Hope springs eternal, and that's the way we are in this game; we're always optimists.
—Richard Frankel, producer and general manager
Individual producers are a very important part of this equation to keep the theatre interesting and vital and vibrant, and I think fewer of them think of it as “product” in the same way the corporations have to.
—Nina Keneally, producer
You still can make a big difference as an individual producer.
—Daryl Roth, producer
The best way to become a millionaire producer is to start off with a billion dollars.
—attributed by Edgar Dobie, producer, to James M. Nederlander, theatre owner and producer
There are no real producers on Broadway anymore.
—Heard far and wide for a number of years from countless sources in every walk of theatrical life
In June 2001, The Producers opened on Broadway to wildly enthusiastic reviews and an enormous box office advance. The Mel Brooks musical lavishly and savagely satirizes the world of producing in the persona of the down-on-his-luck impresario Max Bialystock, whose scam to rescale the heights of his former Broadway glory involves finding the worst play ever written—a loving musical tribute to Adolf Hitler—capitalizing it at 25,000 percent of its real costs, hiring the worst “talent” available to ensure its spectacular one-night demise, and absconding with the leftover millions to Rio. Despite their worst intentions, Bialystock and his hapless partner, Leo Bloom, unwittingly engineer a camp blockbuster of mammoth proportions and are faced with the impossible task of paying back all the little old ladies who entrusted them with their money.
A few days after the show swept the Tony Awards, the New York Times ran a piece in which some real Broadway producers told a few jokes on