Producing Theatre in London vs. NYC: A Comparative Look
As a NYC-based theatermaker, it’s easy to fall into the mindset that our way of making theatre is the only way possible. That’s why I find visiting London both refreshing and rejuvenating as a producer and artist. London’s theatre scene is truly world-class, home to visionary artists telling bold stories in increasingly fresh and innovative ways. Every time I visit, I find myself overwhelmed by the wide variety of exciting theatrical experiences on offer as well as the wealth of opportunities for dynamic theatrical production and collaboration.
Of course, I remain loyal to Broadway as the world’s leading market for theatrical production, but I view the differences between our two theatre industries as opportunities to learn, adapt, and evolve as a theatermaker.
Here are 5 key differences I've observed between the NYC and London theatre scenes:
1. Economics
Any theatre producer in NYC will tell you: “Everything’s cheaper in the UK!” And it's largely true. While West End productions can still cost millions to mount, it's often a fraction of the tens of millions required for a comparable Broadway production.
This difference can be primarily attributed to labor costs. Broadway has a highly unionized workforce (e.g., Actors' Equity, IATSE), with higher wages and benefits; while the UK has strong unions too, wage minimums and benefits are typically lower. Theatre expenses also differ, as West End theatre owners also charge significantly less than their Broadway counterparts, who operate in some of the most expensive real estate in the world (Times Square).
Of course, the most unique difference is in the UK's government support for the arts. UK productions benefit from Theatre Tax Relief, which can reimburse up to 45% of eligible production costs, and from public funding during early development phases through organizations like Arts Council England.
2. Run Structure
Most commercial Broadway shows play open-ended runs, with no predetermined closing date. In contrast, many West End shows operate on a rolling extension model—initially booking a fixed run (e.g., 8-12 weeks), then extending based on ticket sales. In this case, a closing notice just means the show isn’t extending beyond its current on-sale window, often giving little indication as to whether the closing is for scheduling reasons or economic.
Some London producers find ways to squeeze in smaller runs for their shows between larger announced productions, building models to recoupment even within short runs of 4–6 weeks, only possible due to lower production costs—compared to Broadway, where even “limited runs” must run at least 12–16 weeks or longer if they wish to hit recoupment.
Uniquely, the lower cost structure even allows some productions to swiftly transfer between multiple theatres based on availability or demand. Case in point: the hit thriller 2:22 – A Ghost Story, which remarkably played five different West End theatres between 2021 and 2023.
3. Playing Schedule
Broadway shows typically go “dark” on Mondays, with a double-show schedule on Wednesdays and Saturdays. In the West End, you’ll find more varied schedules (which is great news for theatre tourists trying to pack out a busy weekend!). For example, matinees may occur on almost any day, including Fridays! As for dark days, Sundays are more commonly dark than Mondays, though you will still find the occasional show playing double on a Sunday. Across the board, evening shows tend to start at 7:30pm no matter the day of the week—unlike Broadway’s 7:00pm or 8:00pm start time inconsistencies.
4. Awards Eligibility
The Olivier Awards, the UK equivalent of the Tonys, recognize theatrical excellence across both West End and non-West End productions. This is a key distinction, as the Tony Awards only recognize Broadway shows.
Major institutions such as the National Theatre, Barbican Centre, Old Vic, Donmar Warehouse, Almeida Theatre, and Young Vic—though not considered West End houses—are frequently nominated and win major Olivier Awards. In many cases, award-winning productions at these venues later transfer to the West End for commercial runs. There also tend to be smaller qualified productions from lesser established Off-West End theatres that are recognized by the Oliviers in categories such as "Best Family Show" and "Outstanding Achievement in Affiliate Theatre".
5. Audience Tastes
One of the most striking differences is how certain shows achieve long-term success in London despite shorter or less successful runs on Broadway. As of this month, shows like Matilda, The Play That Goes Wrong, Mamma Mia!, and Phantom of the Opera continue to thrive on the West End—even after closing in New York.
The West End also embraces immersive productions more widely—such as ABBA Voyage, Mamma Mia! The Party, and Witness for the Prosecution.
Pantomime (Panto)—a satirical, family-friendly holiday tradition—and a legacy of broad, physical comedy (think Monty Python) continue to influence UK tastes, helping long-running farces like The Play That Goes Wrong and Fawlty Towers find lasting success.
(As a side note: My own show—Stranger Sings: The Parody Musical—ran several extended engagements Off-West End and toured more than 50 cities across the UK, achieving even greater success there than during our NYC run!)
What's clear is that there is a genuine appetite for new musicals in the UK, and audiences are eager for innovative work—an exciting opportunity for bold creators willing to take their shows across the pond.
While NYC remains the world's most powerful economic hub for theatre, the global influence of London’s theatre scene is significant—and growing. For theatermakers aiming to thrive in today’s international arts industry, building a relationship with the London market is not just an asset—it’s an invitation to broaden the scope of your storytelling, and partner with one of the most dynamic (and thriving!) ecosystems for theatre artists and theatre lovers on the planet!
Go get ‘em!
- Jonathan Hogue, TheaterMakers Studio Mentor
