Along with the rest of the country, the Great White Way—the great American institution—took a giant blow post-September 11. Overnight, theaters became half-empty and 13 shows faced imminent danger of folding. Some new openings were postponed and others simply cancelled. Even diehard theatergoers found it hard to enjoy themselves in the midst of a national tragedy.

“Broadway had never faced a bigger crisis,” Phil Smith, prez of the Shubert Organization, told The Sheet. “In the days following 9/11, ticket sales plummeted and drastic action was needed if many shows were going to survive. Mayor Giuliani wanted Broadway back as soon as possible—a symbol that the city could function. Of course the theater unions didn’t want to see Broadway shut down. For the first time in its history, the industry looked for a way to make across-the-board cuts in wages for all theatrical employees, from actors and stagehands to musicians, ushers, press agents, and company managers. The theatrical community sensed that the survival of Broadway was at stake. But it seemed like an impossible dream.”

Well, Broadway like New York itself is built on impossible dreams. A New York without theater is unthinkable: Broadway is synonymous with the Big Apple—a symbol of culture, night life, and, above all, glamour! The show must go on!!! With amazing swiftness, union heads accomplished the impossible. They negotiated agreements for all industry employees to accept an immediate 25 percent pay cut. The measure helped save Broadway, says Smith, letting producers weather the bad times until business improved. And built into the agreement was a clause stipulating that once the shows involved were operating at a profit again, the 25 percent cut would be returned to employees. As it turns out, almost all the money was returned. Of the 13 shows in trouble, only five were forced to close—the others survived. And the remarkable efforts by the unions inspired everyone involved in theater to find additional creative ways to combat the impact of 9/11. Broadway stars staged a mass performance of hit musical numbers in Times Square and recorded a blitz of TV and radio commercials plugging the shows. Sound like a new plot for a B’way play???

Today, with a critically-acclaimed season of 35 new shows, Broadway is back in business. “It’s alive and well,” says Smith. “Thanks to former Mayor Giuliani and theatergoers from all over the country, ticket sales have returned to a healthy level. Most theaters on Broadway are lit, and there’s much anticipation as we enter the annual awards season, culminating with the Tonys on June 2. Broadway has always been resilient, but we’ve never had such a dramatic example until now!” He can say that again!

What does the future look like for the Great White Way? Stewart Lane, producer of the new musical hit Thoroughly Modern Millie, had this to say: “I see a return of great storytelling through musical theater. After two years of dance shows winning the Tonys, like Contact and Fosse, The Producers brought back the more traditional musical with its vaudeville-style comedy. Thoroughly Modern Millie is reminiscent of classic musical comedies like Guys and Dolls, and I predict we’ll see many more musicals like this.”

With everything coming up roses for Broadway, it’s only fitting that this issue of The Sheet is a salute to great American theater. Check out the excitement of opening-night Broadway parties, as well as Diane Clehane’s Q & A with legendary leading lady Elaine Stritch. A tribute to Broadway is a tribute to New York…We Must Never Forget!