Guest post: Samantha Kindler on Street Teams. Does old school word-of-mouth marketing still work?

July 8, 2009 • 8 Comments

 

Last week, I researched another, slightly more primitive form of marketing.  Yet, I have found that it can be equally, if not more effective as more high tech forms if it is done efficiently and correctly.  I spent two weeks of my internship working at the office a busy commercial general manager. For one of the shows they manage, the company is thinking about putting together an in-house street team.  Therefore, I was sent to explore what they do and which ones are the most successful.

 

I am sure many readers of this blog will agree with me when I admit that I usually cannot stand these street promoters.  I think that they waste paper and materials and they always seem to catch me right when I’m in a hurry.  I do not want to listen to your new hip hop cd or go to a comedy club.  If I want to go see a Broadway or off-Broadway show, I will go see it anyway.  I also can’t help but to feel awful for the people who have to stand in 80 degree weather for hours with a smile on their faces. Needless to say, I was not thrilled to have to go out of my way to actually seek these people out.  But, the truth is, not everyone is as aware of the things New York theatre has to offer.  These days, more and more tourists are waiting to buy their tickets until they get to the city, which makes flyers a very important marketing tool. 

 

I started my exploration of the world of street teams by simply walking through the middle of Times Square — admittedly my least favorite thing to do, especially now that tourists can just hang out in lawn chairs.  Usually, when I walk through the city, I listen to my iPod and solicitors on the street tend to ignore me.  Therefore, this time I had to walk around the busiest part of the city without the armor of my soothing Missy Higgins.

 

While walking up 7th avenue I passed a slew of Broadway street team members standing together.  Mary Stuart, Irena’s Vow and The 39 Steps all congregating in perfect harmony; but not necessarily making an effort to give out flyers.  I decided not to seek them out, but instead to see who approached me.

 

I saw a girl, about my age, in a bright green Shrek shirt who looked like she wanted to walk into the next oncoming New York City Sights bus.  Granted, it was 85 degrees and humid, but is a family from Ohio really going to spend 100 bucks a ticket on a kids show if the person handing them a flyer looks like they may kill someone?

 

The first person who actually handed me a flyer was for the show The Toxic Avenger, a new off-Broadway musical.  She seemed very excited that I was interested in the show she was promoting and went on to tell me the entire synopsis.  Not only had she seen the show and knew all about it, but she knew about the competing shows as well.  I asked her why I should see Avenger as opposed to another off-Broadway musical and she was eager to tell me what her show had to offer that others didn’t.  This girl was clearly not only knowledgeable about her show, but was also a charismatic sales person.

 

Many people who go out for street team jobs these days are young, out of work actors who would kill to make 8 dollars an hour to stand out in the blistering heat to annoy others.  They need to be aggressive, outgoing, and most importantly, be able to keep going, even when people ignore them and their flyers.  After my afternoon of street team research, I really gained a newfound respect for them.  When they do their best to be enthusiastic and entertaining, they can certainly sell tickets.

TEXT away Midtown International Theatre Festival!

 

Just wanted to highlight – Leonard Jacobs,  coverage of mobile marketing for Midtown International Theatre Festival over at Clyde Fitch Report.  I have long been an advocate of SMS texting as a customer interface and I think as a field we have yet to harness the power of the text.   I think institutions should use it for subscriber exchanges, directions, info on the show, among other things.  The application in theatre has immense possibilities.  Ken Davenport recently wrote a post about new media notes importantly in it that commercial productions don’t own their consumers names and can’t really contact them directly without significant expense – the great thing about texting is it is USER initiated when done correctly so it not only opens the door to communication but it is at the customers request.  Some art forms (museums mostly have started) embracing this, it is time the most interactive art form does!

 

All you marketing directors out there – if you are using sms and mms messages to reach your audiences, let me know so we can start sharing what others are doing! 

 

Brief info on MITF mobile marketing campaign from the press release by Michelle Brandon Tabnick (one of my favorite folks working in marketing and communications) – as posted on Clyde Fitch Report.

The Midtown International Theatre Festival (MITF) has made its first foray into mobile with a mobile marketing campaign and a mobile website. MITF is the first NY theatre festival to embark on such a mobile campaign. Partnering with BWYNOW (299669), The Mobile Way to Broadway, MITF will connect one-on-one with its audience of theatre fans, create more buzz, drive ticket sales, and build a mobile community that will stay connected – from wherever and whenever – with the push of a button from any mobile device on the market today.

Theatre fans who text MITF to 299669 (BWYNOW) will receive news and special offers as well as a mobile web page listing information on the participating shows in the Tenth Anniversary season, running from July 13 – August 2, 2009. 43 plays and musicals have been chosen, as well as three Studio Series shows and five readings. Selected plays for SHORT SUBJECTS, a new division for plays that run under 60 minutes, will be announced at a later date. Tickets are available at www.midtownfestival.org or by phone at 866-811-4111.

