Could “Broadway” Ever Leave New York City for Good?

by Chris Peterson

I know. Even suggesting it feels wrong. Like asking Disney World to move to Nebraska. “Broadway” belongs in New York. That’s what we’ve always been told. The theaters, lights, energy, and long lines at Junior’s Cheesecake after a Wednesday matinee are all baked into the mythology. But here’s the uncomfortable truth no one wants to say out loud.

What if Broadway productions just can’t afford to be in New York anymore?

Because let’s face it. The math is starting to get ugly.

The rent? Climbing faster than a ladder in Newsies. And I don’t mean just rent for artists. I mean the rent productions pay to theater owners, most of whom are massive real estate companies with deep pockets and even deeper spreadsheets. These aren't quaint old playhouses. These are revenue machines. Some theaters are part of buildings that rake in millions from corporate tenants. And producers are expected to pay top dollar just for the privilege of using the stage.

Then there’s the tax credit situation. The one that helped make Broadway shows a little more feasible to launch in New York after the pandemic. Well, that’s fading. If it expires or disappears altogether, you can expect more producers to reconsider whether putting up a show here is even worth it. We are talking about productions that already cost $10 million just to open. Without incentives, it becomes a financial tightrope with no safety net.

Now throw in the cost of living. If you want to work on Broadway, you probably need to live in New York City or close by. And if you want to live in New York City, you probably need to be a wizard, a Wall Street analyst, or have five roommates and a rent-stabilized unicorn apartment. The actors, stage managers, musicians, ushers, wardrobe supervisors, sound board ops, and assistant choreographers who actually make Broadway run are all getting squeezed. They can’t survive here long term. And guess what? If they leave, Broadway loses its backbone.

And here’s the part that really stings. All of that cost trickles down to the audience. That’s why you’re looking at $200 orchestra seats for a new musical and $900 premium seats for a revival with a celebrity lead. And sure, you can try for rush tickets or a lottery if you have the time and local zip code to gamble with. But for the average out-of-towner(especially with a family) who planned a weekend around seeing a Broadway show, those options are slim. And they aren’t guaranteed. For many fans, especially young ones, especially those who are not wealthy, Broadway is something they can only admire from afar. Because love doesn’t always come with disposable income.

The truth is, ticket prices are going up not because producers are greedy, but because the business model is collapsing under the weight of New York City itself. Everyone is trying to break even. Everyone is trying to survive. And if people stop buying tickets? Shows close. And we end up in the same cycle of blame, wondering why a critically acclaimed production couldn’t make it past eight weeks.

So here’s a wild idea. What if “Broadway” left?

I’m not saying Times Square turns into a graveyard overnight. But think long term. Cities like Atlanta, Las Vegas, Dallas, Nashville, and even Chicago are making significant investments in the arts. They have the space. They have the crews. They have the talent. They have the legislation making it better for producers to come there. Unlike New York City, they seem to actually want the business.

If the economics keep shifting, producers might start building big shows elsewhere and then maybe bring them to New York when it’s worth it. Or not at all. Because touring companies already do 80 percent of the job. For many Americans, their idea of Broadway comes in a truck and plays in a giant theater two towns over. What happens when those trucks just start picking up new shows that never even played Manhattan?

This isn’t just theory. It’s already happening in other parts of entertainment. Cirque du Soleil made its empire in Vegas. The majority of film and television production moved from L.A. to Atlanta. Even some of the biggest concerts now rehearse and launch out of arenas in other states, where it costs a fraction of what it would in New York.

The idea that Broadway can only exist in Midtown Manhattan is starting to feel more nostalgic than practical. Broadway isn’t just a street. It’s a standard. It’s a brand. If you can build a Broadway-caliber theater in Singapore or Toronto or LA, why not Houston or Charlotte or Miami?

Of course, it won’t be exactly the same. There’s only one Times Square. There’s only one Sardi’s. And there’s only one rat that drags a slice of pizza down the subway stairs. But if we’re talking about the long-term health of the Broadway industry, we have to be real. The business model is breaking. New York is pricing out its artists, its workers, and possibly its future.

Theatre isn’t going away. But Broadway, as we know it, might change.

Maybe in ten years, "Broadway" is less about geography and more about scale. A Broadway show could premiere in Atlanta, stream on Max, tour Europe, and pop up in New York only when it makes fiscal sense. The city won’t be the center anymore—it’ll be one of many stops.

I love Broadway. I love what it means. But if we keep pretending that Broadway is financially bulletproof just because it’s in New York, we’re in for a rude awakening.

It’s time to ask the tricky question. Is New York still the best place for Broadway to live? Or is it just the most expensive?