The last time I attended a Broadway show—a buzzed-about revival of “West Side Story”—was on March 6th. Even then, a night at the theatre felt like a calculated risk: riding the A train, sitting close to strangers in the audience, going out for a post-theatre drink. The next Thursday, amid reports that a part-time Broadway usher had tested positive for covid-19, Broadway shut down completely. Theatre is ephemeral, but the idea of Broadway—a $1.8-billion industry and a major part of the city’s (and the country’s) artistic lifeblood—disappearing like a soap bubble was hard to fathom. “It was unimaginable that New York would not have theatre, would not have shows on Broadway, and crowds in Times Square every night,” the actor John Lithgow says in the video above.
The Broadway drought, which at this point seems certain to last into 2021, has coincided with another upheaval: the Black Lives Matter protests and the calls for change that they’ve inspired in the arts. Newly formed collectives such as Black Theatre United and We See You, White American Theatre have demanded active measures to counter structural racism onstage and off. No one is cheering the prolonged pause, but the shutdown might help to open up space for a deeper reckoning than would be possible with Broadway in full swing. “Once it is possible to begin bringing audiences back, it may also be the case that we have to think about lowering ticket prices, and maybe we will have a younger audience, and maybe we will have a more diverse audience,” the playwright David Henry Hwang says. “Out of all this tragedy, there might be some silver linings for Broadway.”