This week’s interesting articles and blog posts!

July 5, 2009 • No Comments

 

 

    From the papers and websites:

     

  • Now, Sarah’s Folly – NYTimes.com – http://shar.es/Gj5o

  • Female playwrights find it’s still a man’s world — Newsday.com – http://shar.es/GvPV

  • ‘Girls Night,’ Bachelorettes plays – WSJ.com – http://shar.es/G7al

  • Summer tourism to NYC down sharply. Tourists forgoing Broadway for less pricey atttractions. http://tinyurl.com/n6zegy

  • Mayor Michael Bloomberg – A public insurance plan will help heal a broken health care system – http://shar.es/cj5u

  • How Not to be Hated on Facebook – TIME – http://shar.es/cjaT #fb

  • BackStage on the amazing Bernie Telsey http://bit.ly/EkA1b w/actors Telsey tales-note 1st one http://bit.ly/tQGlP

  • City’s Funds For Film and Television Tax Credits Run Out http://bit.ly/DeLkn

  • Critic Peter Marks says that the power of the critic "theater, like most politics, is local," http://is.gd/1lpVZ

  • Bravo, Sarah Jessica Parker launching art-themed reality series http://bit.ly/ayTQZ

  • Playbill profile of MCC Artistic Director Bernard Telsey’s double life as a casting director – http://bit.ly/11dlAF

  • Kaiser on Arts in Crisis http://bit.ly/hQfwE H

  • Nonprofits Employ Tougher Measures as Downturn Deepens http://bit.ly/18ud9h

  • Twitter Revamps Following and Followers Pages – http://bit.ly/LFlWJ

  • Male Nonprofit Executives Earn 27% More Than Female Leaders, Study Finds http://twurl.nl/hfkofm

  • Kennedy Center to Spread the Knowledge http://bit.ly/1gwGiq

  • Productive but Neurotic New York – Crain’s New York Business – http://shar.es/5W13

  • Charles Isherwood of the NYT on the NT Live Phedre http://bit.ly/lbi00

  • It’s official: T.R. Knight is headed to Broadway http://tinyurl.com/nqz2vz

  • Guthrie Theater Wraps Up Highly Successful Kushner Celebration http://tinyurl.com/mdxv5f

  • Recession Taking a Toll on Nonprofits, Bridgespan Survey Finds http://bit.ly/LMxYt

  • Facebook Could Create a Revolution, Do Good, and Make Billions – NYTimes.com http://ow.ly/fYGc

  • Variety – interesting business/creative model for the musical "Ella": http://bit.ly/OpU1z

  • Bard Stars Esparza, White Help Raise $1.3 Million for Public – Bloomberg.com – http://shar.es/74rL

  •  

     

      From the Blogs (For a daily update check What’s being talked about on the Blogroll regularly.  It is updated several times throughout the day.  Follow me on Twitter to receive a tweet whenever it is updated.)  If there is a blog I am not following and I should please let me know.  You can see the blog roll by category here.:

       

       

      • *’Bums on Seats’ * "PR folk are always asking how… from Hannah Nicklin – Blog

      • The Huffington Post says The Skylight is following… from Artsy Schmartsy

      • Be careful what you say from The Mission Paradox Blog

      • Acceptance Video for the ITBA’s Citation for Excellence from Flux Theatre Ensemble

      • On Theatre Etiquette from Theatre Bay Area Chatterbox

      • July 1, 2009 – Can we practice empathy together? from SEE Blog

      • Paneled on July 8th! from Parabasis

      • What? A Panel About Theatre Blogging? from The Playgoer

      • Ohio Theatre Update from The Playgoer

      • Here’s how to solve the arts funding crisis  from Stage: Theatre blog | guardian.co.uk

      • Have we seen the last of the looooong running musical? from PRODUCER’S PERSPECTIVE

      • Women Actors Make Way Less Money Than Men from Women & Hollywood

      • Valuing Cultural Diplomacy and Engagement for the arts from ARTSBLOG

      • Creative risk pays off for the Guthrie from Carolyn Jack

      • Gender Bias Gets Confusing! (But Poetic) from Parabasis

      • My last e-mail to Emily from The Hub Review

      • Microphilanthropy from Createquity.

