This visionary entertainment company is dedicated to sharing stories from voices that aren’t often heard

Earlier this month it was announced that the musical Swept would end its Broadway run. The show, with moving music and lyrics by the Avett Brothers, tells the story of a crew of sailors on a long-running whaling expedition who are placed in the most harrowing of circumstances. It’s 1888 and their boat has sunk off the coast of New Bedford, Massachusetts, after a severe storm. Four survivors, without food or water, drift at sea in a boat in the middle of the ocean. As these desperate souls cling to life, the only thing left is hope.

The day after the closure was announced, a miracle happened. “We arrived at work the next day and went to a completely sold house. And then the next day it happened again. And then it happened again. Stark Sands told 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 were lining up in the morning before the box office opened just for the chance to ‘witness the magic that happens. here inside the Longacre Theater,” Sands continued. “People are shouting from the rooftops that we have to catch this before it’s over. »

In the case of Sweptwhich was hailed by critics as “mesmerizing,” breathtaking” and “fascinating,” hope floated. Sands announced that the show would be extended by two weeks and would be open until December 29.

One of the great forces behind Swept are the main producers Madison Wells Live. Founded by producer Gigi Pritzker as the theatrical arm of her entertainment company, Madison Wells, Madison Wells Live is dedicated to nurturing storytellers who push the boundaries. Their extensive production credits include JAja’s African Hair Braiding, Hadestown, Shucked, Company, we live in Cairoand the next the thing about jellyfish.

Pritzker and the company’s executive producer, Jamie Forshaw, saw possibilities in Swept when they first discovered the musical more than six years ago. Since then, they have nurtured the show through workshops and regional productions before finally bringing the show to Broadway.

“Our producing partners invited me to a workshop and the music and lyrics were beautiful and perfectly orchestrated. I had a strong feeling that this could be an underdog musical – a dark horse with immense potential,” says Forshaw. “I found the music of the Avett Brothers 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, Sweptwhich tells the story of these sailors’ difficult and gruesome efforts to survive, fell into commercial difficulties. “Unfortunately, despite its artistic merit, the film did not prove 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 whether Broadway is able to accept risks “regardless of commercial viability,” she says. “I sincerely believe Swept had the potential to achieve commercial success if it had received the right support from the start. Since the closure was announced, lines of people have formed around the block.

“If this level of interest had been there from the start, Swept could have thrived,” Pritzker says. “It’s an example of the state of affairs on Broadway and the fact that a new musical can only exist if 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 wordless melody and never stops at all.” ” With Swept one can only hope that the series never ceases to have a life so that 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 you also produced Jaja’s African Hair Braiding And We live in Cairo. What are the future plans for these shows?

Jamie Forshaw: Jaja’s African Hair Braidingby Jocelyn Bioh, is currently on tour in the United States and performed very well at the Arena Stage in Washington, DC and at Berkeley Rep. It will continue at the Chicago Shakespeare at the start of the year then in La Jolla. We are in discussions with other large regional companies and then we are moving it to London.

Gigi Pritzker: We deeply believe in the brilliant playwright created by Jocelyn Bioh and we couldn’t move away from her. Jamie didn’t give up on the show and now she’s had a whole new life.

Forshaw: This is a clear example of our mission to raise voices and make these stories heard. And it’s not just about Broadway. It’s not just about Broadway. There are audiences all over America and it is such an important play that deserves to be seen by as many people as possible.

What if we lived in Cairo?

As for We Live in Cairo, we are really proud of what we have accomplished at New York Theater Workshop and are thrilled to be one of the first New York productions to have an all-Arab cast. Lots of developments have taken place with workshop production and we are now in talks with a company in London to develop it further there.

Brunner: What is the story behind the creation of Madison Wells Live? And what is the connection 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. The person concerned was responsible for Million Dollar Quartet on Broadway and other similar projects. Then the entertainment world began to change. Theater people made movies and movie people made theater, so I decided to put it all in one bucket and rename it Madison Wells. Now we have a live band and a studio band, which does film and television. The live band didn’t really exist until Jamie came along.

Brunner: What sets Madison Wells Live apart from others with a similar vision?

Pritzker: What makes Madison Wells Live different is the idea that our camera crew and our live crew blend very closely, and that our entire company is based around telling stories about badass women and people who push the limits. It allows us to do a lot of different things.

Forshaw: We also have the patience and long-term vision to take our time. These 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 ready to roll out.

Brunner: What impact does this multifaceted approach have on the financial performance and overall success of a project?

Forshaw: I think it’s important. Between our live performance and our studio work, we constantly discuss our projects and the stories we want to develop. We’re always in communication about what we have in the works and how these projects can be adapted for podcasts, documentaries and/or films and TV shows.

An example is the thing with jellyfisha book to which we have purchased the rights and which we are currently editing as both a film and a play. The stage version has progressed more quickly, which is great, but there’s still a great opportunity for a film version. We must always be agile and follow opportunities as they present themselves.

Pritzker: From a financial point of view, this approach allows us to have several bites of the apple from a single project.

Browner: The thing about jellyfishbased on the novel by Ali Benjamin, explores the story of a preteen girl dealing with the loss of her best friend during summer vacation. How possible is it that the show will make it to Broadway?

Forshaw: We don’t develop our shows with Broadway in mind. From the beginning, we believed that the shows would guide us in their direction. Our goal is to ensure that the show resonates with audiences, regardless of its final destination.

I’m excited about the show and what audiences can expect. The Thing About Jellyfish is uplifting and focuses on self-discovery through life’s challenges. He emphasizes that light can emerge from darkness, which applies to adults as well as children. We all face unexpected challenges, and how we choose to deal with them shapes our journey. With our talented creative team of designers, director and writer, I truly believe we are on the verge of creating something remarkable in Berkeley.

Brunner: How do you personally define the success of one of your productions?

Forshaw: Many consider a show a failure if it does not recoup its costs. However, most shows on Broadway do not make their money but remain memorable and widely discussed. at Jaja is a great example that speaks for itself. His ability to travel the country is a success, whatever the financial fallout.

In the same way, Swept has demonstrated its success through its regional engagements. Although it had a brief run on Broadway, the expansion in its final weeks came from audience demand and a dedicated fan base eager to purchase tickets. Ultimately, it was a critical success, reflecting positive reception from audiences and critics. While financial metrics are important, they don’t solely define a show’s value or legacy.

Brunner: It’s very difficult to produce anything, especially for theater. For people who feel they don’t have the resources or confidence, what would you advise? How do we encourage people to stay the course and not give up?

Pritzker: What I often tell people is that resilience, tenacity and belief in your story are crucial. Take our Swept partners Matthew Masten and Sean Hudock as examples. They called and really believed in their vision. They didn’t keep it a secret; they were looking for the right collaborators, looking at other people’s work, and saying, “This is someone I’d love to partner with.” » Creating something meaningful is challenging, and everyone in the industry understands that there are no guarantees. It is essential to recognize that good ideas can come from anywhere and that enthusiasm can stimulate discovery, even from those we do not yet know. I want to get too sentimental, but being confident in yourself and your story is key. When you believe in your story, others are more likely to believe it too.