The Pros and Cons of Jason Laks as the Next President of the Broadway League

by Chris Peterson

Yesterday it was announced that Jason Laks, who has been serving as The Broadway League’s Interim President since Charlotte St. Martin retired from the organization last February, has been appointed the organization’s new president.

The Broadway League, as the national trade association for the Broadway industry, holds a critical role in shaping the landscape of commercial theater. Its president serves as the voice of the community, balancing the interests of producers, theater owners, labor unions, and audiences. With its new leader in Jason Laks, a prominent labor relations lawyer, let’s explore the potential benefits and challenges of having him at the helm.

Let’s start with the positive. Laks’ background in labor law could bring a nuanced understanding of one of Broadway's most pressing challenges: labor relations. In recent years, there have been increasingly complex negotiations between producers and unions, particularly with regard to the Actors’ Equity Association, IATSE, and the Stage Directors and Choreographers Society. A president with a deep understanding of labor law could facilitate smoother contract negotiations and innovative solutions to longstanding disputes.

For example, Laks might offer new frameworks for profit-sharing, minimum wage standards, or safety protocols, addressing key concerns from all sides. This could help build trust between unions and producers, reducing the likelihood of contentious strikes or work stoppages.

Laks could bring a persuasive voice to lobbying efforts in Washington and New York, particularly on issues such as arts funding, tax credits, and cultural preservation. His legal background might also strengthen the League's position in complex policy discussions, ensuring the industry is not overlooked in broader economic recovery plans. Certainly something his predecessor could not do.

Now here are my concerns. Just like Charlotte St. Martin, his lack of direct experience in producing or even performing theater could pose challenges. Broadway is more than an industry; it is an art form that requires a deep understanding of creative processes, artistic risks, and audience engagement. This could lead to skepticism among artists and producers who value a leader who has "walked the boards" or navigated the production process firsthand.

Laks’ career in labor relations may lead some to perceive him as favoring the interests of producers over unions or artists. Even if this perception is unfounded, it could create a rift among stakeholders, undermining the collaboration necessary to tackle Broadway’s challenges.

Also, given that Broadway is at a crossroads, with calls for greater equity, accessibility, and innovation echoing across the theater industry. A leader with a predominantly legal mindset might prioritize maintaining the status quo over embracing transformative change. For instance, issues such as diversifying leadership, expanding digital theater, or reimagining ticketing models might not be high on Laks’ agenda, leaving the League to continue lagging behind in addressing the evolving demands of modern audiences.

In the end, I think Laks is incredibly more qualified than Charlotte St. Martin. The Broadway League needs a leader who can unite the industry under a shared vision, balancing artistic integrity with financial sustainability. Whether Jason Laks is the right person for that role depends on his ability to transcend his legal roots and embrace the multifaceted nature of Broadway.