Freakonomics Radio Episode 631: Will "3 Summers of Lincoln" Make It to Broadway?

In Episode 631 of Freakonomics Radio, host Stephen Dubner delves into the intricate journey of bringing the new musical Three Summers of Lincoln to Broadway. This detailed exploration uncovers the creative processes, financial challenges, and personal stories behind the production, offering listeners a comprehensive understanding of what it takes to stage a Broadway-bound musical.

1. Introduction to "Three Summers of Lincoln"

Three Summers of Lincoln is a forthcoming musical that reimagines the relationship between President Abraham Lincoln and the abolitionist Frederick Douglass during the Civil War. Conceived by producers Alan Shore and Richard Winkler, the musical features a script by renowned playwright Joe DiPietro, with Daniel Watts as the co-lyricist and Crystal Monet Hall composing the score.

Dubner introduces the episode by highlighting the musical's journey from its initial workshop performances in New York to its anticipated world premiere at the La Jolla Playhouse in San Diego. The production aims to capture the epic narrative of the Civil War while providing a fresh perspective on Lincoln's personal and political struggles.

2. Development and the Creative Team

The creation of Three Summers of Lincoln has been a collaborative effort spanning three years. Key contributors include:

• Joe DiPietro ([02:00]): Tasked with sharpening the narrative's beginning to ensure a coherent and compelling spine for the musical.

  "The challenge in a musical like this is you're telling an epic story. How can we have this spine as clear as quickly as possible?" – Joe DiPietro ([02:00])

• Daniel Watts ([02:22]): Co-lyricist who worked closely with DiPietro and composer Crystal Monet Hall to refine the musical numbers, such as "12 Rooms in Springfield," which delves into the Lincolns' contemplation of returning to Illinois amidst the war's uncertainties.

  "Disputes is great. That's fantastic." – Daniel Watts ([03:45])

• Crystal Monet Hall ([31:16]): As a first-time Broadway composer, Hall brings a sophisticated and soulful touch to the music, pushing the boundaries of traditional melodies.

  "Crystal is such a sophisticated, interesting, soulful. I love singing her stuff." – Carmen Cusack ([31:16])

• Christopher Ashley ([12:04]): The artistic director and director of the show, Ashley, will soon transition to the Roundabout Theater Company in New York. His leadership has been pivotal in steering the production through its developmental phases.

  "There are a bunch of hats on my desk. You're totally right." – Christopher Ashley ([13:37])

3. Challenges in Production

a. Recasting Abraham Lincoln

One of the most significant hurdles faced by the production was the unexpected departure of the original actor portraying Abraham Lincoln, Brian Stokes Mitchell, just a day before tickets went on sale for the La Jolla premiere. This sudden change placed immense pressure on the team to find a suitable replacement swiftly.

"Do you think the show might fall apart?" – Carmen Cusack ([17:09])

Mitchell's exit led to speculation about the reasons behind his decision, ranging from personal circumstances to potential disagreements over the portrayal of Lincoln. However, his post-departure performances indicated that he remained a respected figure in the theater community.

The role was ultimately filled by Ivan Hernandez, a seasoned actor known for his work in film, television, and theater. Hernandez brings a unique presence and vocal prowess to Lincoln, ensuring continuity and depth in the character's portrayal.

"He's got Lincolniness, which is a hard thing to define, but you know it when you see it." – Christopher Ashley ([23:07])

b. Financial Funding and Cost Disease

Producing a Broadway-level musical is notoriously expensive, with costs ranging between $17 to $30 million. Three Summers of Lincoln aims to keep expenses on the lower end of this spectrum, striving for financial efficiency without compromising artistic integrity.

The La Jolla Playhouse, a nonprofit institution, utilizes an "enhancement model" to co-fund productions, relying on foundations, individual donors, and commercial producers. This collaborative funding approach helps mitigate the financial burden inherent in live theater.

"Any industry that requires a lot of human labor as opposed to automation is bound to get more expensive over time." – Debbie Buchholz ([08:59])

4. Insights from the Creative Team

a. Joe DiPietro on Narrative Structure

DiPietro emphasizes the importance of a sharp and cohesive narrative to effectively convey the epic scope of the Civil War era.

"There needs to be a spine to it. How can we have this spine as clear as quickly as possible?" – Joe DiPietro ([02:00])

b. Christopher Ashley on Directing and Recasting

Ashley likens directing a complex musical to managing a battlefield strategy, highlighting the multifaceted responsibilities involved in aligning the creative vision with practical execution.

