I was very impressed with Wolf's comments in the Playbill article:
Given its financial success and its adequate grosses in a time typically slow for all of Broadway, Wolf explains the (what may seem to some) surprising announcement: “We took a careful look at what was ahead. I’ve always approached this show in a very deliberate and confident way. I never wanted to be on the receiving end of these decisions. I’ve really gotten to know our show and what it is and what it isn’t.”
He continues, “Putting a stake in the ground and having a really strong and elegant closing campaign gives us time for people to find it who have been sitting back thinking it’s going to run forever. Beyond that, the thought of going into a spring that’s going to be inundated with very big, loud shows that are going to be spending a lot of money on advertising—and a summer that is traditionally meant for family audiences and tourists—I didn’t want my show to soften beyond a place that’s acceptable to me.
“We’re a profitable show, we’ve had an incredible run, and I could not be more proud. My ego is not in this. This is about preserving the success and that knowing everything about theatre is finite and that’s sort of what makes it beautiful.”
That's textbook smart producing, right there. |
