‘Paradise Square’ needs to be a cautionary tale

by Chris Peterson, OnStage Blog Founder

Today, ‘Paradise Square’ will close on Broadway and with it, end a saga that has lasted almost as long as the show’s creation.

In case you haven’t read the news, in the weeks leading up to today’s last performance multiple sources, performers, and others involved in the show came out with stories and allegations of mistreatment, toxic behavior, and financial mismanagement. There was a time when some waited multiple months for paychecks.

Something this awful is absolutely a rarity on Broadway, if not the entire professional theater industry. But it’s not exactly shocking when you consider who is at the center of this mess, producer Garth Drabinsky.

Last October, we published a four-part series that discussed Drabinsky‘s long history of fraud and shady business practices that left dozens of people unpaid for services rendered. It was preposterous to think that an individual like this would get a second chance to produce a major Broadway production, yet it happened. It goes to show that sometimes having friends in high places can still pay off in 2022.

However, with everything that’s happened and the court cases that will surely result from this catastrophe, this entire situation should serve as a cautionary tale for anyone active in the professional theater industry for decades to come.

We all talk about those legendary flops and business debacles such as ‘Rebecca: The Musical’, but there is something much different about this situation. Here, you have a producer that has a reputation for lying, toxic behavior, and questionable business practices. Yet, he was able to convince a number of people to get into business with him. I can only imagine how some of those folks must feel now.

At the same time, Drabinsky‘s reputation was well documented. He was convicted for his crimes in Canada. Other than his word, there wasn’t any substantial proof that this was going to be any different than his previous issues. So what exactly convinced these folks to do business with him? Did they not vet the situation? Not for nothing, but if I was going to give someone hundreds of thousands, if not millions, of dollars, I’m going to do my due diligence to make sure that it’s being invested with the right people. Nothing about Drabinsky should tell you that he deserved to hold $20 of your money.

I also have to blame those who were in charge of hiring the cast, musicians, and crew. These folks should absolutely have known about the issues surrounding Drabinsky. The fact that they would actively recruit friends, colleagues, and aspiring performers to such a dangerous producer, I have to wonder if they were looking out for the best interests of these people as well.

The folks who I will not blame in any way are the performers, musicians, and crew. These people were trying to get work at a time when work was sparse. And to potentially be part of a show that would be transferring to Broadway is an opportunity that is near impossible to pass up in this business. So I don’t blame any of them for auditioning or applying to be a part of this production. They also had to trust that entities were looking out for them. Whether it was the production company or their unions or their agents, there are a multitude of people that should have been looking out for them. This brings me to the unions. In my opinion, they are also to blame for the situation.

While Drabinsky has been put on the “do not work” list for Actors’ Equity, my question is why was he allowed to hire equity performers in the first place given the issues at hand. Also, according to my sources, complaints have been made to Actors’ Equity and other unions and organizations for months. Some even were made just after the show opened on Broadway, yet nothing was done until now. Why is that?

The biggest shame of all of this is that the show isn’t that bad. Someone said in a review that while it tells an important story, “it tries to do too much”, which is an accurate statement about this show. But it’s also a show that provides some incredible opportunities for Black performers, who certainly deserve better than going weeks and weeks without paychecks or wondering if they ever will get what is owed to them.

This was one of my biggest concerns about Drabinsky last fall, was that he was going to use BIPOC performers as a shield from major discussions about his involvement. That he would try to parade himself as some sort of champion for bringing diversity to 42nd St., to distract us from the fact that he should never be allowed to be involved in a theatrical production ever again.

So, while the show might be closing tonight and the sets will be struck and the dressing rooms will be cleaned out. The controversy surrounding ‘Paradise Square’ is not necessarily over yet. I am sure there are going to be multiple court cases that will drag on for years about financial issues surrounding this production. But one thing is clear - if this was Garth Drabinsky‘s second chance at a comeback, let it be his last one.