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Over the last 40 years, The Roundabout Theatre Company has grown from a small, Off-Broadway theater to one of the leading cultural institutions of New York City. Its commitment to teaming great theatrical works with the industry’s finest artists to re-energize classic plays and musicals, as well as its mission to develop and produce new works, has led to great success and growth. The non-profit company has attracted such well-known actors as Vincent Price, Stockard Channing, Liam Neeson, Blythe Danner, Jason Robards, Claire Danes and Neil Patrick Harris. Roundabout has four theaters: the American Airlines Theatre in the heart of Times Square, the home for classic Broadway plays; Studio 54, the former home of the legendary night club which now hosts Roundabout’s Broadway musicals and special projects; the Laura Pels Theatre, an off-Broadway location used for new works by established playwrights; and the Roundabout Underground Black Box Theatre, which is used to support the work of emerging writers and directors. The Laura Pels and black box theaters are located in the Harold and Miriam Steinberg Center for Theatre on W. 46th Street. The record-breaking run of TWELVE ANGRY MEN during the company’s 2004 season prompted its leadership to consider taking the show on the road for its first touring production. “With such good reaction, a number of people started tossing around the idea of a touring production,” explained managing director Harold Wolpert. “They put out feelers to booking agents, tour presenters, possible venue reps, board members and others, and the consensus was ‘Go for it!’” Wolpert came on board not long after the Broadway production of TWELVE ANGRY MEN had closed. He brought with him experience from working with national touring companies, experience that most of the Roundabout people did not have. “I was able to help out in little ways that were new to them, and, of course, in bigger ways that were new to me. Some people found it challenging to be rehearsing in New York while not knowing anything about the performance spaces they’d be occupying throughout the country. But a show like this, with its one-room set, actually made it less of a problem for the actors to prepare.” Wolpert was eager to talk about Roundabout and how the tour affects the public’s perception of it. “Having our work seen throughout the country – and so well-appreciated! – is what brings people to us even more when they come to New York. The Roundabout is recognized as a national leader in audience development, and we want that to grow even more. We stress that we are a not-for-profit theater. Yes, we deal with a lot of money on so many levels, but our purpose is not to make a profit. If it is a particularly good year, the money goes back into the institution, not to investors.” You can visit Roundabout online at www.roundabouttheatre.org.
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