ANNuAl RepoRT 2006–2007 - Roundabout Theatre Company

For 41 years, Roundabout Theatre Company
has pursued its core mission of teaming
great theatrical works with the industry’s
finest artists and creating world-class productions
both on and off-Broadway. In our 2005-2006
season, as Roundabout celebrated its 40th
anniversary, the company took the opportunity
to look back at its accomplishments and take
stock of its incredible growth. For much of that
time, real estate was a constant and pressing
issue. But after moving through eight theatres
in seven locations, Roundabout now has three
permanent theatrical homes. In the process, it
has developed a sterling reputation, won a host
of awards, and become the largest not-for-profit
theatre company in the nation.
“ [Roundabout] has done so much to ensure that
New York’s vibrant cultural community—one of
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The year in review
our proudest defining features—remains strong
and growing.”
—Michael R. Bloomberg, Mayor
This newfound security is allowing Roundabout
to focus fully on the theatre’s long-term future.
In its 2006-2007 season, the company was
decidedly looking forward. Having managed such
incredible growth in its first 40 years, what new
ways could it continue to meet the changing
needs of the community while remaining true to
its mission during the next 40 years? There has
never been a more challenging time to produce
theatre in America. Costs continue to skyrocket
far beyond the rate of inflation. As Times Square
increasingly becomes a family-oriented tourist
destination, much of Broadway and the touring
market is dominated by productions that appeal
to family audiences. Yet Roundabout remains
steadfast in its belief that there is a place for
serious theatre for mature audiences. To create
these top-notch productions, Roundabout enlists
the best artists working in the industry and
provides them with the materials and confidence
with which to create theatre magic. The resulting
collaborations are the foundation of its theatrical
programming and the core of all that
Roundabout does.
For instance, the first production of the season
was Heartbreak House, a revival of one of George
Bernard Shaw’s most complex and difficult
plays. In it, Shaw introduces a wealthy group
of Brits who spend a weekend at a country
manor obliviously obsessing over their love lives
while the world around them dissolves into
chaos. Although Shaw wrote it as a scathing
indictment of upper class society before World
War I, it seemed like his myopic characters
could resonate with audiences today. Heartbreak
House was one of the few of Shaw’s plays that
Roundabout had never produced and hadn’t
been seen on Broadway in over 20 years. In
addition, Captain Shotover was
a role that longtime Roundabout
favorite and acclaimed Shavian
interpreter Philip Bosco longed
to play. To tackle this behemoth,
Roundabout put together one of
the most impressive ensembles
on Broadway: Bosco was joined
by two other longtime friends
of Roundabout, Byron Jennings
and Swoosie Kurtz, along with
exciting artists making their Roundabout debuts
such as Laila Robins, Lily Rabe and director
Robin Lefevre. This was a classic Roundabout
production in many ways: a crack ensemble
weaving an intricate, large-scale play into an
engaging and thought-provoking evening that
audiences eagerly devoured.
On each production, Roundabout always works
diligently to pair the right artist with the right
project. With the amount of time, effort and
expense that goes into mounting a play or
musical, we want to know that we have given
the production the biggest chance of success
possible by bringing together artists that will each
bring something unique to the process. In turn,
this allows Roundabout audiences to see these
works in a new, illuminating light. Roundabout
would rather wait for the right artists—even if
that means postponing a show we’ve already
announced—rather than rush a production onto