There has been much discussion in the theatre world (and some gnashing of teeth and rending of garments) over Enron's failure to crack New York. No such problems, though, for the Menier Chocolate Factory and its two West End-to-Broadway transfers – La Cage aux Folles and A Little Night Music. Between them, they have picked up a remarkable 15 Tony nominations.
It's an impressive haul, especially when you bear in mind that both shows started life in a 180-seat, non-government funded venue that only opened in 2004. And it's not a fluke. In 2008, the south London venue's US transfer of Sunday in the Park with George picked up nine Tony nominations. It's all even more remarkable for the fact that the Menier is, in effect, taking coals to Newcastle: its shows are UK revivals of great American musicals.
So, why such success? The two key factors are time and money. By time, I mean the amount of which the Menier has to develop its shows before parachuting them into the harsh economies of Broadway. And by money, I mean the different economies of producing musical theatre in the West End and on Broadway.
For a musical to work on Broadway, it needs to either be an instant hit, or have a huge fighting fund of production cash to support it through the opening months. That's because staging a show in New York is, thanks to a mixture of theatre rental and staffing costs because of higher union rates, far more expensive than creating the same show in the West End.
In London, producers are able to take greater risks and can develop a show over a longer period of time. In the case of the Menier, with its shows originating outside the West End, the start-up costs are even lower, and the final product can be honed over an extended run before even transferring to a West End house. Then, finally, probably after two years or more, it's ready for a Broadway run.
By now, the huge financial risk of opening a show on the Great White Way has been significantly mitigated by the critical endorsement, awards (both Sunday in the Park and La Cage have fared well at the Oliviers) and general reputation that the show has (hopefully) gained along the way.
It's a fantastic business model and one that is 100% commercial. Most crucially, because the Menier receives no government subsidy, it has to produce shows which are going to be box-office hits – a perfect preparation for the demands of Broadway.
Interestingly, David Babani, the savvy artistic director of the Menier Chocolate Factory, has previously indicated that he'd be keen to set up a sister theatre in New York. Given his recent success, you can understand why – but also wonder whether it might be an ambition too far when the current model seems to work so well.