      • Thinking Bigger with your Vision, your Board and your funding from For Impact Daily Nuggets

      • Are Nonprofits Good At Social Media? from The Agitator

      • Is Michael Kaiser a Demigod or Merely Superhuman? from Clyde Fitch Report

      • As Mayoral Control of Schools Lapses, Will Arts Education be affected from Clyde Fitch Report

      • On Quality, Value and Criticism from Flux Theatre Ensemble

      • Goodbye and Thanks from AmericanTheaterWeb

      • First Rehearsal to the Third Power from Steppenwolf Theatre Company Blog

      • Free, Says Gladwell: Such a Little Word… from Clyde Fitch Report

      • How is Tony Voter turnout? from PRODUCER’S PERSPECTIVE

      • Gentle Persistence from A Small Change- Fundraising Blog

      • Gender Bias in Theatre — Digging a Little Deeper from Women & Hollywood

      • The “Turn-A-Round King goes National from off-stage right

      • The 500th Post: 16 Nonprofit Marketing (and Life)… from Katya’s Non-Profit Marketing Blog

      • Truth, beauty, trust from The Artful Manager

      • Around the horn: Thriller edition from Createquity.

      • Are Audiences Lemmings or Thinking Lemmings? from Clyde Fitch Report

      • Today’s Must Read from Parabasis

      • O, malignant and ill-boding audience! from Struts and Frets: Kris Joseph

      • I’m lost, but I don’t think I am the only one from off-stage right

      • A Balancing Act from The Halcyon Blog

      • Broadway (officially) lends T.R. Knight ‘Tenor’ role from Entertainment Weekly’s Ausiello Files

      • Why Every Nonprofit Is Accountable For A Vision from SPURspectives

      • And then it’s gone… from Theatre Aficionado at Large

      • How convenient are we? from One Producer in the City

      • Women Directors Breaking Through in Theatre from Women & Hollywood

      • Is the Curtain Closing on Live Theater in America? from Culturebot

      • Jerry Lewis, Marvin Hamlisch taking ‘Nutty Professor’… from Culture Monster

      • A ‘West Side Story’ for the Twitter set from Culture Monster

      • Saving Arts Programs? There’s an .App for That. from ARTSBLOG

      • What You Do Isn’t Worth Paying For: The Message Google… from Technology in the Arts

      • What You Do IS Worth Paying For, We Just Can’t: Non-Profit… from Technology in the Arts

      • New York Arts Fund Offers Cheap Rent to Charities from Give and Take

      • Femme Fight from Blank New World

      • Rock and a Hard Place 3: What Actors Want from a poor player

      • Theatre as Case Study? from Parabasis

      • Fisking Emily Glassberg Sands from The Hub Review

      • The Impact of Giving Circles from Nonprofit Law Blog

      • Politics Of Online Ad Targeting from The Agitator

      • Considering the Creative Ecology from The Artful Manager

      • Keeping The Passion Alive While I am Away from Butts In The Seats

      • Question For My Inside The Arts Family from Butts In The Seats

      • Rehearsing opposites from Struts and Frets: Kris Joseph

      • Breaking the ’5th Wall’… from NEA New Play Development Program hosted by Arena

      • Engaging Dissent from NEA New Play Development Program hosted by Arena

      • I Want To Make Something Really Clear from Parabasis

      • A Good Post From David Dower from Parabasis

      •  An Open Letter to Roundabout from Theatre Aficionado at Large

      • Box? What Box? from Entrepreneur The Arts Blog

      • The Norman Conquests – Table Manners from Everything I Know I Learned from Musicals

      • TWITTER’S TIME HAS COME from Jane Fonda

      • Twitter Guide Book… from Mashable!

      • Theatre is about more than comfy seats | Matt Trueman from Stage: Theatre blog | guardian.co.uk

      • How to Lose Your Audience in One Easy Step from Theatre Bay Area Chatterbox

      • How Broadway Talks to its Audiences Using Social Media from Mashable!

      • Guest Blogger: Samantha Kindler on Social Media

        June 24, 2009 • No Comments

         

        [Note from Jodi:  In May I posted about the amazing internship I was able to design this summer for a brilliant future leader in theatre.  It has been going really well.  Thanks to all of my wonderful friends who have helped out with interviews and perspectives.  As most of you know, I think mentorship is one of the most rewarding and essential things we do as arts administrators!  So, enjoy, Sam’s first guest post.]

         

         

        Recently, I have been thinking about the use of new social media to attract audiences to theatre. Despite the fact that I am a child of the Millennial Generation, which is supposed to be blinded by the Internet and instant gratification, I have been skeptical from the beginning of using tools like Twitter and Facebook to sell tickets. Does technology really help sell tickets? Or are theatres and shows simply making Twitter accounts and Facebook pages to jump on the bandwagon?

         

        Over the past few weeks, Jodi has sent me on a series of informational interviews. Having the opportunity to speak with very knowledgeable people in the business, I asked all of them their opinion on the new uses of these web 2.0 tools.

