“These days, there seems to be only two ways to make money on a straight play on Broadway. One is to ride across-the-board raves and a clutch of awards (including the Tony and the Pulitzer) to a long, healthy run, as Proof and Doubt did. The other is to secure the services of a name star and nail him or her down for a run of anywhere from 10 to 20 weeks. Open runs of plays that lack rave reviews or multiple trophies rarely show a profit.”