v Speaker 1>or at least treatment modalities that can treat people who

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<v Speaker 1>ultimately get the virus to keep you know, so that

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<v Speaker 1>they they may get the virus, but they and take

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<v Speaker 1>something that mitigates the symptoms and the outcomes. Is that

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<v Speaker 1>is that what will ultimately open up Broadway Charlotte, Well,

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<v Speaker 1>we do not believe that we have to have the

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<v Speaker 1>vaccine to open It will be great to have it,

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<v Speaker 1>but the medical professionals that we're working with say that

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<v Speaker 1>many other protocols that are coming close to being real

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<v Speaker 1>would allow us to come back. Certainly, the most critical

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<v Speaker 1>thing for the cast and crew is the instant testing

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<v Speaker 1>because there is no way that these performers can and

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<v Speaker 1>stage hands and the people that work backstage can come

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<v Speaker 1>back and we not be assured every single day that

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<v Speaker 1>they're healthy. Because if you've never been in backstage of

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<v Speaker 1>a Broadway theater, these are historic buildings that are spectacular,

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<v Speaker 1>but they're not the biggest backstage areas you've ever seen.

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<v Speaker 1>So uh, we have to have the testing that is reliable,

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<v Speaker 1>and we're getting good indications that those will be available

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<v Speaker 1>to us. Plus, there are protocols being developed all around

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<v Speaker 1>the world that we're obviously watching and paying attention to

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<v Speaker 1>at theaters of Global Community, and Broadway travels around the world,

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<v Speaker 1>and the world travels to Broadway, so we're all sharing information,

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<v Speaker 1>and our medical experts are telling us that, uh, they

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<v Speaker 1>have cautious optimism that we can come back after the

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<v Speaker 1>first of the year, not telling us exactly what, but

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<v Speaker 1>after the first and uh, and we're hoping for that

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<v Speaker 1>to be the case. As we all know, we find

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<v Speaker 1>out new things about this virus. Seems like every week.

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<v Speaker 1>Sometimes it's positive and sometimes it's not, so we're very

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<v Speaker 1>dependent on the good news. Yeah, as you're as you're

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<v Speaker 1>talking about backstage, and I'm thinking about, uh, that opening

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<v Speaker 1>scene of of the movie Birdman Charlotte where they're sort

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<v Speaker 1>of going through all those narrow little halls and he's

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<v Speaker 1>squeezing past everybody. You're right, I mean, it's just one

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<v Speaker 1>of these things. And we talk about sports in the

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<v Speaker 1>same way, sort of the intimacy of it, and that's

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<v Speaker 1>why we love it in many ways. I mean, I

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<v Speaker 1>guess as you started out this conversation by talking about Charlotte,

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<v Speaker 1>I wanted to ask you about New York City because

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<v Speaker 1>we've been having so many conversations Carol and I have

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<v Speaker 1>with so many guests about how the city may change

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<v Speaker 1>on on the other side of this. And given that

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<v Speaker 1>Broadway is so critical and as you say, so interconnected

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<v Speaker 1>with that whole environment and so many different industries and

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<v Speaker 1>little it's a little mini economy more than a mini economy,

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<v Speaker 1>and economy into into itself unto itself, how do you

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<v Speaker 1>think New York changes on the other side of this

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<v Speaker 1>just only got about a minute left, sure, I mean,

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<v Speaker 1>I do think it would be unrealistic of us to

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<v Speaker 1>assume that Broadway and that New York City comes back

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<v Speaker 1>full speed. I think we're anticipating that we will have

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<v Speaker 1>to build up the tourism and the attendance at all

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<v Speaker 1>things New York City. But we know that there's an

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<v Speaker 1>enormous amount of demand for people to come back to

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<v Speaker 1>New York and the longer we're closed, the more demand

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<v Speaker 1>there will be. That was the president of the Broadway League,

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<v Speaker 1>Charlotte st. Martin, and Jason. I'm not surprised. I remember

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<v Speaker 1>our earlier conversation a month or so ago with her,

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<v Speaker 1>and she was not hopeful, I mean her whole point.

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<v Speaker 1>But how do you put all of these people in

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<v Speaker 1>a Broadway theater. How do you keep them safe? How

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<v Speaker 1>do you keep the people, the performers on the stage safe.

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<v Speaker 1>I mean, it's really really difficult, and it's also a

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<v Speaker 1>financial model that you really need full theaters for it

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<v Speaker 1>to work. Well, that's exactly what I was gonna say.

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<v Speaker 1>This is a health problem, but also an economic problem,

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<v Speaker 1>as everything is with the virus and the response, and

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<v Speaker 1>certainly that is coming to hear one Broadway. You've been

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<v Speaker 1>listening to Bloomberg Business Week Extra, because sure to tune

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<v Speaker 1>into Bloomberg Business Week Were you Live? Monday through Friday

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<v Speaker 1>at g PM, Wall Street Time, Pom Bloomberg Radio. I'm

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<v Speaker 1>Carol Masser and I'm Jason Kelly. This is Bloomberg