Hal Luftig

That's how far back we're going. Liza Minnelli in the act was $25. And people were outraged, Stephen. I remember people thinking, what the hell, $25? When it opened and became sort of a hit, they bumped it up to $27.50. You shared in some of that, sure, as the show, but they got the lion's share because of their royalty. So that's how theater owners kind of work.

Yes, it totally does. But they would say, and there's part of me that does understand this, that when a theater is dark, they are receiving no income and they do have all of these bills to pay. You know, if a show is in trouble, they'll reduce the rent or they'll waive the fee. So, yeah, they do help.

Yes, it totally does. But they would say, and there's part of me that does understand this, that when a theater is dark, they are receiving no income and they do have all of these bills to pay. You know, if a show is in trouble, they'll reduce the rent or they'll waive the fee. So, yeah, they do help.

Yes, it totally does. But they would say, and there's part of me that does understand this, that when a theater is dark, they are receiving no income and they do have all of these bills to pay. You know, if a show is in trouble, they'll reduce the rent or they'll waive the fee. So, yeah, they do help.

No.

No.

No.

Steve, I will tell you this. I understand that every rule that exists in every union is there because at some point somebody tried to screw them over in that specific area. And so next time the contract was negotiated, the union said, OK, we're going to deal with this.

Steve, I will tell you this. I understand that every rule that exists in every union is there because at some point somebody tried to screw them over in that specific area. And so next time the contract was negotiated, the union said, OK, we're going to deal with this.

Steve, I will tell you this. I understand that every rule that exists in every union is there because at some point somebody tried to screw them over in that specific area. And so next time the contract was negotiated, the union said, OK, we're going to deal with this.

For example, stage managers. You know, a producer who was not being very careful, not being very forthright, might say, oh, we could do this show with two stage managers. And meanwhile, it's the most complicated set in the world. It's dangerous. to not have enough stage managers who can watch the show and make sure everybody is where they're supposed to be, when they're supposed to be.

For example, stage managers. You know, a producer who was not being very careful, not being very forthright, might say, oh, we could do this show with two stage managers. And meanwhile, it's the most complicated set in the world. It's dangerous. to not have enough stage managers who can watch the show and make sure everybody is where they're supposed to be, when they're supposed to be.

For example, stage managers. You know, a producer who was not being very careful, not being very forthright, might say, oh, we could do this show with two stage managers. And meanwhile, it's the most complicated set in the world. It's dangerous. to not have enough stage managers who can watch the show and make sure everybody is where they're supposed to be, when they're supposed to be.

Things like if a trap door opens during the show, a stage manager has to say, it's okay to continue. They're all on headsets, so the audience never hears this. To continue because the trap has been closed and the stage is now safe.

Things like if a trap door opens during the show, a stage manager has to say, it's okay to continue. They're all on headsets, so the audience never hears this. To continue because the trap has been closed and the stage is now safe.

Things like if a trap door opens during the show, a stage manager has to say, it's okay to continue. They're all on headsets, so the audience never hears this. To continue because the trap has been closed and the stage is now safe.

Shows don't work on Broadway for a whole host of reasons. It doesn't have to be that the show is awful. You come to Broadway, let's just say you have 30 other choices. What people choose can be a byproduct of where they are at that moment. We learned this on Lingley Blonde.

Shows don't work on Broadway for a whole host of reasons. It doesn't have to be that the show is awful. You come to Broadway, let's just say you have 30 other choices. What people choose can be a byproduct of where they are at that moment. We learned this on Lingley Blonde.

Shows don't work on Broadway for a whole host of reasons. It doesn't have to be that the show is awful. You come to Broadway, let's just say you have 30 other choices. What people choose can be a byproduct of where they are at that moment. We learned this on Lingley Blonde.

If you are coming into the city and you have two kids, a boy and a girl, invariably the boy said, oh, I don't want to see that. That's a girl's story. So they choose another show that everyone's happy with. There are people who feel like, I don't need to see that on Broadway. I saw the movie. Not really comprehending that a good adaptation has its own vocabulary. It's not just the movie on stage.