The Licensing Revolution Reshaping American Theatre
Forget star power and critical acclaim – the biggest driver of what you’ll see on stages across America this season isn’t artistic vision, it’s availability. A surge in productions of shows like Come From Away, Dear Evan Hansen, and even a revival of Ain’t Misbehavin’ isn’t simply about audience demand; it’s a direct result of licensing rights becoming more widely accessible. This shift is fundamentally altering the landscape of regional theatre, and signals a potentially permanent change in how shows get produced.
The ‘Come From Away’ Effect: Democratizing Broadway Hits
Come From Away’s leap to the top of most-produced lists isn’t accidental. As creators Irene Sankoff and David Hein explained, a phased rollout of licensing rights, transitioning from the original Broadway producers to Music Theatre International (MTI), has unlocked the show for a vast network of theatres previously excluded. This isn’t just about more performances; it’s about democratization. Smaller regional theatres, community groups, and educational institutions can now bring a recent Broadway success to their audiences, fostering a wider cultural impact. The show’s 23 productions across 17 states demonstrate this reach, proving its appeal extends beyond major metropolitan areas.
Beyond Come From Away: MTI’s Expanding Influence
The trend extends beyond a single hit. Dear Evan Hansen and Frozen, also licensed through MTI, are experiencing similar boosts in production numbers. Even Ain’t Misbehavin’, a classic with long-available rights, is seeing a resurgence, likely fueled by renewed interest and the ease of access through established licensing channels. This highlights a crucial point: the availability of rights is often a stronger predictor of production frequency than a show’s initial Broadway run or critical reception. Theatres prioritize what they can produce, and licensing availability is a primary constraint.
The Rise of the Licensing Houses
Companies like MTI, Samuel French, and Concord Theatricals are becoming increasingly powerful gatekeepers in the theatrical ecosystem. They don’t just control access to scripts and scores; they influence the very repertoire that dominates regional stages. This concentration of power raises questions about diversity and artistic risk-taking. Will theatres increasingly gravitate towards shows with readily available licenses, potentially at the expense of newer, less established works?
The Enduring Appeal of Familiar Stories: Little Women as a Case Study
The proliferation of Little Women adaptations – seven stagings noted this season alone – underscores another key trend: the enduring appeal of well-known stories. Whether it’s Lauren Gunderson’s latest version, Kate Hamill’s adaptation, or the Broadway musical, audiences consistently gravitate towards narratives they already know and love. This isn’t necessarily a sign of a lack of originality, but rather a pragmatic response to audience preferences and a desire for guaranteed ticket sales. It also speaks to the adaptability of classic literature for contemporary audiences.
New Voices Break Through, But Licensing Still Matters
It’s encouraging to see recent Pulitzer Prize winners like Eboni Booth’s Primary Trust and Jonathan Spector’s Eureka Day gaining traction. James Ijames’s Fat Ham and Lloyd Suh’s The Heart Sellers continue to resonate with audiences, demonstrating a demand for fresh perspectives. However, even these critically acclaimed works benefit from increased visibility through licensing. Jen Silverman’s The Roommate, a popular staple for years, saw a surge in productions following its Broadway premiere, further illustrating the interplay between critical success and licensing availability.
Looking Ahead: A Future Shaped by Rights
The American theatre is entering an era where licensing rights will play an even more significant role in shaping its artistic landscape. Theatres will likely become more strategic in their programming choices, prioritizing shows with readily available licenses to minimize risk and maximize revenue. This could lead to a homogenization of regional theatre repertoires, but also presents opportunities for licensing houses to champion diverse voices and support the development of new works. The key will be finding a balance between commercial viability and artistic innovation. As the theatre industry continues to evolve, understanding the power of licensing will be crucial for both producers and audiences alike.
What impact will this licensing shift have on the development of new plays and musicals? Share your thoughts in the comments below!
