Singapore/Fling, I think you're right. Eustis is quoted in the article as saying that he likes to keep his commitments (hence paying artists for cancelled shows), but he has no idea when programming will re-start and he doesn't want to commit to anything until that's clear. So even after theaters are given the go-ahead, the Public won't have anything formalized and will have to go through that process before actually having performances.
Eustis's approach is better than repeated cancellations and postponements, although most organizations would find that hard to do. The Public is financially more stable than a lot of theater companies and can withstand a long pause better than most, although they are anticipated to have a multi-million dollar shortfall by the end of the summer. |
