The Wildcat

So, it's another quasi-sports entry. Last season, the Miami Dolphins re-introduced a new offensive scheme into the Pro Football playbook that, until then, was more associated with College Football. It's called the Wildcat. Without getting too involved in explanation, it basically consists of a direct snap from the center to the running back with an unbalanced offensive line (Did I lose any of you yet? Stay with me, theatre talk starts soon). It was not a common practice in Pro Football until the Dolphins unearthed it and moved their game in a successful direction. In fact, they went from the worst team in football to a division leader and playoff team within one year. Opponents had to factor in the threat of the Wildcat as they prepared to play the Dolphins. Sometimes, they beat it. Often, they didn't. This season, teams practice their own versions of the Wildcat, even giving it custom names, like the Chargers' Wild Frog or Cowboys' Wild Hog. In short, the Wildcat changed the game.

The analogy begins. A couple of days ago, two producers struck a deal with the Shubert Organization (the largest landlord on Broadway, owning and operating 17 Broadway theaters). Producers Frederick Zollo and Robert Cole entered into a three-year development deal with the Shuberts, which basically states that should they have an interesting property to produce, they will come to the Shuberts first. The Shuberts have the option to jointly produce the project. If they are interested, this would guarantee a Shubert Theatre on Broadway, as well as either an outright investment by the Organization, or advisement without investing (but, still a guaranteed theatre). Plus, now these independent producers have their own sweet office space with the Shubert Organization.

In these times, producers are getting more creative to make sure that shows they believe in can still make it to Broadway. While similar deals have been done in the past (see the article here for details), this particular deal, at this particular time, is definitely "thinking outside the box." And it's a game-changer. This is basically guaranteeing a Broadway home for these producers for the next three years, with this mighty theatrical machine acting as more than just a landlord for the productions. If the Shuberts invest in the show, or even attach their brand as "advisors", they are that much more committed to the show's success. That can only help the project's chances. It's like a how a movie has a better chance at being successful when it's made by a big studio, as opposed to being made independently, because larger studios have distribution deals with movie theaters across the country that guarantee the movie will be played in any number of those particular theaters.

While we're on the subject of Broadway theatre owners, here is another theatrical Wildcat, even though it's now old news for those who follow theatre. But, for those who don't, here's a little rundown. There are, essentially, three major organizations that run the Broadway theaters in New York City: the aforementioned Shubert Organization (17 theaters), The Nederlander Organziation (9 theaters), and Jujamcyn Theatres (5 theaters). Recently, Rocco Landesman stepped down as the president of Jujamcyn in order to head up that little organization called the National Endowment for the Arts. His shoes were filled by vice president and resident producer, Jordan Roth.

Why is this significant? More importantly, why is it a Wildcat move? I'll directly quote the NY Times to set you up: "The other two Broadway stalwarts, the Shubert and the Nederlander organizations, are led by Philip J. Smith, 78, and James M. Nederlander, 87." Then there's new Jujamcyn President, Jordan Roth, 33. That's right, 33. In fact, I believe that he'll be finishing up his work for an MBA at Columbia in May. He now presides over a third of the power structure for Broadway theaters. The next generation is upon us and Mr. Roth will be one of the many to take theatre in New York, and elsewhere, into the future. New ideas, fresh perspectives, and the power to implement them. That's what he brings to the table. This is the guy who produced the revival of "The Rocky Horror Show" on Broadway.....when he was 24! (What were YOU doing at 24?)

The Shubert deal and the hiring of Jordan Roth exemplify the Wildcat. It's part of a grand effort to shake up the system in order to keep the institution of theatre relevant and exciting. Just like the Pro Football Wildcat offensive scheme has critics and fans, I'm sure these decisions will have plenty of both. But, nevertheless, people must acknowledge the changes and play the game accordingly, lest they be left behind....like the Cleveland Browns.

"Confidence is contagious and so is lack of confidence, and a customer will recognize both."

Some Broadway producers may need to pay attention to the above quote as they embark on their latest endeavor.

According to the New York Times, a Gridiron legend is coming to the Great White Way! A play has been written about NFL Trophy namesake, and former Green Bay Packers coach, Vince Lombardi. And apparently, the story is strong enough to try to get "cheeseheads" into the Big Apple to see it. Check out the article here.

Any fan can tell you that it's difficult to watch most sports contests without getting a little emotionally involved. Similar, but not directly related to, what I wrote about professional wrestling, all sporting events are entertainment. And often, they are a visceral form of entertainment because of their spontaneity. We don't know what is going to happen and we are on pins and needles as the contests play out. We, as the audience, experience a range of emotions, from rage to elation, as we watch every touchdown, home run, goal, or basket. I can confirm this personally, as I jumped up and down like a 10-year old when the New York Yankees won their 27th World Series last Wednesday. Like the Gladiators of old, athletes display their talent in an effort to vanquish their opponent, to the delight of the home crowd (although, unlike the Gladiators, the results of modern day events are hopefully a little less...well...bloody).

So, naturally, many of these titans rivet us to the point of paying for tickets to the events, buying merchandise, and even attending victory parades in Lower Manhattan (not saying that we all do that, but some of us do--Go Yanks!). And when you discuss the engineers of these displays, namely the coaches, people are intrigued because it takes a special person to control the chaos of two teams battling for dominance on any given day. And Lombardi was a pivotal character in the history of both professional football and America. I honestly feel that their could be an audience for this that may be different from the usual Broadway prototype, not unlike those going to see "Rock of Ages." Sure, I think the usual Broadway theatregoers will be interested. But, there is a special market that producers, I hope, will be particularly focused on. You may have sports fans that will want to see the life of one of their heroes played out on stage, live, instead of watching the umpteenth documentary of him on the NFL Network. And that could be a good thing for both sports and theatre, as it can deepen our appreciation for both. (That is, of course, if it's any good. Stay tuned...)