I take your point, but still somewhat respectfully disagree. This issue for me is the evolution/development of a play, which does have risks (of a sort) attached. I still subscribe to Marsha Norman's adage that every script takes three productions to get right. Many writers support her contention, there's a process built in; plays grow. And we know that Butterworth continued to work on this play in New York, adjusting the last few lines several lines, likely instigating other changes. Playwrights learn as they go, and texts are seldom frozen this early in the process (DISGRACED changed, moving from Chicago to London.) No, Jackman didn't take a personal risk except to lend support to a newish project still finding its stage legs.
I can't help but compare that to Bradley Cooper -- and honestly, I'm not criticizing Cooper here -- who chose to return to Broadway in a role long polished by the playwright, proven, tried, and re-tried. It's been a vehicle for everyone from David Bowie to (fill in the blank). Ask actors, that's more of a risk-averse choice.
So if we grade risk on a scale (and I know we do not need to), I'd certainly put Jackman's in a different league than Cooper's. It's still good news both men are here, pulling crowds.
On the other hand, Jackman followed West's performance in London. Creating a role is where the (degree of) artistic risk is taken. No writer knows if a play -- or character -- work until a production. Sometimes more than one production, as noted above.
Perhaps we're parsing risk, unfairly, inappropriately. Personal career risk is somewhat different from artistic risk.
I 100% agree that artists more frequently taking risks outside of New York would be exciting and nurturing to new work and play development in general. Someone will correct me if I'm wrong, but I believe Meryl Streep went to Seattle Rep to do a workshop of AN AMERICAN DAUGHTER by Wendy Wasserstein. On B'way it was Kate Nelligan. But Streep helping Wasserstein find the play early on was a true gift to that play's development.
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