         

        Twitter is one form of web 2.0 that constantly intrigues me. Not being a habitual Twitterer myself, I am very curious if Twittering about shows really helps to market that show. For example, some of these shows Twitter out discounts multiple times a day. Is this overload? If someone sees a variation on the same Tweet from a show over and over again, won’t they just start ignoring it? Also, don’t most people who follow a certain show follow it because they have already seen the show and are not necessarily looking to buy tickets again?

         

        I discussed this for a long time with Jennie Greer, the Director of Advancement at New Dramatists. She shared my fear that often these shows are twittering just to twitter. Since everyone else is doing it, it must be effective, right? Yet, she explained to me that many theatres feel the need to keep up with the rest of the world in terms of technology so that they remain relevant.

         

        I also raised the subject with Ken Davenport, an off-Broadway and Broadway producer who is known for his knowledge and use of new media tools. He often uses these tools for user-generated content in his shows, but I was more curious about how he believed these tools should be used for marketing.

         

        He told me that the use of this technology always depends on the show and who the expected audience is going to be. For example, his current show on Broadway, Blithe Spirit, stars Angela Lansbury and the majority of the audience is older. Therefore, he can mostly rely on traditional snail mail to advertise and can guarantee that Angela’s name will sell tickets.

         

        For his shows with younger audiences, however, he has to use new forms of marketing. He told me that he uses Facebook and Twitter for Altar Boyz in particular because younger audience members who like the show will follow it and spread the word to their friends. Unlike other shows, the Alter Boyz Twitter account tells its followers little stories about the characters. Ken believes that many people misuse these tools by overloading people with information about buying tickets. But, when used correctly, he thinks that these new forms of marketing can really help sell a show.

         

        Nella Vera, the new marketing director at the Public, had many interesting insights into the importance of using new technology. I asked her if she really believed that having a state-of-the-art website and a Twitter account helps sell tickets. She explained to me that there is not one specific thing that sells tickets. Yet, if a theatre or a show has an updated, advanced website and reaches out to people using Twitter, it gets people excited about the show. Even if they have already seen the show, they will tell their friends or go on the website and see another show from that theatre. We discussed the concept of the new cultural consumer and how, as a marketing director, she must figure out what an audience wants and then give it to them.

         

        After interviewing several theater professionals about the use of web 2.0 in theatres, I still have not come to a conclusion. Only time will tell if technology really has an impact on not only ticket sales but selling a show or a theatre as a brand. My working theory is that social media tools have a greater efficacy when used sparingly and specifically; building a following rather than appealing to one time audiences with daily ticket discounts.

        Recent articles about the arts, theater, etc. from the last two weeks

        June 18, 2009 • No Comments

         

        A LINK TO A MUST READ POST FOR EVERYONE IN THE ARTS!!! @createequity http://tinyurl.com/mzdl62

        Nonprofits gird for long battle – Crain’s New York Business – http://shar.es/Wk9N

        How Twitter’s Staff Uses Twitter (And Why It Could Cause Problems) – NYTimes.com – http://shar.es/WqUN

        Competitive Advantage Is Fleeting (And It’s Okay to Admit It) http://bit.ly/nsMAE

        Company has employees volunteer for charities, pays them, takes tax deduction http://tr.im/nXpv

        Declaration of Arts Ed Rights – http://shar.es/f39I

        The evolving hybrids in corporate structure – The Artful Manager – http://shar.es/2NWv

        Roundabout announces $10 Birdie tickets, sponsored by Bank of America http://bit.ly/l1IBT

        The Columbus Dispatch : Cultural groups tap audiences via social networking – http://shar.es/2Uqe

        Beleaguered City Opera Tries to Hold Off the Ultimate Finale – NYTimes.com – http://shar.es/29lH

        Helen Mirren in "Phedre" live broadcast #fb http://shar.es/29gt

        North Shore Musical Theater to Close – http://bit.ly/j3cVq

        NEA reports decline in arts audiences for 2008 | Culture Monster | Los Angeles Times – http://shar.es/rtXO

        Obama Plays It Safe With the Arts – WSJ.com – http://shar.es/fNth

        Obama and the arts, Part 2 http://bit.ly/11njer

        Obama and the arts, Part 3 | Culture Monster | Los Angeles Times – http://shar.es/fNXP

        Tonys boost Broadway box office – Entertainment News, Tony Awards, Media – Variety – http://shar.es/roU7

        Interesting study on gender and Twitter use: http://bit.ly/tg2XE

        Making Art Pay For Art – http://shar.es/r1h4

        The Revolution is Tweeted, Does it Matter?  http://shar.es/r1iu

        Jonathan Demme to Direct for MCC Theater – ArtsBeat Blog – NYTimes.com – http://shar.es/rgem

