Which brings us to the Arsht, where subscribers are getting a real head-scratcher of a season. In the fall, two non-Equity tours (The Wizard of Oz and Annie) are on the bill. The spring brings Cirque Dreams Jungle Fantasy (which, though it did have a 70-performance run on Broadway, isn't a Cirque du Soleil show but family-oriented fare from South Florida-based producer Neil Goldberg), and the return of the 1996 revival of Chicago (which has played the region multiple times).

Arsht Center interim president Larry Wilker and executive vice president Scott Shiller are diplomatic about the season they've been dealt, Wilker observing, ``Those titles are all good shows. They offer the opportunity to introduce new folks, particularly younger ones, to the Arsht Center.''

LOOKING FORWARD

Both men emphasize, however, that they want stronger seasons moving forward.

''The previous administration left it to Broadway Across America to run the season,'' Wilker says. ``Scott and I have a different philosophy. We're very much a more active partner.''

To that end, Shiller has been working with the center's resident groups (which have the right to choose their dates first) so that some big Broadway titles -- Wicked next season -- can have longer runs. He also has his eye on shows like In the Heights, The Color Purple, Dirty Dancing, The 39 Steps, Boeing Boeing and Spring Awakening as good fits for the Arsht.

''We think Miami deserves first-class shows,'' Shiller says.

Wilker even believes that Broadway Across America should ''use its clout to [get shows to] rearrange touring schedules,'' so that Miami can play host to more hot titles.

Susan Krajsa, executive vice president of Broadway Across America, says the company is about halfway to its subscription goal at the Arsht and says this season was chosen with a purpose: ``We wanted to build the audience by offering [mostly] family-focused, family-friendly shows.''

At the same time, she acknowledges, ``programming around the resident companies has been challenging the past couple of seasons. They control the calendar.''

What elements should an ideal Broadway touring season have? John Gore, Broadway Across America's CEO, suggests it should include one ''tent pole'' -- a centerpiece smash like Jersey Boys -- plus a ''good-quality revival'' and a hit play like Frost/Nixon or Boeing Boeing. Having The Wizard of Oz set the stage for the return of Wicked to the Arsht, he says, ``makes sense.''

Broward Center president Mark Nerenhausen, the man with Jersey Boys on his horizon, knows that his facility has geography, flexibility and a sizable theater-loving audience going for it.

'We're in the center of South Florida, and producers look at that . . . We do tend to get major shows early in their tours, and our selection process usually consists of saying `yes,' '' he says.

'We have major users and anchor groups, but we've avoided using the term `resident companies,' which implies specific rights to booking dates. Our priority is to create the best season in total for the community and to maximize the use of the theater.''

Looking at geography a different way, Nerenhausen observes, ``The Arsht and the Broward Center are 25 miles apart, door-to-door. But there are different demographics, different programming histories and different expectations.''

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