GUEST BLOG by Mike Rafael: Broadway by the numbers: the company you keep.

10 Years ago, Ticketing Analyst wasn’t even a job on Broadway.  Now, every show has one.

One of those analysts is Mike Rafael, who I interviewed here, and who is the number-crunching author of this week’s guest blog.

Enjoy the stats, and be prepared to hear a lot more from people like Mike in the next 10 years.  And kids, if you want a stable career?  Look into ticketing analyst school.

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Broadway by the numbers: the company you keep.

For the week ending March 4th, 2018 there were 30 shows running on Broadway.

  • 10 of these grossed at least $1,000,000.
  • 10 grossed between $600,000 and $1,000,000.
  • The last 10 grossed between $250,000 and $600,000.

If 1/3rd of your business is in the “millionaires club,” the 1st week in March, you’re in good shape.

By comparison, for the same week in 2016 (w/e 3/6/16) there were 32 shows running.
  • Only 5 were “millionaires.”
  • 7 shows grossed between $60,000 and $850,000.
  • The remaining 18 shows grossed less than $600,000.

With baseball season around the corner, let’s use a sports analogy – Broadway is no longer a couple of star players on a generally weak roster. Our lineup is strong top to bottom, with a good bench to boot.

And, contrary to popular belief, Broadway isn’t just increasing grosses by increasing prices.

In 1996, the year before THE LION KING opened, Broadway sold 10.2 million tickets and grossed just under $500m.

In 2010, the year before THE BOOK OF MORMON opened, Broadway sold 12.1 million tickets and grossed over $1 billion for the first time ($1.03b).

Last year, having added HAMILTON, DEAR EVAN HANSEN, HELLO, DOLLY! & SPRINGSTEEN, Broadway sold 13.7 million tickets and grossed $1.63 billion.

In fact, speaking of sports teams, for the last three years Broadway has outsold the top 10 New York professional sports teams combined. In 2017, Broadway attendance surpassed the combined NY Sports teams by 2.6 million tickets.

[bonus question: name the top 10 NY sports teams – answer below]

Here’s another comparison: the movies.

In 1996,  1.309 billion people bought a ticket to a movie in the US.

In 2010, 1.328 billion people went to the movies in the US.

But in 2017, 1.225 billion people bought tickets, the lowest figure since 1995.  [source: the-numbers.com]

One might also note that the 3rd highest grossing movie of 2018 so far is a musical, THE GREATEST SHOWMAN, with a distinctly Broadway pedigree (Hugh Jackman, Pasek & Paul, Keala Settle).

So while moviegoers continue to decline, the audience for Broadway continues to grow. Last year’s record year for both attendance and grosses on Broadway and this year, thanks to HARRY POTTER, FROZEN, MEAN GIRLS et al, those records will be broken again.

Let the good times roll.

[The answer to the bonus question?  The Top 10 NY sports teams by attendance: NY Yankees, NY Mets, NY Jets, NY Giants, NY Rangers, NY Knicks, Brooklyn Nets, NJ Devils, NY Islanders, NY Red Bulls]

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Mike Rafael has worked on ticketing for over three dozen Broadway shows and has set the house record in 5 different Broadway theaters. Last year he helped WICKED set the all-time single-year attendance record for Broadway.

Broadway Grosses w/e 3/25/2018: The first week of spring and snow?

The following are the Broadway grosses for the week ending March 25, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:

Podcast Episode 151 – Tony Nominated Lyricist, Michael Korie

Last week I wrote about how so many fantastic musical theatre writers come from the advertising world, and one of the primary reasons why I postulated that they do was because they learned how to write for an audience, instead of just writing for themselves.

Well, advertising ain’t the only training ground for writing for an audience.  You know what another one is?

Journalism.

And guess what this week’s podcast guest did before he started writing lyrics for operas and getting nominated for Tony Awards for his Broadway show?

