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For generations, Broadway has served as one of the most established features of American art, both as an outlet for creativity as well as an opportunity to bring awareness to social issues. The Broadway stage has spawned countless productions that have redefined storytelling, taught empathy, and inspired some of the most diverse audiences in the world. But in recent times, the magic of Broadway has been compromised by the forces of commercialization. What once valued innovation and art has turned into a corporate machine focused on profit and spectacle. The dangers of Broadway’s commercialization are most prominent in its skyrocketing costs, increasing dependency on stunt casting and revivals, and growing exclusivity; all factors threatening the very sustainability and cultural integrity of the industry.
Broadway has always drawn people from all walks of life, whether it be culturally or economically. In recent years, that has not been the case. TheaterMania evaluates that the average annual household income of a Broadway theatergoer in 2022 was $271,277, whereas the median household income the same year was $74,580. These numbers suggest that Broadway has become inaccessible to the average American. This economic exclusivity contradicts Broadway’s cultural role as an educational and empathetic institution. Theater is a medium uniquely capable of fostering empathy by allowing audiences to step into another person’s experience, a quality that no other art form can replicate. However, if only the rich can afford to go, Broadway’s capacity to teach and broaden perspectives, ultimately connecting people from all walks of life, will greatly diminish.
In a time when millions of Americans are worried about having access to health and economic security, it is unrealistic to expect that they will spend hundreds of dollars on a single ticket. As the economy weakens and costs rise, Broadway risks becoming a cultural enclave for the privileged rather than a stage for the people. To put this rise in cost into perspective, “Hamilton” serves as a great example. In 2019, the average Hamilton ticket cost $250.07, with a range of $197 to $847. Those numbers have skyrocketed as of October 2025; the average cost of a Hamilton ticket was $350.09, with some seats selling for as much as $1,500 for one single ticket. Now this rise is no coincidence: original Broadway cast member Leslie Odom Jr. returned for a limited run, a prime example of capitalization on celebrity casting.
Stunt casting, the hiring of celebrities to stir publicity rather than to add artistic merit, is a common method Broadway uses to increase profits, ultimately valuing short-term box office success over sustainable audience engagement. Even so, Playbill reports that on the average week, only 17 of the 35 shows currently running on Broadway reached 90% capacity, and only 2 broke $2 million in box office revenue. Additionally, 27 shows were made under $1 million, with the remaining 8 ranging from $1 million to $2 million. What this reveals is that this reliance on stunt casting may not necessarily be a result of corporate selfishness, but rather a consequence of Broadway’s fragile ecosystem. When art becomes a commodity, creativity becomes expendable.
Perhaps the most visible consequence of Broadway’s commercialization is the rise of stunt casting. As the NYU Communication Club notes, stunt casting is taking over the Broadway stages, often involving celebrities in casting to gain publicity. Ultimately, this reduces theater into a marketing exercise. With this in practice, decisions on casting are made not on the basis of talent or depth but on the ability to fill seats. Now, celebrity casting is not always the road to success. Recently, Broadway’s revival of “Cabaret” showed this best. To break it down: “Cabaret” is a Broadway classic; the name alone sold thousands of seats. Additionally, big names continued to draw attention to themselves, such as Eva Noblezada. Basically, it was bound to be a hit, that is, until stunt casting took it too far.
By casting Billy Porter as the Emcee, the show took a massive hit. With reviews calling him “especially egregious” and saying that his “drawn-out singing and facial choices took audience members out of the show; instead of watching the character, the audience was just watching Billy Porter.” Another example of misplaced celebrity casting would be Cameron Dallas as Aaron Samuels in “Mean Girls.” Critics called that an “obvious attempt to garner publicity.” Even more recently by casting Lola Tung, star of “The Summer I Turned Pretty,” as Euridyce in “Hadestown” was a bit of a miss. It certainly increased audiences but resulted in harsh criticism, as people wondered why no one took the time to train her until she was Broadway-ready, versus capitalizing on her current popularity amongst audiences.
Even when celebrities in question possess talent, the impact is often reductive because it is often repetitive. Jordan Fisher, for example, has done it all. From “Hamilton” to “Dear Evan Hansen,” “Sweeney Todd” and “Hadestown”, he is everywhere. Producer Ken Devenport explained that because of Broadway’s risk factor, it is just safer to go down the same roads they’ve always gone down. For the sake of stability, Broadway producers reuse the same actors, formulas, and marketing strategies to maximize profit, rather than art form. While it is admirable that white-collar figures dedicate their lives to keeping Broadway stages lit, it is essential to acknowledge the cost: the next generation. If showbiz relies on the same big-ticket players, not only will they be worn out quicker, but there will be no one ready to fill their shoes, ultimately hurting Broadway in the attempt to help.
In a similar vein, Broadway’s commercial orientation is evident in its over-reliance on revivals and adaptations rather than new, original works. No one is disputing the difficulty of keeping Broadway running, and as Mr. Davenport pointed out, safer options that are bound to succeed are sometimes necessary. The problem arises when production prioritizes putting on revivals as opposed to original works. Like stunt casting, revivals are safer because they capitalize on nostalgia and familiarity, but they often hinder creative innovation and ultimately serve as a sign of stagnation. Shows that are considered to be “new,” like “The Outsiders,” which is a Tony Award-winning production for Best Musical, are still unoriginal, as they began as a book and later became a movie long before their Broadway Debut. Productions like this and “Mamma Mia,” “Cabaret,” “Othello,” “Ragtime,” “Into the Woods,” etc., all support the claim that Broadway’s main focus is to make money off a known story. This thinking not only limits artistic growth but also alienates young audiences seeking fresh stories that capture contemporary moments. Broadway cannot be expected to find the next Sondheim if it won’t give new works a chance.
For Broadway to remain, it must continue to foster talent, storytelling, and a diverse audience. Financial fragility is heightened in Broadway due to general economic conditions. In recent years, Broadway has lost more than 300,000 annual attendees, a number that is detrimental to producers, the actors, the crew members, and the city as a whole. If audiences eventually grow tired of material that is frequently recycled, then Broadway’s appeal is surely dulled by overpriced shows. With the cost of living continuing to rise and economic insecurity deepening, fewer Americans will be either willing or able to pay $350 for one seat.
If Broadway continues to prioritize profit over passion, it risks losing not only its audience but also its central purpose. That being said, Broadway’s decline is anything but inevitable. The solution must begin with a renewed commitment to accessibility and originality. Lowering ticket prices, investing in new writers and composers, and diversifying market strategies will help blend business and creativity more fairly. Though this idea is certainly more work, the benefits to the outcome are immeasurable, as art would finally be accessible. Broadway is not just business. It is a living entity teaching empathy, community, and hard work through storytelling to anyone who walks through its doors.
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This article was edited by Mary Elaina Gibson and Daniel Ukandu.
John Virgil Aton 
Nadia Garriga 
Amelia Felice