"It's maybe a little bit like being a general in a war. You're not making the individual decisions on the battlefield, but you're saying what the goals are and what the strategy is." – Christopher Ashley ([14:30])

c. Ivan Hernandez on Portraying Lincoln

Hernandez discusses the depth required to embody Lincoln, focusing on "Lincolniness"—a term Ashley uses to describe the gravitas and authenticity necessary for the role.

"He's really capturing something about Lincoln." – Christopher Ashley ([23:04])

He also touches on the technical aspects of his performance, such as adjusting vocal ranges to suit Hernandez's unique strengths.

"We changed the keys of the show. Ivan's a much higher singer." – Daniel Watts ([30:12])

d. Daniel Watts on Lyricism and Musical Composition

Watts explores the meticulous process of crafting lyrics that convey complex emotions and historical nuances, balancing traditional expressions of grief with innovative musical interpretations.

"It's almost a silent grief. I sing it right in the point of access between my eyes and my forehead." – Daniel Watts ([26:09])

5. Financial Aspects of Theater Production

a. La Jolla Playhouse's Funding Model

The Playhouse relies on a balanced mix of ticket sales, philanthropy, and government support to sustain its operations. Approximately one-third of its revenue stems from each of these sources, with federal support during the pandemic providing significant relief.

"About a third of our revenue comes in as ticket revenue. A little more than a third comes in through philanthropy." – Debbie Buchholz ([11:06])

b. Cost Disease in Live Theater

Dubner and the guests discuss the economic principle of cost disease, where industries reliant on human labor, like live theater, face increasing costs over time due to rising wages and the lack of automation.

"Any industry that requires a lot of human labor as opposed to automation is bound to get more expensive over time." – Debbie Buchholz ([08:59])

6. Broader Context on Theater Funding

The episode also touches on the ongoing debate about public funding for the arts. An opinion piece by Isaac Butler argues that American theater is "imploding," suggesting a need for federal bailouts. Economist Michael Rushton counters by highlighting the cyclical nature of theater's popularity and the consistent ebb and flow witnessed over decades.

"If you read cultural commentators in the 1920s, they talk about the death of theater because of the invention of cinema and the radio. It didn't really happen." – Michael Rushton ([38:51])

Quentin Earl Darrington, an arts economist, adds that high culture may not directly lead to economic wealth but enriches society through greater understanding and appreciation of beauty.

"Greater understanding, greater insight, greater appreciation of beauty, those intrinsic goods that make our lives better." – Quentin Earl Darrington ([40:27])

7. Reception and Future of the Musical

The world premiere at La Jolla Playhouse received overwhelmingly positive reviews, with approximately 95% of the audience expressing satisfaction. Critics praised the performances of Quentin Earl Darrington as Frederick Douglass, Carmen Cusack as Mary Lincoln, and Ivan Hernandez as Abraham Lincoln.

"Tickets sold very well, and Christopher Ashley told me that the playhouse's surveys showed that roughly 95% of the audience was either satisfied or very satisfied with the show." – Stephen Dubner ([45:28])

However, some audience members missed the original Lincoln portrayal by Mitchell, indicating that the recasting was a delicate transition.

The producers are optimistic about moving Three Summers of Lincoln to Broadway in 2026, contingent on raising the necessary funds and securing an appropriate theater. The journey to Broadway remains fraught with challenges, including the need for further rewrites and financial backing.

"I believe that after La Jolla, people will be throwing money at the project." – Ivan Hernandez ([34:06])

8. Concluding Thoughts

Stephen Dubner encapsulates the episode by reflecting on the collaborative and demanding nature of theater production. He underscores the passion and perseverance of everyone involved in Three Summers of Lincoln, highlighting the show's potential impact both artistically and culturally.

"It's intensely collaborative, the process of making a new show together every day you say something and then someone does something with that thing you've said that is better and richer and more exciting than you had in your head." – Christopher Ashley ([46:51])

As Three Summers of Lincoln continues its journey towards Broadway, the episode leaves listeners contemplating the broader implications of live theater in today's economic and cultural landscape.

Notable Quotes:

• "The challenge in a musical like this is you're telling an epic story. How can we have this spine as clear as quickly as possible?" – Joe DiPietro ([02:00])

• "He's got Lincolniness, which is a hard thing to define, but you know it when you see it." – Christopher Ashley ([23:07])

• "Any industry that requires a lot of human labor as opposed to automation is bound to get more expensive over time." – Debbie Buchholz ([08:59])

• "Greater understanding, greater insight, greater appreciation of beauty, those intrinsic goods that make our lives better." – Quentin Earl Darrington ([40:27])

This episode of Freakonomics Radio offers a nuanced look into the world of musical theater production, blending economic principles with creative storytelling. For those unfamiliar with the show's inner workings, it provides valuable insights into the passion, challenges, and collaborative spirit that drive Broadway productions.