From a headquarters at 1501 Broadway in the heart of Times Square, The Chad Cooper Company on Broadway has quietly built something unusual in American theatre: a vertically integrated entertainment operation that generates revenue through touring productions, film adaptations, and streaming distribution while maintaining independent ownership.
The company’s flagship production, Justice on Trial Reloaded, has toured over 100 cities across the United States since its Off-Broadway debut in New York City. The show draws sold-out crowds at major venues including the Wilshire Ebell Theatre in Hollywood and Boutwell Auditorium, where single performances have reached approximately 4,000 attendees. Combined with film projects released on platforms like BET+, the company’s stage and film productions have grossed over $100 million.
A Different Kind of Touring Model
Unlike traditional Broadway productions that stay in one location, the company operates more like a touring concert brand mixed with an independent film studio. Productions appear in theaters, civic centers, churches, and universities, reaching audiences that might not attend traditional Broadway adjacent shows. This approach has proven particularly effective for socially conscious storytelling that blends historical figures like W.E.B. Du Bois and Ida B. Wells with modern courtroom drama.
The productions feature recognizable talent from Hollywood and television. Harry Lennix serves as co-executive producer and collaborator, while Ralph Carter has performed as a civil rights attorney in the cast. One production includes a direct descendant of W.E.B. Du Bois portraying his great-grandfather, adding genealogical authenticity rarely seen in historical theater.
Beyond the Stage
The business model extends well beyond live performances. Several stage concepts have been adapted into films available on streaming platforms, including Justice On Trial: The Movie, Trouble Waters, Revival: The Movie, and Super Turnt. This creates multiple revenue streams from a single intellectual property while reaching audiences who prefer digital content over live theater.
Educational historical theater productions like “Conversations with Du Bois: An American Hero” serve another market segment entirely, appearing at historically Black colleges, community organizations, and as Black History Month programming. These productions attract partnerships with NAACP chapters, historical societies, and civic organizations.
The company has received recognition for cultural impact, including the CEO and Senior Executive Producer Chad Lawson Cooper as Playwright of the Year honors from community and cultural organizations. What distinguishes the operation is its ability to maintain independence while competing with larger entertainment companies. As a Black-owned production company based in Times Square, it occupies a distinctive position in an industry traditionally dominated by corporate producers.
Looking ahead, the company plans to expand into international touring markets. With a proven domestic model and multiple revenue channels already established, the move represents a logical next step for productions that have already demonstrated their ability to attract large audiences across diverse American communities.
