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| Theatre Owners and Producers (TOP) | |
|---|---|
| Name | Theatre Owners and Producers (TOP) |
| Formation | 1920s |
| Type | Trade association |
| Headquarters | New York City |
| Region served | United States |
| Membership | Theatre proprietors, commercial producers |
| Leader title | President |
Theatre Owners and Producers (TOP) is a trade association historically representing commercial theatre proprietors and producers in the United States. Formed in the early 20th century amid the growth of Broadway and touring circuits, TOP interacted with major venues, producers, unions, and cultural institutions. Its activities intersected with organisations and individuals from the Broadway theatre community to regional circuits, influencing negotiations, censorship disputes, and touring arrangements.
TOP emerged in the 1920s during an expansion of Broadway and the rise of theatrical syndicates involving figures like Florenz Ziegfeld, David Belasco, The Shubert Organization, When We Were Very Young and companies tied to the Theatrical Syndicate and National Theatre Owners Association. Early conflicts with unions such as the Actors' Equity Association and disputes involving producers like Lee Shubert and J. J. Shubert shaped its policies. During the Depression and wartime eras TOP negotiated with federal entities such as the Works Progress Administration and cultural agencies linked to the Department of War and collaborated with impresarios including Oscar Hammerstein II and Richard Rodgers. Mid-century interactions included litigation with film distribution interests represented by the Motion Picture Association of America and alliances with regional circuits like the Nederlander Organization and venues such as the Majestic Theatre (New York) and Lyceum Theatre (New York). In the late 20th century TOP confronted shifts from producers like Terrence McNally, companies such as Lincoln Center Theater, and commercial pressures from corporations like Live Nation and Nederlander Concerts. Contemporary history sees TOP engaging with digital rights issues raised by platforms tied to Netflix, Amazon (company), and theatrical licensing agencies such as Samuel French.
TOP’s governance has historically mirrored corporate boards found at institutions like the New York Stock Exchange listings for entertainment firms, with officers analogous to executives at The Shubert Organization and Jujamcyn Theaters. Committees have included legal counsel coordinating with law firms representing entities in cases comparable to disputes before the United States District Court for the Southern District of New York and arbitration with bodies like the American Arbitration Association. Regional chapters paralleled circuits such as the Pantages Theatre chain and administrative offices maintained relations with unions including the International Alliance of Theatrical Stage Employees and the American Federation of Musicians. Financial oversight referenced practices seen at foundations like the Carnegie Corporation of New York and reporting standards similar to those of Broadway League-affiliated organizations.
Membership traditionally consisted of individual proprietors of venues like Gershwin Theatre (Broadway), producers associated with Cameron Mackintosh, and corporate owners similar to Shubert Organization and Nederlander Organization. TOP maintained affiliations with trade groups including the Broadway League, labor organizations such as Actors' Equity Association and IATSE, and advocacy bodies like Americans for the Arts and the National Endowment for the Arts. International ties connected TOP to counterparts in the West End community, including producers represented by companies like Andrew Lloyd Webber's Really Useful Group and agencies such as Cameron Mackintosh Ltd..
TOP acted as negotiator in collective bargaining analogous to talks between the Broadway League and Actors' Equity Association, managed booking and touring coordination similar to Nederlander Touring, and administered standard contracts resembling those used by Theatrical Syndicate-era agreements. It provided legal advocacy in disputes that involved precedents set by cases argued before the United States Court of Appeals for the Second Circuit and lobbied legislators in bodies like the United States Congress on issues comparable to the Tax Reform Act impacts on arts organizations. TOP organized conferences and forums with participants from institutions such as Lincoln Center, New York City Center, and universities including Yale School of Drama.
TOP established awards and honors recognizing commercial achievement analogous to the Tony Award ecosystem and industry-specific commendations similar to those from the Outer Critics Circle and the Drama Desk Awards. It conferred lifetime achievement recognitions reflecting careers like George Abbott and producer awards in the tradition of plaques presented by the Actors' Equity Foundation and theatrical halls of fame such as the American Theatre Hall of Fame.
TOP faced criticism over practices compared to monopolistic conduct attributed to early Theatrical Syndicate operations and controversies similar to disputes involving J. J. Shubert over booking access and price-setting. It was challenged on labor issues against Actors' Equity Association and IATSE during strikes and boycotts reminiscent of the Actors' Equity Association strike of 1919 and criticized for conflicts with playwrights and rights organizations like Dramatists Guild of America over royalty policies. Antitrust scrutiny and public backlash echoed cases involving the Motion Picture Association of America and corporate consolidation exemplified by disputes surrounding Live Nation.
TOP influenced commercial theatre standards, venue management practices seen at Broadway houses, and touring models used by producers like Cameron Mackintosh and companies similar to Nederlander Organization. It played a role in shaping policy debates before the United States Congress, funders such as the National Endowment for the Arts, and cultural planners at institutions like Lincoln Center and Carnegie Hall. Through negotiations with unions including Actors' Equity Association and IATSE, TOP affected collective bargaining outcomes and norms across the American theatrical landscape.
Category:Theatrical organizations