A couple of weeks ago The New York Times ran an op-ed in which Drew Lictenberg, who is the artistic producer at Shakespeare Theatre Company, pointed out that there has been a drop in Shakespeare productions recently:
American Theatre magazine, which collects data from more than 500 theaters, publishes a list of the most performed plays each season. In 2023-24, there were 40 productions of Shakespeare’s plays. There were 52 in 2022-23 and 96 in 2018-19. Over the past five years, Shakespeare’s presence on American stages has fallen a staggering 58 percent. At many formerly Shakespeare-only theaters, the production of the Bard’s plays has dropped to as low as less than 20 percent of the repertory.
Why might American theaters be running away from Shakespeare?
After pointing out that Shakespeare productions can be costly, a problem exacerbated by Covid-19, Lictenberg points to political and cultural polarization:
Given contemporary political divisions, when issues such as a woman’s right to control her own body, the legacy of colonialism and anti-Black racism dominate headlines, theater producers may well be repeating historical patterns. There have been notably few productions in recent years of plays such as “The Taming of the Shrew,” “The Tempest” or “Othello.” They may well hit too close to home.
Why be concerned about this drop? Things change. If and when the polarization lessens, Shakespeare will come back. Won’t he? What if the polarization persists? Is it possible that Shakespeare will never come back? What would that mean?
I warn you, however, that I do not intend to answer those questions. I don’t see how that’s possible. Rather, I present them as a way to begin thinking about the position that Shakespeare occupies in the imagination of well, you know, us, a bunch of people oriented toward Western culture. Read more »