CAA strolling to legit Lane

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Too early to know which clients to follow former WMA agent

In a surprise move with significant implications for New York theater and the agency business, William Morris Agency theater topper George Lane has ankled the percentery for Creative Artists Agency.

Move marks a notable entry into Gotham for CAA, which has lacked any presence in New York until now.

Lane, who took over the William Morris Agency’s theater operations 13 years ago, represents many of the top artists working in American theater, including the playwrights Warren Leight, Suzan-Lori Parks, Edward Albee, Richard Greenberg and Oscar-nommed screenwriter, director and playwright Kenneth Lonergan.

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Lane also represents theatrical directors like Daniel Sullivan, Robert Falls, James Lapine and Michael Mayer and actors Cynthia Nixon, Cherry Jones, William Hurt and Vanessa Williams. It’s too early to tell how many will join him at CAA.

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The mention of Lane’s name in Gotham theatrical circles invites kvetching (from producers) as much as praise (from clients), but even those producers who’ve tangled with him and his often-lengthy list of demands admit they’re happy with the move if it augurs greater access to CAA’s high wattage actor talent.

“If this means CAA is considering a more energetic approach to the New York theater scene, I am thrilled,” said Barry Weissler, a Broadway producer of tuners like “Chicago” and “Annie Get Your Gun.”

Gotham foray

Speculation in legit circles immediately focused on which coast Lane would base his operation.

A spokesman for CAA confirmed Lane’s imminent arrival as theater topper in a New York office, but could not comment on which clients would be joining him at CAA.

“George Lane has a terrific list of writers and directors, which means CAA would start off an established theatrical department from the time he goes here,” said Seth Gelblum, a partner entertainment law powerhouse Loeb & Loeb. “It will be interesting to see how patient CAA is regarding the different ways that careers develop and money flows in the theater. CAA has thought about this move and how to service their clients in the theater for a long time.”

Other rival agents downplayed any speculation that a major foray into New York was imminent for CAA. These agents suggested Lane would likely be working largely alone as a satellite to CAA’s West Coast offices.

“CAA has never been willing to open an office here in New York, and I don’t see them starting,” said a rival agent. “He can place his people in theater from there (L.A.), but some of his theater clients will feel they need him here.”

Insiders at WMA described the Lane departure as stemming from disagreements about remuneration in Lane’s contract renewal negotiations.

It’s not the first significant departure from WMA’s theater ranks: In January of last year, Peter Franklin — a WMA theater vet of 22 years — left to join the Gersh Agency. And in February of 2000, Michael Peretzian, a 31-year vet of the William Morris ankled the tenpercentery for CAA as well.

“We have agreed to part ways with George,” said a spokesman for the percentery. “We wish him well. We have no further comment at this time, but we have a plan for this position and department that we will announce shortly.”

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