Reports of theater’s death have been exaggerated for generations. In 1938, George S. Kaufman and Moss Hart famously called theater “the fabulous invalid,” poking fun at the endless predictions of its demise. Nearly 90 years later, the patient is still very much with us.
Today, New York’s stages are as bold and alive as ever. As Broadway Week once again puts the spotlight on live theater across the city, it’s worth remembering how much there is to celebrate.
Broadway is vital to our city’s cultural life and economy. The 2025–2026 season drew nearly 14.6 million attendees and generated $1.91 billion in ticket sales, with audiences filling more than 90% of available seats.
But the theater world is bigger than Broadway.
Across the city, Off Broadway and Off-Off Broadway theaters are creating our most adventurous work. These are essential places where emerging and established playwrights and performers can find an audience and where theatergoers can take a chance on something they’ve never heard of before.
A 2019 study identified 748 Off Broadway and Off-Off Broadway organizations, supporting 3,000 jobs and generating $584 million in direct annual economic output, with an estimated broader impact of $1.3 billion.
The numbers only tell part of the story. Smaller theaters are incubators for work that ultimately reshapes the broader culture — from the start of “Hamilton” at the Public Theater to “Hadestown” at New York Theatre Workshop — New York theater has always been interconnected.
So in this great theatrical ecosystem, it is surprising to hear persistent predictions of theater’s decline. It is easy to be confused when so much of the conversation begins and ends with the business of Broadway. The fortunes of one production, or even one season, don’t tell us whether theater itself is thriving.
Theater’s resilience is inherent to the art form. It has never depended on one model of success. I see that resilience every day at 59E59 Theaters and among the independent theater companies we collaborate with and support.
The Elysabeth Kleinhans Theatrical Foundation underwrites most of the cost of our three performance spaces, equipment, and support services. Because nonprofit companies don’t have to carry these costs, they can invest directly into the artists, designers, and technicians who create the work.
We present 30-plus productions each year, which means there is no single definition of a “59E59 show.” Our stages host New York companies and artists from around the country and the world. Some arrive with established followings, and others ask audiences to take a chance on an artist or story they know nothing about.
That breadth matters because a healthy theater community needs places where smaller companies don’t carry the price or expectations of Broadway shows. Audiences may not connect with every production, but they return because the next one will be completely different. That curiosity is something that makes New York City so vibrant.
New York already understands the importance of making its cultural life more accessible, and Mayor Mamdani’s recent TDF initiative to give free tickets to high schoolers offers one model. Students who participated in its Broadway lottery also received access to discounted Broadway, Off Broadway and Off-Off Broadway performances. A Broadway musical might make a teenager fall in love with theater, but a 99-seat production they stumble into later might change how they think about what art and life can be.
So during Broadway Week, which runs until Sept. 20, by all means, see a Broadway show, and bring someone new. Those stages will and should continue to shine brightly. Then come join us Off Broadway and Off-Off Broadway to experience the full richness of New York theater.
Beirne is the managing director of 59E59 Theaters.