Earlier this month it was announced that the musical Swept Away would end its Broadway run. The show, with soulful life-affirming music and lyrics by the Avett Brothers tells the story of a crew of sailors on a longtime whaling expedition who are placed in the most harrowing circumstances. It is 1888 and their boat has sunk off the coast of New Bedford, Massachusetts after a brutal storm. Four survivors, with no food or water, are adrift at sea in a rowboat in the middle of the ocean. As these desperate souls cling to life the only thing that remains is hope.
The day after the closing was announced something miraculous happened. "We came to work the next day, and we walked out to a completely sold-out house. And then the next day it happened again. And then it happened again." said Stark Sands to the sold-out crowd after a performance last week. (Sands stars in the musical alongside John Gallagher, Jr., Adrian Blake Enscoe, Wayne Duvall and a talented ensemble.) "People had been lining up in the morning before the box office opens just for the chance to witness the magic that is happening here inside of the Longacre Theatre," continued Sands. "People are shouting out to the rooftops that you have to catch this before it is over."
In the case of Swept Away, which has been lauded by critics as "spellbinding," breathtaking" and "riveting," hope did float. Sands announced that the show would have a two week extension and be open through December 29.
One of the great forces behind Swept Away are lead producers Madison Wells Live. Founded by producer Gigi Pritzker as the theatrical arm of her entertainment company, Madison Wells, Madison Wells Live is devoted to nurturing storytellers who push boundaries. Their vast producing credits include Jaja's African Hair Braiding, Hadestown, Shucked, Company, We Live in Cairo, and the upcoming the Thing About Jellyfish.
Pritzker and the company's executive producer, Jamie Forshaw, saw possibilities in Swept Away when they were first introduced to the musical more than six years ago. They have nurtured the show through workshops and regional productions ever since before ultimately bringing the show to Broadway.
"Our producing partners invited me to a workshop and the music and lyrics were beautiful and so perfectly orchestrated. I had a strong sense that this could be the underdog musical -- a dark horse with immense potential," says Forshaw. "I found the Avett Brother's music to be exquisite. The show presents a unique perspective on common life questions and the choices we make that shape our paths."
Even with all the accolades, Swept Away, which tells the story of the difficult and gruesome lengths these sailors go for their survival, has struggled commercially. "Unfortunately, despite its artistic merit, it has not proven commercially viable for Broadway, which is disappointing," says Forshaw. "People loved the show; they thought it was beautiful, artistic, and beautifully executed with a team at the top of their game."
For Pritzker the key issue is that Broadway should be able to embrace risk "regardless of commercial viability," she says. "I genuinely believe Swept Away had the potential to be commercially successful if it had received the right support from the start." Since the closing was announced they have had lines of people wrapped around the block.
"If that level of interest had been present from the beginning, Swept Away could have thrived," says Pritzker. "This is an example of the state of the business of Broadway and the fact that a new musical can't exist unless it's an existing brand or has a movie star in it. And that's a shame."
As Emily Dickenson wrote, "Hope is the thing with feathers that perches in the soul and sings the tune without the words and never stops at all." With Swept Away one can only hope that the show will never stop having a life so legions of people can experience it. So people can experience this unique musical about sacrifice, the will to live and where love can take us.
Gigi Pitzker and Jamie Forshaw shared more about their productions and Madison Wells Live.
Jeryl Brunner: In addition to Swept Away you also produced Jaja's African Hair Braiding and We Live In Cairo. What are the future plans for those shows?
Jamie Forshaw: Jaja's African Hair Braiding, by Jocelyn Bioh, is currently on a US tour and did very well at Arena Stage in Washington, DC and Berkeley Rep. It will go on to Chicago Shakespeare at the beginning of the year and then La Jolla. We're in discussions with other big regionals and then we're moving it to London.
Gigi Pritzker: We believe so deeply in the brilliance playwright Jocelyn Bioh created and we couldn't walk away from it. Jamie didn't give up on the show and now it's had this whole other life.
Forshaw: It's a clear example of our mission, which is about uplifting voices and making those stories heard. And that doesn't just mean on Broadway. It's not all about Broadway. There are audiences all over America and this is such an important piece of theater that deserves to be seen by as many people as possible.