Michael Korie, the lyricist of Grey Gardens, War Paint, and more, talked about the similarities between writing for the theatre and for the papers, as well as . . .

  • Why he does so much research for his shows and why you should too.
  • The biggest mistake beginning songwriters make . . . and it’s an easy one to fix.
  • Why he never speaks his lyrics out loud when working with a composer on a song.
  • Rhyme . . . and the purpose of it, and how to use it for the greatest impact.
  • A secret method to making sure a song that you love stays in your show.

Michael is an artisan of words, and the only thing this podcast left me wanting . . . was more musicals with his name on them.

Click here for the link to my podcast with Michael!

Listen to it on iTunes here. (And if you like the podcast, give it a great review, while you’re there!)

Download it here.

 

3 Reasons Why Ad Men & Women Make Great Musical Theatre Writers

Quick . . . riddle me this . . . what do Tony Award winners Rick Elice, Lynn Ahrens and Joe DiPietro have in common?

Answer?

Before they wrote the books/lyrics/etc to shows like Ragtime, Jersey Boys, Memphis, Once On This Island and more . . . they all worked in advertising.

That’s what I call a trend, my friends.

And where there’s a trend, there’s me, trying to figure out why it is the way it is.

I dug into this idea with each of the above writers on my podcast (click the links above to listen), and a few other writers who also worked on Madison Avenue (including School of Rock and Little Mermaid lyricist Glenn Slater).

My research led me to three reasons why working in advertising is a great foundation for writing musical theater.

Here we go.

1.They learn to write fast. If you have a job, and your boss says an assignment is due tomorrow, you do it, right?  It’s not so easy when you’re your own boss (even though the rewards can be so much bigger than a weekly paycheck). When you’re an advertising writer, you have a certain period of time to write copy, a jingle, etc. and then you have to present it to the client.  It’s an assignment.  You have a deadline. All of the musical theatre writers I spoke to said that learning to write quickly (instead of writing to be perfect) helped them not only get their personal projects done faster, but it also . . . and here’s the big one . . . prepared them for the “preview process.” One of my more widely read blogs talked about how I believe the true judge of a creative team is how they handle the preview period. Because writers who write fast have a much higher chance of turning out great material under pressure.And writing for advertising teaches you just that.

2. They learn to write without ego. I work with advertising agencies all the time on my shows and some of my small businesses.  When designing a campaign, the first drafts usually look or sound nothing like the final.  Commercial edits, radio copy, website layouts, etc. all can change 180 degrees after a client gets a hold of it. I’m constantly sending stuff back and saying, “No.  Not right.  Try again.  Use this.  Bigger.  Softer.  Do it over!” In fact, just this morning I was working on a Broadway TV commercial and we asked for a change . . . when it has to be delivered to stations later today! (Remember that write fast thing?) When you’re forced to change your work so often, you get numb to people telling you they don’t like it.  (Notice how I said “they don’t like it,” which is much more different from “it’s not good.”  HUGE difference.)Learning to write without ego, and just write, write and write without self-judgment or worrying about other people’s judgment helps Authors be more productive, which gives them greater opportunity to better their material.

3.They learn to write for others. Ok, this is my favorite. What’s your goal when you write to advertise a product? You write to sell that product.  You write to communicate a message to other people.  You write to get emotion out of your customer, not to get emotion out of yourself.  And if you’re successful, those people who hear your message will act on that emotion and make a purchase.  That’s the goal. Don’t accomplish that, and you won’t work in advertising very long. Too many musical theatre writers I know write only for themselves.  They sit in a room, write tome after tome and say, “Oh!  This is brilliant!  I love it!  Look at what I’ve done!”And maybe it is brilliant.  But it actually doesn’t matter what you think.  It matters what an audience thinks.  Yes, love what you do, be proud of what you do, but your sole goal as a writer is to communicate a message to your audience, and get them so riled up that they act . . . and after seeing your show, they tell other people to do the same.Training in advertising reminds you that all writing, from musical theatre to novels to poetry, is about the customer.  Because yes, theatre is art, but it still has to be sold (at a very high price).

