Broadway Is Not Our KPI: Rethinking Theater Comparisons

It’s not uncommon for conversations about the Malaysian theater scene to veer into comparisons with Broadway. Some see it as the ultimate goal, a shining beacon of what a successful, vibrant “theater industry” looks like. And fair enough, Broadway has become a global reference point. But we need to ask: how useful, or even fair, is this comparison?

Looking up to Broadway can be inspirational. But when the comparison becomes a measuring stick for how we judge our own theater scene, things start to get tricky. In many cases, it’s not just unhelpful, it’s misleading.

A Century’s Head Start

Before we dive into comparisons, it’s important to understand what Broadway actually is. Broadway refers to the 41 professional theaters in New York City, each with a seating capacity of 500 or more. These theaters are located primarily in Manhattan’s Theater District (roughly stretches from West 40th Street to West 54th Street, and from Sixth Avenue to Eighth Avenue, though the heart of the district is concentrated around Times Square). Broadway isn't just a location, it's a well-oiled commercial ecosystem supported by high tourism, corporate investment, robust unions, aggressive marketing and a ticketing infrastructure that accommodates both long-running shows and limited engagements.

Each Broadway show typically runs 8 performances a week, usually with one day off (often Monday). So a production with a six-month run could easily log over 200 performances. In 2023 alone, Broadway recorded 13.8 million attendees and grossed over USD 1.6 billion across all shows. But Broadway is just the tip of the iceberg. Off-Broadway (100–499 seats) and Off-Off-Broadway (fewer than 100 seats) also contribute to New York’s dynamic theater scene, often incubating riskier, experimental or newer works that sometimes transfer to Broadway.

Now, if we zoom out to look at history: Broadway’s roots go back to the mid-18th century, but it began to truly commercialize and formalize as a theater district in the late 1800s to early 1900s. Over the past century, it has grown into a flagship global brand for Western-style musical and dramatic theater.

In contrast, Malaysia’s modern theater scene, especially those following Western theatrical conventions, began to take form in the 1950s, gaining more momentum post-independence. That puts us at roughly 70 years of development, compared to Broadway’s over 150 years of institutional growth.

If this were a race, they started long before we even laced up our shoes.

So yes: it makes sense that Broadway has more prestige, money, infrastructure and audience loyalty. They’ve had the time and conditions to build it. Malaysia is still experimenting with formats, funding models, audience development and performance venues. Our scene isn’t “behind.” We’re just on a different timeline and possibly, a different trajectory altogether.

In addition to that, Broadway’s rise happened during a period when live performance was one of the primary forms of mass entertainment. In the early 20th century, before the widespread use of television, cinema or even radio, going to the theater was a central social and cultural activity in American urban life. Broadway became a cultural habit because there were fewer distractions and more importantly, it was accessible to the growing urban middle class that lived in close proximity to these venues. As infrastructure and wealth grew, so did the appetite for regular, commercialized theatergoing. Over decades, institutions like the Tony Awards, trade unions, producers’ guilds and critics’ circles helped formalize and reinforce the value of theater in the American public consciousness.

Malaysia, by contrast, entered the game much later and at a time when competition for public attention was already fierce. By the time modern Malaysian theater began to take shape in the 1950s and 60s, radio, television and eventually cinema were already entrenched in local entertainment culture. Theater had to fight for relevance alongside these other, often more convenient or accessible mediums. Today, that competition is even more intense, with digital streaming, social media and short-form content offering instant gratification. Developing a theatergoing culture in Malaysia, therefore, isn’t just a matter of producing good shows but it also requires long-term audience education, strategic outreach and a deeper engagement with local cultural rhythms.

When a Flop Still Means 41 Performances

Here’s where things really become disproportionate. In local conversations, it’s not uncommon to hear comforting lines like “Even Broadway has flops,” as if to remind us that failure happens at every level. And that’s true, not every Broadway show is a runaway success. But we need to pause and ask: what exactly counts as a flop on Broadway? And more importantly, is it remotely comparable to what a flop, or even a hit, means for the Malaysian theater scene?

