Jeffrey Seller

It is also true that there is nothing I can do to become more efficient. I need those 26 to 35 actors. I cannot do it with less. In the case of Sweeney Todd, I need those 26 musicians. That's what I signed up for. That's what it takes.

It is also true that there is nothing I can do to become more efficient. I need those 26 to 35 actors. I cannot do it with less. In the case of Sweeney Todd, I need those 26 musicians. That's what I signed up for. That's what it takes.

It is also true that there is nothing I can do to become more efficient. I need those 26 to 35 actors. I cannot do it with less. In the case of Sweeney Todd, I need those 26 musicians. That's what I signed up for. That's what it takes.

I have two choices. Close my show or put more money in the bank so I can finance the losses every week. So now you've just gotten to the second most important decision a producer has to make. After what show will I do? When do I close? When the amount of money I bring in every week is less than the amount of money I need to operate my business, I close. What happened with Funny Girl?

I have two choices. Close my show or put more money in the bank so I can finance the losses every week. So now you've just gotten to the second most important decision a producer has to make. After what show will I do? When do I close? When the amount of money I bring in every week is less than the amount of money I need to operate my business, I close. What happened with Funny Girl?

I have two choices. Close my show or put more money in the bank so I can finance the losses every week. So now you've just gotten to the second most important decision a producer has to make. After what show will I do? When do I close? When the amount of money I bring in every week is less than the amount of money I need to operate my business, I close. What happened with Funny Girl?

What happened? Right. Well, what happened is that a young, talented star named Lea Michele came and completely 180 degrees turned that show around. Now, why would it then not extend?

What happened? Right. Well, what happened is that a young, talented star named Lea Michele came and completely 180 degrees turned that show around. Now, why would it then not extend?

What happened? Right. Well, what happened is that a young, talented star named Lea Michele came and completely 180 degrees turned that show around. Now, why would it then not extend?

I think they had her for a year, and stars like Lea Michele or Josh Groban, to get them to come to Broadway for a year is a wonderful thing. And it's very rare that you would get someone of that caliber to extend. Many stars, when they come to Broadway to do a play, will come to do like a 12-week run, and they're gone.

I think they had her for a year, and stars like Lea Michele or Josh Groban, to get them to come to Broadway for a year is a wonderful thing. And it's very rare that you would get someone of that caliber to extend. Many stars, when they come to Broadway to do a play, will come to do like a 12-week run, and they're gone.

I think they had her for a year, and stars like Lea Michele or Josh Groban, to get them to come to Broadway for a year is a wonderful thing. And it's very rare that you would get someone of that caliber to extend. Many stars, when they come to Broadway to do a play, will come to do like a 12-week run, and they're gone.

Asking a star to play 52 weeks is an enormous lift, and only special stars who love musicals, Hugh Jackman, Lea Michele, Josh Groban, are willing to do that because of their deep love for the form.

Asking a star to play 52 weeks is an enormous lift, and only special stars who love musicals, Hugh Jackman, Lea Michele, Josh Groban, are willing to do that because of their deep love for the form.

Asking a star to play 52 weeks is an enormous lift, and only special stars who love musicals, Hugh Jackman, Lea Michele, Josh Groban, are willing to do that because of their deep love for the form.

Theaters are best operated when it's a mom-and-pop business. That, again, is the producer Jeffrey Seller. We're not a real business. To expect a theater to have earnings growth every quarter is crazy. We go up and we go down. We have hits, but in between those hits, we have four flops in a row. One cannot guarantee shareholders or banks or whoever those people are consistent earnings.

Theaters are best operated when it's a mom-and-pop business. That, again, is the producer Jeffrey Seller. We're not a real business. To expect a theater to have earnings growth every quarter is crazy. We go up and we go down. We have hits, but in between those hits, we have four flops in a row. One cannot guarantee shareholders or banks or whoever those people are consistent earnings.

Theaters are best operated when it's a mom-and-pop business. That, again, is the producer Jeffrey Seller. We're not a real business. To expect a theater to have earnings growth every quarter is crazy. We go up and we go down. We have hits, but in between those hits, we have four flops in a row. One cannot guarantee shareholders or banks or whoever those people are consistent earnings.

The danger is that they're going to contribute to inflation by needing to take more of that box office pie to share with those money people.

The danger is that they're going to contribute to inflation by needing to take more of that box office pie to share with those money people.