An (obvious) observation

The two big problems in NY seem to be MONEY and SPACE.
SPACE is expensive.
Actors, especially Equity actors, are also expensive.
The solution? When you're not talking Broadway?
To truncate both RUNS and REHEARSAL PROCESSES, because otherwise you go broke.
So the problems of money and space become a problem of TIME.

The problem: More than most plays, new work needs rehearsal time.
Playwrights aren't bringing tested material to the table.
The play needs time to change over the rehearsal process.
AND the actors need time to live and breathe within those changes.
It's not like it's Chekhov, which MAY be harder to wrap yourself around, but which PROBABLY you've been studying in acting classes since you first started acting.
With new work, you don't have a head start.

Add to that: You do a play in New York, you probably want people to come see it. You want it to build your career. Which probably means getting critics in, getting literary managers or directors in. Who then see work that hasn't had time to find itself.

There are ways around this. "Development Hell," for starters. Lots of table reads in your living room. Non-Equity Actors, who aren't bound by the same rules, and don't need to be paid the same way.

Or the OUT OF TOWN production that you move to New York.