Noel is responding to my posted request for a breakdown of "virgin" versus "previously de-flowered" offerings. As a Systems Analyst I often like to look at categorical breakdowns to see whether or not there is any potential significance to be derived.
In this case, we are one invited show away from a perfect 50-50 split between never-produced and brand new offerings, which suggests no bias for or against previously produced shows.
Whether or not NYMF should show such a bias is totally subjective. I suspect the category should be "new works", meaning new to Broadway-Equity audiences.
One could argue that admitting previously preformed shows puts new productions at a disadvantage, but the lack of any previous production also places a healthy production-cost fundraising burden on new shows.
der Brucer
I think the key word, well phrase that has to be defined is "World Premiere". Yes, there were some true "first time on stage anywhere" productions in this year's NYMF, but I'm sure that even some of the "world premieres" had been mounted at other venues before they were presented at NYMF. Those venues were not granted the "right" to call their production a "World Premiere".
When I did
Working at Signature Theatre back in 1997, it was the first "major" professional production of the "new" version. However, when the show was later done up at Long Wharf, that production, if my memory serves me correctly, was listed as the "world premiere" of the new version of the show. It's all in the contract. I've attended many a "workshop" of a new piece, but not until those pieces were mounted later on in bigger venues with bigger budgets did those shows make their "World Premiere".