How about We Live in Cairo?
As for We Live in Cairo, we're really proud of what we accomplished at New York Theatre Workshop and are thrilled to be one of the first productions in New York to have a 100% Arab cast. A lot of development happened with the Workshop production and now we're in conversations with a company in London to further develop it there.
Brunner: What is the story behind the creation of Madison Wells Live? And how does it connect to its parent company, Madison Wells?
Pritzker: I had two separate companies, Odd Lot, which was a film company, and Relevant, which was a theater company. Relevant was responsible for Million Dollar Quartet on Broadway and other similar projects. Then the entertainment world started to change. Theater people were doing film and film people were doing theater, so I decided to put everything into one bucket and rename it Madison Wells. Now we have a live group and a studios group, which is film and TV. The live group really didn't exist before we brought Jamie in.
Brunner: What distinguishes Madison Wells Live from others with a similar vision?
Pritzker: What makes Madison Wells Live different is the idea that our film team and our live team mix very closely, and that the entirety of our company is based on telling stories about badass women and people pushing boundaries. That allows us to do a lot of different kinds of things.
Forshaw: We also have the patience and the long-term vision to take our time. Those two things were at a different cadence when we started, but now five years later they've caught up and we have a slate of productions that are ready to be deployed.
Brunner: How does this multifaceted approach impact a project's financial performance and overall success?
Forshaw: I think it is significant. Between our live and our studio work, we constantly discuss our projects and the stories we're interested in developing. We are always in communication about what we have in the pipeline and how those projects can be adapted for podcasts, documentaries, and or film and TV.
One example is the Thing About Jellyfish, a book that we bought the rights to and are setting it up both as a film and a piece of theater. The stage version progressed faster, which is great, but there's still a great opportunity for a film version. We always have to be nimble and follow the opportunities as they present themselves.
Pritzker: From a financial standpoint, this approach allows us multiple bites of the apple from a single project.
Brunner: The Thing About Jellyfish, based on Ali Benjamin's novel, explores the story of a preteen girl coping with losing her best friend over summer break. How possible is it that the show will get to Broadway?
Forshaw: We don't develop our shows with Broadway in mind. From the beginning, we've believed that the shows will guide us in their direction. Our focus is on making the show resonate with audiences, regardless of its final destination.
I'm excited for the show and what audiences can look forward to. The Thing About Jellyfish is uplifting, focusing on self-discovery through life's challenges. It emphasizes that light can emerge from darkness, applicable to both adults and children alike. We all face unexpected difficulties, and how we choose to confront them shapes our journey. With our talented creative team -- designers, director, and writer -- I truly believe we are on the verge of creating something remarkable at Berkeley.
Brunner: How do you personally define success for one of your productions?
Forshaw: Many consider a show a flop if it doesn't recoup its costs. However, most shows on Broadway don't make their money back yet remain memorable and widely discussed. Jaja's is a great example that speaks for itself. Its ability to tour the country is a success, regardless of its financial returns.
Similarly, Swept Away demonstrated success through its regional engagements. Although it had a brief Broadway run, the extension during its final weeks came from audience demand and a dedicated fan base eager to buy tickets. Ultimately, it was a critical success, reflecting the positive reception from both audiences and critics. While financial metrics are important, they don't solely define a show's worth or legacy.
Brunner: It's so hard to get anything produced, especially for the theater. For people who feel they don't have the resources or the confidence, what would you advise? How can people be inspired to stay the course and not to give up?
Pritzker: What I often tell people is that resilience, tenacity, and belief in your story are crucial. Take our Swept Away partners Matthew Masten and Sean Hudock as an example. They cold-called and truly believed in their vision. They didn't keep it a secret; they sought out the right collaborators, looking at others' work and saying, "That's someone I'd love to partner with." Creating something meaningful is challenging, and everyone in the industry understands that there are no guarantees. It's essential to recognize that good ideas can come from anywhere, and enthusiasm can drive discovery, even from those we don't know yet. I don't want to get too sentimental, but having faith in yourself and your story is critical. When you believe in your narrative, others are more likely to believe in it as well.