If you want to pursue a career as a musical theatre writer . . . study the greats, take writing classes, join a writer’s group . . . but also consider a marketing class.

Because there’s no doubt that the success of the above Tony Winners has something to do with the fact that all of them know how to sell.

 

GUEST BLOG by Jennifer Tepper: Opening Next Season: A New Broadway Theater?! 

Welcome to a new feature here on TheProducersPerspective . . . where I put a spotlight on someone else’s perspective.

Every Wednesday, you’ll hear from someone in or out of our biz who has a unique perspective on what we do (or what we SHOULD do).

Why, after 10 years, have I started allowing guest bloggers?  Because the theater is a collaborative art form, and we can’t make our art, nor sustain our art with just one viewpoint.

If we want to make more theater, then we need to collaborate more, so this blog will now be just that . . . a collaboration of perspectives of some of the coolest thinkers I know . . . some of whom I agree with, and even more interestingly, some of whom I don’t agree with.

This is all part of our #5000By2025 mission.

So stay tuned to this blog station.

And first up, a former employee of mine, and now published Author, 54 Below Producer, and Esteemed Broadway Historian, Jennifer Tepper.

I describe JT this way . . . if you were on “Who Wants To Be A Millionaire” and there was a Broadway Musicals category, she would be your phone-a-friend.

Take it away, Jennifer!  And make sure you subscribe to this blog to see who our guest poster will be next week.

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A new Broadway theater. Sounds crazy, no?  But in our little village of New York City…

The Broadway theater crunch is at an all-time high. Thanks to the health of the industry, Broadway is booming – which means that there are A) more new shows than ever that are ready to come in and B) less existing shows than ever that are closing quickly in order to give them an open theater to come to.

Back in the 1980s and 1990s there were many years where at least half of the Broadway theaters sat completely empty. EMPTY! It’s hard to imagine now. Because of this, a good number were destroyed or re-purposed – including the five that fell in the Great Theatre Massacre of 1982.

But now, producers would die to have those theaters back in play. Imagine the shows that would be thrilled now to play the 955-seat Morosco on 45th Street? Or the Edison on 47th, which could be flexibly made into a thrust house or theater-in-the-round for a new production?

I gave a TEDxBroadway talk about this a few years ago. How do real estate and specifically the theaters we destroy affect the kind of shows that are produced in New York City?

Since I gave this talk, the theater crunch has gotten even… crunchier. There are more producers than ever dying to expand the number of Broadway theaters so that they have spaces for their shows to open. I have heard that theater owners are hungry for more spaces as well.

In December 2015, it was announced that the Hudson Theatre would be re-opened as a Broadway house for the first time in almost 50 years. It had been operating as a hotel event space. Thanks to the New York Landmarks Commission, the Hudson could not be destroyed – after the 1982 theatre massacre, a campaign was waged to landmark every other Broadway theater. If we hadn’t knocked down the Morosco, Hayes, Bijou, Astor, and Gaiety, then we would not still have theaters like the Hudson, which were landmarked only because others were destroyed… and can now re-open during this popular chapter for Broadway.

By February 2017, Sunday in the Park with George was playing at the Hudson. That’s a fast turn around! And the theater has been in-demand ever since – just as all 41 of Broadway’s houses are today.

>With all of the buzz and hope in the air about more Broadway theaters, could there be others on the way…?

The Times Square Church (once the Mark Hellinger)

This glorious theater was once home to shows including My Fair Lady and Jesus Christ Superstar. In 1989, it was sold to the Times Square Church, who still occupy the venue to this day. They have done a magnificent job keeping the space as gorgeous as ever. If you walk in for a church service, you can see that it is in great shape for a large Broadway musical to open in, in the near future.

