Chapter
1. Wherein Robert Kalfin uses his salary to pay for Chelsea's first off-Broadway contract production in order to attract media attention and funding and thereby loses his partner and his space. 5
2. How Chelsea finds an ideal, inexpensive space in a major cultural institution which rarely attracts Manhattan audiences and where agents don't send performers to audition. 26
3. Wherein Chelsea's empathic Caucasian director discovers exciting Black plays and gives militant performers a forum for their views, and how this results in a major triumph for the young theater--an international tour which the actors abandon in Zurich. 41
4. In which Chelsea mounts three major productions, moves two shows off-Broadway for unlimited runs, is featured on the front page of the Arts and Leisure section of the New York Times, and can't get funding to finish the season. Again.
5. How Chelsea soars on borrowed wings. 73
6. Wherein Chelsea creates a Manhattan annex to house Brooklyn successes. How it opens shows, book shows, and rents spaces to other producers at the Westside Theater while continuing to move Brooklyn productions to inappropriate, overpriced rental houses. 97
7. In which commercial interests rally for art while artists sabotage a revolutionary production. Chelsea wins all major awards for best off-Broadway and best Broadway show of the season but doens't make money. Audiences, theater artists, and critics take note, while funding sources make note of the growing deficit. 117
8. How Kalfin defends art from an experimental playwright, a Tony-nominated actress, a Hollywood star, his partners, his board, and a tribe of Indians. While backstage tensions grow, Macheath hangs. 146
9. Wherein Chelsea condemns the prince and aborts The Family, parts three and four 175
10. How a monster loses its heads. 194
1l. Wherein we continue Chelsea, the story of a house. 227
12. How Chelsea cancels a season in order to pay its debts and cannot secure subsequent funding because it hasn't been producing plays. Our story reaches a happy end, of course. 246
Epilogue 263
Appendix A, B, C 265
Notes 277
Bibliography 285
Acknowledgments 289
Index 291 .