HOW many rich people does it take to lose money on a Tony Kushner show?
At this point, about 10 (plus a few production companies), although the situation is still fluid, so if you’re a rich person seeking a Pulitzer Prize, very possibly a Tony (the award, not the aforementioned writer) and a pat on the back from Frank Rich, there’s still time to get in on the action!
Here’s the list of gold-plated folk who are throwing their spare change into the bleach cup to transfer “Caroline, or Change” – Kushner’s spectacularly uncommercial civil rights-era opera – from the Public Theater to Broadway next month:
Carole Shorenstein Hays – owns half of San Francisco (including the bridge, I’m told); has the commercial rights to the show and will be top dog on the transfer; very close to Public theater chief George C. Wolfe, who directed “Caroline, or Change”; transferred “Take Me Out” and “Topdog/Underdog” to Broadway from the Public; already has three Pulitzers but, like handbags, shoes and private jets, can always use more.
Margo Lion – produced “Hairspray,” which has made her a power broker on Broadway; very close to Wolfe, having produced his “Jelly’s Last Jam” (who is closer to Wolfe, Lion or Shorenstein Hays, will no doubt be settled once and for all on this show); attended “Caroline, or Change” production meeting this week trailed by two young hedge-fund managers (who, I trust, are going put their own money, and not that of their clients, into the show); has one Pulitzer (“Angels in America”).
Daryl Roth – married to real estate magnate Steve Roth; already has an extensive collection of Pulitzers (“Wit,” “Proof,” “Three Tall Women,” “How I Learned to Drive”), but clearly wants more, which is the only explanation for why she moved that dud, the 2003 Pulitzer winner “Anna in the Tropics,” to Broadway this season.
Roger Berlind – former investment banker who’s been plowing money into Broadway shows for years; new to the Pulitzer-chasing game as co-producer of “Anna in the Tropics”; generally sticks to musicals, though with spotty track record – “Kiss Me, Kate” and “City of Angels” don’t begin to cover losses from “Steel Pier,” “The Life” and flop king Stephen Sondheim‘s “Passion” and “Bounce.”
Rocco Landesman – head of Jujamcyn Theaters, which is giving “Caroline, or Change” its Broadway home, the Eugene O’Neill; will not be on the line for any money, but is simply giving the show a break on rent and other theater-related costs – which is a very clever way of scoring points with The New York Times without having to pay for the privilege.
Scott Rudin – famously shrewd movie and theater producer whose solid relationship with Kusher will be further cemented by involvement in this production.
Freddy DeMann – old-time talent manager who once looked after Madonna; co-produces with Shorenstein Hays; had Carole Bayer Sager and Carly Simon write a theme song to “Take Me Out,” which playwright Richard Greenberg skillfully managed to have killed.
Baruch-Frankel-Viertel – consortium that co-produced “The Producers” and “Hairspray”; not officially in “Caroline, or Change” yet because not all the partners have seen it, but those who have, love it; will no doubt invest partly because of relationship with Kushner going back to “Angels in America.”
Fox Theatricals – Production company out of St. Louis that usually sticks to mainstream fare like “Thoroughly Modern Millie”; seeking artistic caché by investing in “Caroline, or Change.”
HBO – produced “Angels in America” miniseries and, as a favor to Kusher, is kicking in half a million bucks on this one; will also pay for opening night party.
Together, this crowd has ponied up about $5.5 million of the $6 million needed to produce “Caroline, or Change” on Broadway.
So, technically, the thing is not a go yet.
But other potential investors are going to see the show this weekend, so I suspect the gap will be closed by Monday.
And then the fun begins.
First, the fight for billing, which should last longer than the struggle for civil rights.
Shorenstein Hays’ name will be on top, of course, but after that, it’ll be every rich person for himself.
And when they finally settle on the pecking order, will there be any room left on the poster for the names of the actors?
As for the ad and marketing meetings, more people will attend them than were at the March on Washington.
“I have a dream!” will give way to, “I have an idea!”
Press coverage will be intense, with The New York Times no doubt establishing a weekly Tony Kushner supplement to the Arts and Leisure section.
The paper’s critic Ben Brantley gave the show a mixed review last year, but will surely be forced, under the institutional weight of the Times (i.e., Frank Rich), to toe the Kushner party line and give the Broadway production a strong send-off.
As for the Tony Award, well, if all the people producing “Caroline, or Change” vote for it, then it’s a shoo-in.
In which case, notes one investor, they’ll have to expand the stage at the Tonys – “so we can all fit.”