PrintBroadway shows have an allure that draws in native New Yorkers and tourists alike. But that attraction—an exclusive staple of the New York cultural scene—might soon become an experience available to anyone, anywhere.
Like any other cultural form, Broadway has witnessed its share of transformations and experiments. Now, Fugobi—a new entertainment venture that plans to create 3D movie versions of Broadway shows for global distribution—seeks to redefine New York theater. Fugobi, the brainchild of entrepreneurs Dale Smith and Tim Hickson, emerged out of financial concerns, as well as a desire to make Broadway more accessible to a larger audience.
“To expand the creative and financial potential of Broadway we must anticipate our audiences’ needs and wants and the choices they will make as they consume entertainment,” said Hickson in a press release from this summer. “We must provide an opportunity for them either to rediscover Broadway or to experience its wonder for the first time.”
Smith and Hickson’s venture would radically transform Broadway—and many theater fans believe that it’s high time such a transformation took place.
“This is a great way to give access to theater,” says Steven Chaikelson, a professor in the Columbia theater department who consulted with Dale Smith on Fugobi and is closely connected with the project. “Theater is a very small piece of entertainment, and there are many communities where there isn’t any form of theater. Through Fugobi’s project, there is an easier way for people to appreciate Broadway.”
Morgan Firestein, a Columbia College first-year, acknowledges Fugobi’s potential to spread Broadway-quality theater to a wider audience. As a native New Yorker, Firestein has had years of exposure to Broadway theater. But her experience is anomalous in a country where few people go see shows on a regular basis. “I think that [Fugobi] is a good way for people who don’t live in New York to enjoy Broadway,” she says.
There are also economic reasons for Columbia students to be excited about Fugobi. It is admittedly difficult for the average money-conscious college student to regularly attend shows. Even with CUArts theater ticket discounts, there is no denying that movies are much easier on the student budget. “Economically, there would certainly be benefits to having a cheaper alternative,” notes Columbia junior Yonatan Gebeyehu.
Of course, filmed adaptations of plays have been circulating for some time. What makes Fugobi’s project unique is the 3D aspect. “Taped versions of plays are, to be honest, pretty bad,” says Chaikelson. “It just doesn’t capture the excitement of theater. But 3D makes it more of a communal experience, and something closer to the real thing.”
But despite Fugobi’s attempts to replicate the real thing on screen, many Columbia students have doubts about the artistic repercussions of this move from stage to screen.
“Artistically, there is a lot to be said about seeing a play live,” says Gebeyehu. “There is more authenticity, more excitement, and at the end of the day, I think it gives the work more justice. I’m scared that it might be awkward to watch a movie version of something that is meant to be on stage.”
“It’s the live performance that makes plays captivating,” argues Justin Hines, a Columbia College first-year. After a few months at Columbia University, Hines has already attended numerous Broadway shows, including “The Phantom of the Opera,” “Our Town,” and “Hamlet.” “Live performance creates an energy that can’t be reproduced through technology,” he continues. “That’s why plays often suck on film, but can be great in person.”
Columbia College first-year Cristian Turcios praises Fugobi’s intentions but admits that the transition of shows from stage to screen will not always be easy.
“The beautiful thing about theater,” says Turcios, “is all the things that become integral in the production: lights, music, sense of community, live reaction amongst actors, live reaction between actors and audience, and the magic. Movies and theater are two different beasts. They have to be done differently because you are dealing with different mediums of communication.”
“Something that is integral to the theater experience but hard to replicate in a movie is the interaction between the audience and the actor,” adds Firestein. “I wonder whether these 3D movies would be able to accomplish the same thing as a live play.”
In addition to artistic concerns, Chaikelson also says that there has been quite a bit of resistance to Fugobi’s venture from theater industry professionals. “It is always a slow process to make changes in the theater business,” he explains. “The initial reaction of many people was that with recorded versions of Broadway plays, people will stop going to see the actual play.”
To counter this argument, Chaikelson points to the Metropolitan Opera’s HD broadcasts, which have actually increased its business. “I feel that if someone sees a Broadway 3D movie in their hometown that they really enjoyed, they will be all the more excited to see the show live in New York City,” he says.
According to Chaikelson, Fugobi is currently in talks with different 3D companies and plans to start making movies soon despite opposition.
There is no doubt that Fugobi’s plans will change the traditional model of theater. Opinions are strongly divided; some believe that this plan will expand the reach of Broadway to never before seen lengths, while others see this change as the downfall of the stage. Get ready to see your favorite Broadway plays in your hometown movie hall in the next couple of years—as long as you’re okay with seeing a version of that play that’s possibly disappointing and unrealistic.