        Arts, Briefly: Broadway’s New Season Takes Shape http://bit.ly/12rzoO

        NYT reports giving last year fell by largest percentage in five decades: http://rde.me/Y6

        The Associated Press: Amid meltdown, charitable gifts in US fell in 2008 – http://shar.es/fNov

        Charitable Donations Fell by Nearly 6% in 2008, the Sharpest Drop in 53 Years http://twurl.nl/ijbq6x

        Shrek the Musical Comes Closest to a Perfect Social Strategy for Broadway Musicals, http://bit.ly/e0Dz3

        Merce Cunningham plans his retirement – Crain’s New York Business – http://shar.es/f1hc

        Laura Benanti and Steven Pasquale have found happiness on and off stage! http://bit.ly/uPGCp

        Roger Freidman trying to stir it up with Michael Riedel http://bit.ly/69H5Y

        Three sign on for ‘Pillars of the Earth’ http://tinyurl.com/nf5wf2

        BroadwayRadio’s This Week on Broadway podcast post-Tony discussion is now available! http://tinyurl.com/ndsn83

         

        Completely forgot to post last week’s interesting articles! Sorry

        June 1, 2009 • No Comments

         

        LAByrinth Gets New Leaders http://bit.ly/wSz7O

        TIME’s The Future of Twitter – http://is.gd/KxqB

        Harvard Business School’s New "M.B.A Oath" http://tr.im/mVpb

        Quality too good to pass up – Entertainment News, Legit News, Media – Variety – http://shar.es/XQXL

        Tunesmith takes on "Minister’s Wife" Variety – I hear great things about this show. http://tinyurl.com/mj8q9x

        Hold the Interview | forimpact.org GREAT LINK to Chip and Dan Heath article – http://shar.es/XAGh

        Tips on Filling Out the Governance Section on the New Form 990 (IRS) http://bit.ly/KqeW0

        10 Ways to Think About Social Networking And The Arts (the zen of "free" as a strategy) http://bit.ly/1Dpo5

        Babes in Broadwayland: How Old Is Old Enough? http://bit.ly/ymtpi

        White House Officials Discuss Plans for Social-Innovation Office http://twurl.nl/zbxpum

        Shubert teams with NYC and Co. – Entertainment News, Legit News, Media – Variety – http://shar.es/0mLz

        Stephen Belber: ‘Is it better to write for Hollywood?’ – Los Angeles Times – http://shar.es/0nSL

        Broadway embraces web community – Entertainment News, Legit News, Media – Variety – http://shar.es/mLLj

        Conference Committee report is out on HB2649. Stripped as promised by Rep. Smith. (link at @jimonlight http://is.gd/KPrS)

        New reporting standards for Broadway shows – hmm

        May 28, 2009 • No Comments

        In addition to all of the hoopla about the end of the Broadway season (See posts on Producers Perspective, Critical Difference,  and my post from yesterday), a little tidbit was buried in Variety yesterday.  The League will be changing the way it reports weekly stats as of this week.

        From Variety:  Sales figures will represent “gross gross” sales as opposed to net gross, which subtracts credit card transaction fees from the total. Attendance will be reported as total attendance rather than paid attendance, which does not count comped ducats.

        The numbers will also now be filtered through the League rather than going from theater owners straight to publications (no word on what that means for Nederlander Theaters which are not part of the League).

        Reporting the true gross basically means that credit cards fees, etc will not be subtracted before reporting, I don’t see this as that big of a deal as it can be estimated that 4-5% is fees.  However there is a huge difference in reporting paid attendance vs. total attendance (including complimentary tickets).   If we are really going to judge how a show is doing you actually need both numbers.  But is you can only have one, paid attendance is a much better indicator on a show’s health.

        Making the switch to gross gross and total attendance would put the Broadway numbers more in line with tallies from the film industry, according to Charlotte St. Martin, exec director of the Broadway League, the trade association of producers and presenters. (Touring legit productions already report gross gross.)

        I imagine for gross sales of film this is true, but it is well known that during previews and rough times, theater producers “paper “ the house with hundreds of tickets.   I don’t know of a similar system for film (I pretty sure that promotional previews, sneak peaks, and starry openings aren’t counted in weekly attendance).

        It isn’t addressed in the brief article but does this mean that average ticket prices will now be calculated including comps?

        Sorry, but this feels like massaging the numbers to me.  It sets a bad example for everyone.

