Jeffrey Seller

It made the hair on my arms stand up. And I was in.

It made the hair on my arms stand up. And I was in.

I'm an atheist, but it felt like there was divine intervention. I mean, if God was over Michelangelo's shoulders, then he was over Lynn's shoulders as well.

I'm an atheist, but it felt like there was divine intervention. I mean, if God was over Michelangelo's shoulders, then he was over Lynn's shoulders as well.

I'm an atheist, but it felt like there was divine intervention. I mean, if God was over Michelangelo's shoulders, then he was over Lynn's shoulders as well.

A full price ticket, Sweeney Todd, $229. Okay. Why? Why does that ticket have to be $229? Correct. Because I employ, to do that show every night, almost 100 people. The good news is that every single one of those people is making well over $2,000 a week. And because they have a great union, they are making benefits that drive their salary closer to $3,000 a week.

A full price ticket, Sweeney Todd, $229. Okay. Why? Why does that ticket have to be $229? Correct. Because I employ, to do that show every night, almost 100 people. The good news is that every single one of those people is making well over $2,000 a week. And because they have a great union, they are making benefits that drive their salary closer to $3,000 a week.

A full price ticket, Sweeney Todd, $229. Okay. Why? Why does that ticket have to be $229? Correct. Because I employ, to do that show every night, almost 100 people. The good news is that every single one of those people is making well over $2,000 a week. And because they have a great union, they are making benefits that drive their salary closer to $3,000 a week.

And as a producer, not as a human, but as a producer, how do you feel about that? I am concerned today that we're losing the ability to hit, in baseball terms, a double. When I did Avenue Q, the show cost $3.5 million to put on Broadway, same capitalization as Rent did six years before that. We could operate the show. That means how much it costs every single week to run for about $325,000.

And as a producer, not as a human, but as a producer, how do you feel about that? I am concerned today that we're losing the ability to hit, in baseball terms, a double. When I did Avenue Q, the show cost $3.5 million to put on Broadway, same capitalization as Rent did six years before that. We could operate the show. That means how much it costs every single week to run for about $325,000.

And as a producer, not as a human, but as a producer, how do you feel about that? I am concerned today that we're losing the ability to hit, in baseball terms, a double. When I did Avenue Q, the show cost $3.5 million to put on Broadway, same capitalization as Rent did six years before that. We could operate the show. That means how much it costs every single week to run for about $325,000.

So if we were grossing $500,000 a week, we were making a nice little profit. And by the way, Avenue Q won the Tony, ran on Broadway for six years, and was what I call a solid double. Same exact formula for In the Heights, which came five years after that. However, it was more expensive.

So if we were grossing $500,000 a week, we were making a nice little profit. And by the way, Avenue Q won the Tony, ran on Broadway for six years, and was what I call a solid double. Same exact formula for In the Heights, which came five years after that. However, it was more expensive.

So if we were grossing $500,000 a week, we were making a nice little profit. And by the way, Avenue Q won the Tony, ran on Broadway for six years, and was what I call a solid double. Same exact formula for In the Heights, which came five years after that. However, it was more expensive.

There were 30 people on stage, more musicians, more scenery, more costumes, but it still was able to break even on Broadway every week for only $450,000, which means that if I'm grossing $700 a week, I'm still making a little profit. Today, shows like Avenue Q or In the Heights are costing $10, $12 million. That's more money I have to earn back.

There were 30 people on stage, more musicians, more scenery, more costumes, but it still was able to break even on Broadway every week for only $450,000, which means that if I'm grossing $700 a week, I'm still making a little profit. Today, shows like Avenue Q or In the Heights are costing $10, $12 million. That's more money I have to earn back.

There were 30 people on stage, more musicians, more scenery, more costumes, but it still was able to break even on Broadway every week for only $450,000, which means that if I'm grossing $700 a week, I'm still making a little profit. Today, shows like Avenue Q or In the Heights are costing $10, $12 million. That's more money I have to earn back.

And the operating costs, instead of being $300, $400, $500, are $700, $800, in my case for Sweeney Todd, over $900. And that massive inflation is being driven primarily by what? It's being driven by higher labor costs, higher rental costs for equipment, higher production costs for building sets, higher production costs for building costumes, higher rent from the landlords, advertising costs.

And the operating costs, instead of being $300, $400, $500, are $700, $800, in my case for Sweeney Todd, over $900. And that massive inflation is being driven primarily by what? It's being driven by higher labor costs, higher rental costs for equipment, higher production costs for building sets, higher production costs for building costumes, higher rent from the landlords, advertising costs.

And the operating costs, instead of being $300, $400, $500, are $700, $800, in my case for Sweeney Todd, over $900. And that massive inflation is being driven primarily by what? It's being driven by higher labor costs, higher rental costs for equipment, higher production costs for building sets, higher production costs for building costumes, higher rent from the landlords, advertising costs.