Because when Broadway flops, it flops on a scale that most Malaysian productions never even reach at their best. The 2024 musical Lempicka offers a perfect case study. By Broadway standards, it was considered a commercial disappointment. But in Malaysia, numbers like these would be a milestone achievement and maybe even a record-breaker.

Here’s what that “disappointment” looked like:

• Lempicka opened on 14 April and closed on 19 May 2024

• Ran for 41 performances + 27 previews

• Average weekly gross: USD 288,102

• Average attendance: 82% (full house capacity: 1,045)

  
  

Let that sink in. Even in its “weakest week,” the show grossed nearly USD 288,000 with 71% audience capacity. That’s about RM1.3 million in a single week, based on a rough exchange rate of 4.5. Break it down further: one show brought in around USD 48K, or RM216K.

Now take a moment to reflect: how many Malaysian theater productions, even those nominated for prestigious local awards, get to run 41 times? How many generate six-figure income in a week? How many sustain over 80% attendance throughout?

If Lempicka is what "struggling" looks like on Broadway, what would they call what we do here?

A Different Ecosystem Entirely

To compare Malaysia’s theater scene with Broadway isn’t just to compare a small pond to an ocean, it’s to compare two fundamentally different ecosystems, almost like comparing apples to oranges. Yes, both are theater. Yes, both involve performers on stage, scripts, lights and audiences. But nearly everything beyond that, the infrastructure, purpose, economics and even cultural positioning, diverges in significant ways.

Broadway is a commercial theater machine. It operates within a for-profit, high-stakes business model that blends theater with tourism, real estate and global branding. Theaters are owned or operated by major corporations like the Shubert Organization, Nederlander Organization and Jujamcyn. Shows are multimillion-dollar investments and the expectation is that they recoup costs and make profit through ticket sales, merchandising, tours and licensing. The ecosystem includes sophisticated marketing pipelines, celebrity casting to boost sales and an established audience that includes both local patrons and tourists actively seeking Broadway as a “bucket list” experience.

In contrast, Malaysia’s theater ecosystem is largely non-commercial and fragmented, relying heavily on a mix of government support, university theater programs, community efforts and a few independent companies. It lacks a centralized district, has minimal tourism integration and often serves niche or community-driven goals. Many local productions are self-funded or operate under grants, meaning ticket sales alone rarely cover costs. Venues are rented, not owned, and marketing is largely grassroots or dependent on digital platforms.

The audience culture is different too. Broadway has a long-standing tradition of theatergoing embedded into the lifestyle of locals and visitors alike. In Malaysia, theater remains on the cultural periphery, often perceived as highbrow, academic or alternative and is constantly competing with cinema, concerts, streaming platforms and social media for attention.

Even within the US, Broadway is actually a minor part of the overall theater scene, despite the arguable high revenue and performance value. Off-Broadway and Off-Off-Broadway theaters which operate at smaller scales and with more experimental or community-based missions vastly outnumber Broadway houses. In fact, Broadway shows make up only around 5% of New York City’s total theater output annually. The real theatrical culture is broader than just Broadway and even then, it benefits from a century of cultural infrastructure and audience development.

So when we draw comparisons between “our” industry and “Broadway,” we risk misapplying standards that were built in another country, for another context and for another kind of audience. It’s not that we shouldn’t aim high. It’s that we must first recognize we’re not trying to grow apples from an orange seed.

Benchmark, But Be Kind and Be Realistic

It’s natural and even (arguably) healthy to look up to industry giants like Broadway as a benchmark. Their success stories, business models and audience engagement strategies can inspire and motivate local theater practitioners to push boundaries. However, it’s crucial to remember that what works on Broadway isn’t automatically transferable to Malaysia’s unique cultural and economic landscape.

