On Broadway: Art and Commerce on the Great White Way » (3rd Edition)

Steven Adler was the drummer for Guns N' Roses from 1985 to 1990. In 2003, he started Adler's Appetite, with whom he released an EP and continues to perform live. He participated in the second season of VH1's Celebrity Rehab with Dr. Drew and the premiere season of Sober House, a Celebrity Rehab spin-off focusing on a sober living environment. He lives in Los Angeles with his wife, Carolina Adler.

At a critical, transitional moment in the history of Broadway—and, by extension, of American theatre itself—former Broadway stage manager Steven Adler enlists insider perspectives from sixty-six practitioners and artists to chronicle the recent past and glimpse the near future of the Great White Way. From marquee names to behind-the-scenes power brokers, Adler has assembled a distinctly knowledgeable cast of theatre’s elite, including Stephen Sondheim, Arthur Laurents, Des McAnuff, Frank Rich, Robin Wagner, Rocco Landesman, Robert Longbottom, Todd Haimes, Bernard Gersten, and Alan Eisenberg.

On Broadway: Art and Commerce on the Great White Way spotlights the differing vantage points of performers, artists, writers, managers, producers, critics, lawyers, theatre owners, union leaders, city planners, and other influential players. Each details his or her firsthand account of the creative and economic forces that have wrought extraordinary changes in the way Broadway theatre is conceived, produced, marketed, and executed. Once the paramount site of American theatre, Broadway today is becoming a tourist-driven, family-friendly, middle-class entertainment oasis in Midtown, an enterprise inextricably bound to the larger mosaic of national and international professional theatre. 

Accounting for this transformation and presaging Broadway’s identity for the twenty-first century, Adler and his interviewees assess the impact of the advent of corporate producers, the ascendance of not-for-profit theatres on Broadway, and the growing interdependencebetween regional and Broadway productions. Also critiqued are the important roles of the radical urban redevelopment staged in Times Square and the changing demographics and appetites of contemporary theatre audiences in New York and around the globe. 

Actors and administrators, performers and producers, theatre students and theatregoers will all benefit from the perceptive insights in this authoritative account of theatre making for the new millennium.