        Here is last week’s info as reported by theater owners (and printed in many places but this detailed chart comes from Broadway World.  It will be interesting to see what the house counts look like next week as well as the average ticket sales.   Although with none of the shows in previews it won’t really skew that much – except there are all those Tony voter tickets that should make some difference – and any papering that producers are doing to make sure they have full houses for Tony voters.  I should also note that Broadway World offers a great history of statistics for anyone to go through.  You can even look at the top sellers by cumulative sales and attendance for an entire run of a show or by theater.  Really a great tool for number-junkies.

        Broadway Grosses – Week Ending 5/24/2009

        Show This Week Gross Last Week Gross Average Ticket Top Ticket Seats
        Sold
        Total
        Seats
        Per. This Week % Last Week % Diff %
        33 VARIATIONS (EUGENE O’NEILL) $236,250 $333,656 $69.20 $350.00 3,414 5,315 5 64.2% 59.9% 4.3%
        9 TO 5 (MARQUIS) $805,908 $797,680 $68.78 $300.00 11,718 12,888 8 90.9% 92.6% -1.7%
        ACCENT ON YOUTH (FRIEDMAN) $152,743 $197,015 $56.32 $95.00 2,712 5,200 8 52.2% 68.3% -16.1%
        AUGUST: OSAGE COUNTY (MUSIC BOX) $196,533 $198,336 $62.77 $250.00 3,131 7,832 8 40.0% 40.6% -0.6%
        AVENUE Q (GOLDEN) $290,542 $243,118 $59.56 $200.00 4,878 6,368 8 76.6% 66.9% 9.7%
        BILLY ELLIOT: THE MUSICAL (IMPERIAL) $1,173,790 $1,144,260 $106.03 $300.00 11,070 11,368 8 97.4% 97.3% 0.1%
        BLITHE SPIRIT (SHUBERT) $591,570 $559,139 $73.01 $300.00 8,103 11,832 8 68.5% 64.7% 3.8%
        CHICAGO (AMBASSADOR) $564,982 $486,110 $73.22 $250.00 7,716 8,640 8 89.3% 84.3% 5.0%
        DESIRE UNDER THE ELMS (ST. JAMES) $346,570 $249,755 $56.23 $252.00 6,163 11,224 8 54.9% 38.9% 16.0%
        EXIT THE KING (BARRYMORE) $486,489 $466,983 $69.70 $250.00 6,980 8,400 8 83.1% 78.7% 4.4%
        GOD OF CARNAGE (JACOBS) $854,862 $837,401 $98.26 $250.00 8,700 8,624 8 100.9% 100.1% 0.8%
        GUYS AND DOLLS (NEDERLANDER) $496,935 $468,851 $60.78 $275.00 8,176 9,736 8 84.0% 71.4% 12.6%
        HAIR (AL HIRSCHFELD) $930,263 $934,230 $86.32 $252.00 10,777 11,296 8 95.4% 96.1% -0.7%
        IN THE HEIGHTS (RICHARD RODGERS) $774,972 $722,075 $78.36 $300.00 9,890 10,920 8 90.6% 87.7% 2.9%
        IRENA’S VOW (WALTER KERR) $177,701 $188,725 $50.79 $150.00 3,499 7,576 8 46.2% 46.6% -0.4%
        JERSEY BOYS (AUGUST WILSON) $1,041,387 $1,033,177 $105.40 $350.00 9,880 9,776 8 101.1% 101.1% 0.0%
        JOE TURNER’S COME AND GONE (BELASCO) $256,298 $231,697 $48.81 $90.00 5,251 8,144 8 64.5% 55.8% 8.7%
        MAMMA MIA! (WINTER GARDEN) $894,070 $869,495 $76.45 $200.00 11,695 11,984 8 97.6% 96.5% 1.1%
        MARY POPPINS (NEW AMSTERDAM) $778,623 $666,801 $59.38 $250.00 13,112 14,376 8 91.2% 77.3% 13.9%
        MARY STUART (BROADHURST) $320,683 $348,849 $61.48 $225.00 5,216 9,200 8 56.7% 59.7% -3.0%
        NEXT TO NORMAL (BOOTH) $337,306 $310,451 $60.70 $200.00 5,557 6,176 8 90.0% 86.1% 3.9%
        REASONS TO BE PRETTY (LYCEUM) $176,152 $138,752 $48.25 $225.00 3,651 7,280 8 50.2% 38.4% 11.8%
        ROCK OF AGES (BROOKS ATKINSON) $450,676 $430,379 $59.39 $175.00 7,589 7,832 8 96.9% 94.8% 2.1%
        SHREK THE MUSICAL (BROADWAY) $770,039 $635,634 $70.22 $250.00 10,966 13,880 8 79.0% 65.2% 13.8%
        SOUTH PACIFIC (VIVIAN BEAUMONT) $869,244 $872,028 $109.15 $125.00 7,964 8,328 8 95.6% 95.3% 0.3%
        THE 39 STEPS (HELEN HAYES) $168,193 $148,974 $62.81 $111.50 2,678 4,712 8 56.8% 50.6% 6.2%
        THE LION KING (MINSKOFF) $1,118,909 $1,058,942 $86.03 $250.00 13,006 13,232 8 98.3% 95.7% 2.6%
        THE LITTLE MERMAID (LUNT-FONTANNE) $775,764 $660,522 $68.11 $250.00 11,390 12,160 8 93.7% 82.8% 10.9%
        THE NORMAN CONQUESTS (CIRCLE IN THE SQUARE) $304,815 $307,794 $60.18 $177.00 5,065 6,240 8 81.2% 82.9% -1.7%
        THE PHANTOM OF THE OPERA (MAJESTIC) $810,280 $697,107 $65.33 $200.00 12,402 12,920 8 96.0% 86.2% 9.8%
        THE PHILANTHROPIST (AMERICAN AIRLINES) $183,997 $191,518 $47.06 $111.50 3,910 5,920 8 66.0% 67.4% -1.4%
        WAITING FOR GODOT (STUDIO 54) $415,610 $439,913 $59.55 $116.50 6,979 8,032 8 86.9% 95.7% -8.8%
        WEST SIDE STORY (PALACE) $1,244,810 $1,240,854 $90.98 $300.00 13,682 13,576 8 100.8% 99.6% 1.2%
        WICKED (GERSHWIN) $1,416,179 $1,403,974 $97.86 $300.00 14,472 14,472 8 100.0% 100.0% 0.0%
        Show This Week’s Gross Last Week’s Gross Average Ticket Top Ticket Seats
        Sold
        Total
        Seats
        Per. This Week % Last Week % Diff %
        TOTAL FOR WEEK $20,413,145 Avg: $600,387

