I don't think I did misinterpret what you said, you did cite ticket price differences between Broadway and off-Broadway as being a factor, and referred to members of Hadassah as possibly being more "budget conscious" or less able to afford tickets to a Broadway show.
I looked at the cited conversation between Cohen and Bloomgarden, in the opening post, in the context of the history of Bloomgarden's Broadway productions, which was a completely different perspective than the one you took. The play they were talking about producing, in that conversation, Lanford Wilson's "The Hot l Baltimore" might not be as easy to sell tickets to as it had been easy to sell Hadassah groups tickets to "The Diary of Anne Frank" 20 years earlier--and I think that's what Cohen meant by his Hadassah comment. "Hadassah of Great Neck"--and groups like that--were an almost guaranteed audience of ticket purchasers for that earlier play, "The Diary of Anne Frank", given its particular appeal to a Jewish audience. Cohen was cautioning Bloomgarden that Wilson's new play might have a more limited audience, meaning it was better remaining off-Broadway.
Again this indicative of a narrower smaller less ambitious potential choice of venue for the performance.
The conversation between Cohen and Bloomgarden really didn't have much, if anything, to do with ticket prices, Hadassah, or Jews, it was about differences in the appeal of different types of plays, and the ability of those plays to attract audiences to fill a theater--these people were business men. "The Diary of Anne Frank" had no problem attracting Broadway audiences, but Lanford Wilson's play, which had considerably less appealing characters, and consequently less mass audience appeal, might be better off presented in a smaller venue with fewer empty seats than if it was mounted in a Broadway theater.
Also, in the 1970's, when that conversation took place, Broadway ticket prices were still fairly affordable, and the off-Broadway prices were on the rise. But off-Broadway was known for the more experimental, or off-beat, or more cutting-edge productions, so it wasn't just lower ticket prices, there were differences in audience tastes that attracted ticket buyers to either Broadway or off-Broadway. Bloomgarden was wise in leaving Wilson's play off-Broadway for that reason.
We're simply looking at the topic from very different vantage points. But, if I did misinterpret what you said, please correct me.