The Broadway model thrives on a complex ecosystem that supports large-scale productions running eight shows a week, often for months or even years. This model depends on having multiple large theaters concentrated in one district, steady tourist traffic, deep-pocketed investors and a population culturally accustomed to attending theater regularly. Trying to replicate this in Malaysia faces immediate hurdles. Our theater spaces are limited, scattered and demand for such a high volume of performances risks exhausting available venues. If we pushed shows to run constantly like on Broadway, smaller productions and independent companies might lose access to venues entirely, stifling variety and diversity in our theater scene.

Moreover, we have to consider the broader entertainment landscape. Malaysian theater competes with cinema, concerts, digital streaming, social media and other cultural activities for the public’s time and money. Developing theater as a business means we must go beyond “theater as grant expenditure” and think strategically about audience development, marketing, pricing and sustainability while staying true to artistic goals.

Simply adopting Broadway’s business or production model without adjusting for these realities can lead to frustration and unrealistic expectations. Instead, the goal should be to benchmark smartly. It should be about learning what applies, adapt thoughtfully and foster a theater culture that fits Malaysia’s ecosystem, infrastructure and audience habits.

In other words: aim high, but be kind to ourselves and the local scene. Progress in theater is often incremental and requires patience, innovation and respect for our unique context.

So What Do We Do?

If comparing ourselves to Broadway feels like an impossible standard, the real question is: how do we grow and strengthen our local theater scene in a way that makes sense for Malaysia? Instead of chasing an unattainable model, we can focus on building a resilient, diverse and culturally relevant ecosystem, one that respects our unique realities and maximizes our strengths.

1. Build Stronger Regional Networks and Touring Circuits

Malaysia is a diverse country with many states and communities. Instead of centralizing theater in a few urban hubs, developing robust regional networks can help share resources, talent and audiences across cities and towns. Touring productions, whether professional, community-based or youth theater can bring performances to wider audiences, nurturing appreciation for the arts in areas with limited access. These circuits also allow productions to sustain longer runs cumulatively, even if individual venues host fewer shows.

An encouraging example is the Yayasan Sime Darby Arts Festival 2025, which has started focusing on Kampung and Urban Tours. This initiative intentionally moves beyond the traditional focus on theatergoers in the Klang Valley, reaching selected states and communities outside the capital. By bringing performances directly to these areas, they are expanding the audience base and building a more inclusive national theater culture.

2. Encourage Community-Based and School-Based Theater Initiatives

Grassroots theater is the heartbeat of any vibrant arts culture. Supporting community and educational theater programs nurtures emerging artists and fosters a culture of theatergoing from a young age. Schools, universities and local community centers can be incubators for new voices and experimental work, creating a pipeline of both creators and audiences invested in the art form’s future. The emphasis here is on participation, learning and connection, not commercial success alone.

One inspiring effort in this area is Kelab YSD-Kakiseni Junior, an initiative by Kakiseni that connects public schools with Malaysian artists. Each participating school receives a resident artist who leads Kelab YSD-Kakiseni Junior activities during the school’s co-curricular sessions. Currently active in 16 schools, this program creates sustained engagement with the arts, planting seeds for lifelong appreciation and creative exploration among young Malaysians. (Learn more at kakisenijunior.com/kelabysd)

Another inspiring effort is the Teen Theatre Project by Pusat Kreatif Kanak-kanak Tuanku Bainun (PKK Tuanku Bainun). Now in its 4th season, this year-long program offers teens aged 13 to 17 an opportunity to dive deep into the performing arts. Supported by theatrethreesixty, a collective dedicated to nurturing new Malaysian theater voices, participants experience weekly workshops led by reputable theatre practitioners and directors, culminating in multiple performance opportunities including ticketed public shows (Yes, I am copying this roughly from their website). The project is designed to build an ensemble of passionate young performers, elevating their skills and love for theater in a meaningful, supportive environment. Programs like these are crucial in developing not only future artists but also engaged audiences who feel connected to the stories and the stage.