        $19,514,195 Avg: $573,947

        $70.78
        AVG.
        $225.90
        AVG.
        271,392 325,459 269 80.49%
        .AVG
        77.21%
        AVG.
        4.40%

        What are the Tony Awards really about?

        Goodness knows there are plenty of Tony Award bashing posts and articles out there, and I usually like to stay away from the negative but this morning I got a tweet that I just have to address:

        Tony Medallion normal What are the Tony Awards really about?  TheTonyAwards As a special addition, the Tonys will feature special performances of 3 touring shows: Jersey Boys, Legally Blonde The Musical & Mamma Mia!
        Thu, May 28 10:15:25 from UberTwitter

        Now I have never been foolish enough to think that the Tonys were only about celebrating quality theater of the season (after all regional theater and off-Broadway would be included if that were the case).  Sometimes if feels like it isn’t even about celebrating Broadway shows and artists (see the myriad of posts and news articles about the number of producers who rush to the stage for best play or musical – start with Michael Riedel in the post, then check out Leonard Jacobs and Frank Rizzo’s blogs for great comments on this).  I have long been aware that it is about Broadway and touring sales.  But the idea that the show is just one giant commercial for musicals has gone too far and is fundamentally working against the desired outcomes.   The show they are producing isn’t even a good commercial.

        I imagine the producers of the awards telecast are thinking of these additional performances as their own version of other awards show’s montages – a glimpse at what has been and what’s out there.  But in the small amount of time allotted by CBS for the broadcast (and we know that CBS will cut it off at 11pm even if the top awards haven’t been handed out), which awards are being shuttled off to the non-broadcast portion of the evening?  And two of the shows being show-cased didn’t even win best musical (I am shocked that Wicked isn’t being show-cased as well, but maybe they don’t need the boost  in ticket sales).

        And what about the plays, will we be treated to another horrible presentation of readers theater?  Choppy b-roll clips?  Why isn’t the touring company of August Osage County up there with the folks from the touring musicals?

        The counter argument will be that it doesn’t make good TV.  I am beginning to think that perhaps the people in charge don’t know how to make good TV.

        I may disagree with the nominations that the Oscars, Emmys, and Golden Globes chose, but I can’t argue that they work constantly to make sure that their systems and shows are about honoring the best of the season.  When TV and Film do a better job honoring the season’s work don’t we theater folks have to start questioning how we are doing things?

        I wanna rock! Rock of Ages

        May 25, 2009 • No Comments

        So on Saturday, I went to see Rock of Ages.  I had very low expectations and figured at least the in seat drink service would provide enough refreshments to make it through the evening.  But from the moment I entered the Brooks Atkinson I realized I had stepped on board of a roller coaster ride unlike any I had really experienced.

