Sir Cameron Mackintosh, one of the most influential figures in musical theatre, has voiced sharp criticism over the rising costs of producing shows on Broadway, describing them as having “escalated beyond all reason.” While the West End is thriving post-pandemic, Broadway faces challenges that threaten its long-term viability, prompting industry leaders like Mackintosh to call for urgent reform.

Broadway Costs in Crisis

In an interview with the Financial Times, Mackintosh expressed concern over the financial landscape of Broadway, where the cost of staging and maintaining productions has soared. “The real problem in America is that the cost of running a show has escalated beyond all reason,” he stated.

To illustrate the disparity, Mackintosh pointed out that while a major West End production might cost £350,000 (approximately $565,000) to stage, the same show on Broadway could demand upwards of $2.8 million. Weekly running costs also remain significantly higher in New York, driven by union demands, venue rents, and the city’s steep operational expenses. These factors have created an environment where, according to Mackintosh, “many producers are struggling to make the numbers work, even for hit shows.”

Comparing Broadway and the West End

Mackintosh contrasted Broadway’s financial struggles with the booming West End, where his company, Delfont Mackintosh, oversees eight iconic theatres, including the Prince of Wales Theatre and Wyndham’s Theatre. Recent accounts revealed the group achieved a £71 million turnover in 2024, marking its most lucrative year since 2014. “London is far busier for most of the year than it ever was pre-Covid,” Mackintosh noted. “We used to have bigger troughs, after Christmas and in September, but it seems to be levelling with London filling up with more and more people.”

The West End’s resurgence has been fuelled by strong attendance figures, tax credits, and arts subsidies, which have enabled producers to offer more affordable ticket prices and attract a wider demographic. In the first three quarters of 2024, the West End generated £793 million in revenue, with over 13.2 million tickets sold. These figures represent a 10% growth compared to pre-pandemic years, highlighting the region’s ability to bounce back stronger than ever.

Challenges Facing Broadway

Broadway, in contrast, has struggled to recover. According to a report by the Broadway League, overall grosses for the 2023-2024 season were down 17% compared to the pre-pandemic 2018-2019 season. Audience attendance also fell short of expectations, with a growing reliance on tourists who are still returning to New York in smaller numbers than before the pandemic.

Broadway’s financial pressures have also led to higher ticket prices, which have made theatre increasingly inaccessible to many. Fellow producer Sonia Friedman, whose productions include Harry Potter and the Cursed Child and The Ferryman, echoed Mackintosh’s concerns in an interview with The Stage. “Broadway is a very, very challenging environment to both create and also have commercial success. The expense is rising, the ticket prices are rising, and it’s something that does need to be addressed across the industry, across the community.”

Friedman called for collective action, adding: “The community on Broadway needs to come together to figure out how to make theatre affordable for the future, and how to bring new artists in for the future.”

A Legacy of Excellence

Despite these challenges, Mackintosh remains a towering figure in global theatre. His productions, including Les Misérables, The Phantom of the Opera, and Miss Saigon, have set benchmarks for artistic and commercial success. As the owner of Music Theatre International, the world’s largest licensor of musical theatre, Mackintosh has also played a key role in expanding access to productions worldwide.

In London, Mackintosh’s West End venues continue to host long-running hits like Hamilton, Les Misérables, and The Phantom of the Opera, which marked its 38th anniversary in 2024. The arena tour of Les Misérables, featuring Michael Ball and Alfie Boe, was another major success, while the revival of Oliver! received critical acclaim after transferring from Chichester to the West End.

Looking Ahead

Mackintosh’s influence extends beyond his productions to his role as an advocate for the industry’s future. While celebrating the West End’s success, he remains deeply concerned about the sustainability of Broadway’s current model. His call for reform echoes throughout the industry, highlighting the need for innovation, collaboration, and financial restructuring to ensure that live theatre remains accessible and viable on both sides of the Atlantic.

“Broadway and the West End have always been the beating hearts of theatre,” Mackintosh said. “But we need to ensure that both can thrive, not just for today but for the generations to come. That means finding solutions to the challenges we face, whether they’re financial, creative, or cultural.”

As the theatre world navigates a post-pandemic reality, Mackintosh’s warnings serve as a stark reminder of the need for balance between artistic ambition and financial practicality. His enduring commitment to theatre’s evolution continues to inspire hope for its future.