3. Advocate for State Funding That Supports Sustainability Over Prestige

Rather than focusing only on high-profile or “prestige” productions that might garner headlines, it’s crucial to push for funding models that support sustainable theater-making. This means grants and subsidies that allow smaller companies to plan long-term, build audiences and invest in artist development, not just one-off “event” productions. Sustainable funding also ensures that theaters can maintain affordable ticket prices, making theater more accessible to a broader demographic.

A strong example of this approach is Forging Traditions, a community outreach program by ASK Dance Company (ADC) in strategic partnership with Yayasan Sime Darby (YSD). Forging Traditions offers free workshops introducing Malaysian communities to traditional dances with its latest edition on Chinese Handkerchief Dance and Indian Classical Dance Bharatanatyam. Previously they have covered traditional Malay dances like Zapin, Joget and also classical dance like Terinai and Joget Gamelan. These workshops are open to all ages and backgrounds, fostering cultural education and appreciation through accessible participation.

4. Normalize Small-Scale Productions as Valuable Contributions, Not “Lesser” Work

In many local conversations, a subtle hierarchy exists where big-budget or longer-running shows are seen as more “worthy” or prestigious. It’s crucial to shift this mindset and recognize that smaller productions, whether staged a handful of times or performed in unconventional venues, are equally vital to a thriving theater ecosystem. These productions often take creative risks, diversify voices and foster a close, intimate connection with audiences, helping to keep the scene rich and dynamic.

Small-scale productions are not just stepping stones or “lesser” work; they are essential contributions in their own right. Their flexibility allows for experimentation and the ability to engage niche or emerging audiences, reflecting diverse stories that may not yet fit the commercial mainstream. More importantly, these intimate shows often serve as accessible entry points for new audiences who might find large-scale or formal performances intimidating. This accessibility helps cultivate trust and regular engagement, encouraging audiences to develop a habit of attending live theater.

By valuing and normalizing small-scale works, the local theater scene creates multiple gateways for the public to experience the arts at their own pace. Over time, this foundation of trust enables audiences to appreciate more complex or “serious” theater, broadening and sustaining the overall audience base.

Grant providers, art patrons and investors play a critical role in this shift. They should actively seek out and support vibrant independent groups with abundant passion and potential, such as EJKLS Seni, AcahArt Studio (ACS) Production, Revolution Stage, Parallact Art, Hush The Theatre KL and many others. Support should extend beyond the Klang Valley to include theater groups across Malaysia’s diverse states and regions. Investing in these smaller productions helps build a more inclusive and dynamic theater community while nurturing audience development and deeper engagement across the board.

5. Focus on Cultivating Audiences Who Return For the Experience, Not Just the Big Names

Instead of relying heavily on celebrity casting or “blockbuster” productions, the goal should be to create meaningful theatergoing experiences that encourage audiences to come back regularly. This means investing in audience engagement, education, accessible marketing and quality productions that resonate culturally and emotionally. When audiences develop loyalty to local theater because they feel seen, challenged and entertained, the scene grows organically and sustainably.

This approach doesn’t mean we lower our standards or stop dreaming big. Instead, it means building a strong foundation rooted in local realities, community and creative diversity. Over time, these efforts can help Malaysia develop its own identity in theater, one that’s not just compared to Broadway but admired for its own unique strengths.

Charting Our Own Path

Hope that this will help us to remember that Broadway is a reference point, not a finish line.

Malaysian theater is still carving out its own identity, navigating unique local realities and defining success on its own terms. It’s important to celebrate what we already have, while daring to imagine what more could be possible. Most importantly, we must stop measuring ourselves by standards we were never meant to meet.

After all, the stage is wide enough for many kinds of stories, told in many different ways, for many different audiences.

And us? We’re just getting started.