Hi Michael-
I was interested in this discussion but got caught up in the fellows' departure. So here I am, a little late.

In America, especially in New York, this overlap of for-profit/ not-for-profit is particularly interesting and I admit I need to study it further having worked with for profit only peripherally in PR in Canada. I'm sure I'll get more experience at the Atlantic Theater Company.

Theatre is the only artform that I know of that competes with itself in this way and I don't know if the competition is for the better.  The Broadway-dominant environment must really make New York a competitive market for not-for-profit theatre. 

I see what you are saying in terms of risk-taking for not-for profit companies, and supporting large casts is familliar with my work in classical theatre. However, risk is often regrettably paced out with either a large cast, or a new work, or unknown artists, or a new adaptation, not all together. Most of what I have worked on has one of these elements.

In my experience musicals are done to bring in money first and foremost, and I've never worked for a company that uses a musical slot as an opportunity to take a risk. Good for the KC.

I have worked on two Broadway transfers, neither were musicals. One new work, a one-person show with a well known playwright. One classical play, a well known title, with a 15-member cast.