        I was handed my requisite LED flashlight (to be used concert fashion during the show).  Eighties music was making the entire theater pulsate – made me realize most shows don’t use preshow music much anymore.  As soon as we were in our seats a cocktail waitress in an 80s leather-mini and fishnet hose took our cocktails order – mixed drinks!   We ordered.  A woman from mid row charged over us to get to the waitress with a quick apology, she hadn’t ever been to a Broadway show so she didn’t know how the waitress got orders for the folks in the center of the row.  While the foot she stomped on smarted I smiled politely and said, “no worries, I didn’t know either.”  Over the music I heard the cocktail waitress tell the patrons behind me that in seat drinks was the future of Broadway and next year everyone would be doing it.

        A quick look around the house revealed an audience that was younger than most.  A dozen or so sailors from Fleet week, lots of under forties couples and packs and pack of female groups obviously having a girls night out.

        The lights went down a bit, and I was worried we didn’t have our drinks yet, but the waitress assured us she would get them to us during the first number, so I sat back as the band was introduced.  The audience went nuts and the roller coaster reached the top of the first hill and began that high speed decent that creates a thrill.

        Yes, a thrill.  Now perhaps as a child of the 80s I am predisposed.  When Quiet Riot’s Cum on Feel the Noize started i remembered my mom snapping off the music in my room, telling me it was a “trashy” song, so I put on my big old headphones to listen to it.   I had this huge desire to sing along to every song and this odd feeling that it would have been accepted, in fact several audience members did.

        The plot is so simple that the show makes fun of it throughout, but it is also more or less the same plot of EVERY musical from the Golden Era, boy meets girl, boy falls in love with girl, rich villain tries to close club where boy works, boy loses girl, girl becomes a stripper, boy and girl reunite, rich villain has change of heart, club is saved – okay maybe the stripper part was unique.

        But despite the predictability, the camp, the interruption  to pass drinks down the row, and the over the top, well everything.  I was actually having more fun than I remember ever having in a Broadway house.   Constantine Maroulis and Amy Spangler led a cast that belted out 80s tune after 80s tune that I not only listened to throughout high school, but that I still listen to much to the dismay of my husband who has much better taste in music than I do.   For all the articles written about Idol performers being on Broadway (and how often the shows judges use the term Broadway as a criticism), I wasn’t surprised to learn this morning on the TODAY show when the cast performed that Constantine Maroulis actually started out WANTING to be a musical theatre actor, his performance was subtle and engaging – the best on the stage the performance I saw.   That’s not to say the rest of the cast wasn’t entertaining because they were really truly having fun on stage and it was infectious.

        The only downer of the night was on the projection screen at the back of the set during the intermission and post-show – an advertisement for discount tickets for future performances if you retained your stub from that evening.  A grim reminder that box office on Broadway needs all the help it can get and that this super fun show cost an outrageous 100+ bucks.  Suddenly I was yearning for a strong off-Broadway where an affordable version of the show would run for years and years, but alas we are in different times.

        All in all it was a full out right experience with a little Broadway show tucked in, and that was more than all right by me.

        Kudos to the producers for wringing out every possible marketing opportunity from the show.  I even used the LED flashlight when I got home to find my keys in my purse!

        A few articles from last week you may have missed!

        May 24, 2009 • One Comment

         

        Forget the Ingénues; Cue the Grown-Ups http://bit.ly/39V6I

        Broadway coming to a screen near you, in 3D http://tinyurl.com/r6zhe6

        L.A. theater etiquette … for the uninitiated http://bit.ly/HFCbC

        4 Ways Social Media is Changing the Non-Profit World – http://bit.ly/Urf1w

        Counting for Tonys- Bloomberg.com http://shar.es/amou

        Reading "Harvard’s Role As a Nonprofit"- http://bit.ly/MIbnN

        Opposing a Tax, Broadway Added a Fee http://bit.ly/qeyH9

        Report from the recent White House briefing for arts advocates – http://bit.ly/VfNaZ

        Prospecting: Donors Show Rising Confidence in the Economy http://tinyurl.com/otr9fg

        Philanthropists Set Spending Deadlines (Wall Street Journal) http://bit.ly/140Fxr

        The Social Data Revolution(s) http://ow.ly/89Tc

        Producer Redoubles Effort to Sell a Triple Comedy http://bit.ly/qjBTe

        Building Sustainable Revenue Models. http://twurl.nl/itfoyu

        TONYS AT A LOSS FOR WORDS – New York Post – http://shar.es/V9m

        Tight Times Loosen Creativity http://bit.ly/149ucW

        Slow transition for Intiman – Entertainment News, Legit News, Media – Variety – http://shar.es/fPX

        The Politics Of Free – Why Giving "Stuff" Away Is An Interesting Business Model http://bit.ly/mPVm1

        Survival Strategies for the Arts | Blue Avocado – http://shar.es/ffb