I totally get that. I worked at WTF one summer and of a season of 10 productions (I think), 6 were classics/revivals and the other four were new work, some of which transferred to New York after further rewrites and some not. It was a good mix.
I assume that they are moving more toward presenting new work as a fund-raising tool. There's probably some kind of profit participation for WTF in future productions of work they premiere or are involved in the early development of and that can be a steady source of income for the company if something they had a hand in becomes a hit. |
