Roth, the 47-year-old son of the real estate titan Steven Roth and the Broadway producer Daryl Roth, has been a singular force in a staid industry, with a disruptive emphasis on customer service in his theaters, a fondness for couture, an exuberant presence on social media, and left-leaning politics sharply at odds with those of his Trump-supporting father.
The transaction portends a potential shift from the quirky to the corporate: A.T.G. is a large company, run by a former wine industry executive, Mark Cornell, who will remain as chief executive of the combined company. A.T. G. is fundamentally British, which could be a cause for concern on Broadway, where there is occasional worry about too many London shows — often developed with British government support — swamping work by American theater artists. (After Second Stage Theater, a nonprofit that focuses on work by living American writers, finally acquired a Broadway house in 2015, its artistic director, Carole Rothman, proudly proclaimed that her organization’s Broadway programming would feature “No Brits.”)
The companies, which would not make anyone available for comment, did not describe the transaction as either an acquisition or a merger, and it is not immediately clear what “combining operations” will mean for the employees or operations at the five Jujamcyn houses or the two A.T.G. Broadway houses.
The Jujamcyn theaters include the Eugene O’Neill, which is the long-term home of “The Book of Mormon,” as well as the Al Hirschfeld (“Moulin Rouge!”), the Walter Kerr (“Hadestown”), the August Wilson (“Funny Girl”) and the St. James (awaiting a new musical called “New York, New York”). Roth is expected to continue to decide what shows run in those five theaters, and he has previously shown a strong interest in work by American writers: Four of the five current Jujamcyn musicals have American origins; “Moulin Rouge!” has Australian roots, but the stage musical was developed in the United States.
A.T.G. has an ambitious Broadway track record thus far. The company has for a decade operated one of the biggest Broadway houses, the Lyric, which, lavishly reconfigured for 1,622 seats, has for the last five years been home to “Harry Potter and the Cursed Child.” A.T.G. has since 2017 also operated one of Broadway’s smaller houses, the Hudson, which with just under 1,000 seats often presents plays; the latest, a revival of “A Doll’s House” starring Jessica Chastain, began previews Monday night. Among the hallmarks of the company’s Broadway presence: fancier food and drink than at most of the American-operated houses.