I recently walked through the Hellinger (sorry, Times Square Church) with many of the original cast members of Legs Diamond, the last show in the theater. The church kindly brought us on a nostalgic tour when we were presenting a reunion concert of the musical at Feinstein’s/54 Below, where I’m the Creative and Programming Director.

If the church could find a new space to relocate to, might they be open to a Broadway owner taking back the Hellinger? #TakeBackTheHellinger

The Edison Ballroom (once the Edison)

The Hotel Edison is truly at the heart of Times Square. Cutting through from 46th Street to 47th Street, between Broadway and 8th Avenue, the structure holds multiple dining and entertainment spaces… including the Edison Ballroom. For one year in the 1950s, and then 20 years beginning in 1970, this space was a Broadway house. The Edison was one of the most alternative venues ever to be called a Broadway theater. It spent time as a theater in the round… it housed Broadway’s most infamous ‘nudie show’ (Oh! Calcutta!)… it was independently run in the midst of a theatre district monopolized by the three major theater owners. More so than any other Broadway theater before or since, the Edison Theatre marched to the beat of its own drum. In this era of demand for alternative theatre spaces, could it do so once again?

The Ed Sullivan (once Hammerstein‘s)

For years, the Ed Sullivan Theatre on Broadway at 53rd Street was home to The Late Show With David Letterman, and now it houses the television program with Stephen Colbert as host.

But before that, in the 1920s and 1930s, it was a Broadway house built by Arthur Hammerstein and named Hammerstein’s Theatre for Oscar Hammerstein I. (Arthur’s son and Oscar’s grandson was Oscar II, writer of shows from Oklahoma! to Carousel to The Sound of Music.) It is a beautiful former Broadway house, kept in fantastic shape.

Could Hammerstein’s someday open its doors to Broadway once again?

The Liberty 

The Liberty Theatre on 42nd Street was a Broadway house from 1904 to 1933. During the Depression, many Broadway theaters were abandoned and became movie houses. The Liberty was one of these. During the 1990s the city of New York purchased the Liberty in efforts to clean up Times Square, and it is now partially a barbecue restaurant, a diner, an event space, and the exterior for Ripley’s Odditorium. Odd, indeed!

That said, there’s enough left of the Liberty that it could be transformed back into a legit theater someday. In 2015, the off-Broadway show Speakeasy Dollhouse: Ziegfeld’s Midnight Frolic played in the space, proving just that. Off-Broadway shows like this one will likely prove a key turning point in demonstrating these theaters viable are for future Broadway re-population. Do I sound like an evil Broadway scientist yet?

The Times Square Theatre

Of all of the theaters on this list, the Times Square is perhaps the most *lost* of all. It sits abandoned on 42nd Street, just next to the Lyric Theatre, future home of Harry Potter. While its exterior is on display in a significant way to passerby, few have been inside the Times Square in years.

The Times Square opened as a Broadway house in 1920 and closed in 1933. During those years it housed shows like the original productions of Gentlemen Prefer Blondes, The Front Page, Strike Up The Band, and Private Lives.

Many have tried to re-open the Times Square over the years. It was even announced as the home for Broadway 4D a few years ago. Nothing has come to pass yet, for a variety of reasons. This includes some spatial problems that were created for the Times Square when the Lyric, built in the 1990s by combining two other theaters, took some of its real estate for their new structure.

But don’t count this space out just yet. Crazier things have happened on Broadway.

The Diamond Horseshoe (once the Century)

The Diamond Horseshoe inside the Paramount Hotel on 46th has recently been home to shows like Queen of the Night. But most don’t know that in the 1970s and 1980s this space was counted as a Broadway house.

Many shows with their sights on Broadway in the 2010s have innovative visions on how they’d like to interact with their audiences. Right now, only Circle in the Square allows for an immersive theatre experience on Broadway. If the powers that be worked to make spaces like the Century viable Broadway houses again, what kinds of groundbreaking shows might we see on the Great White Way?
 

Stage 42 (once the Little Shubert)/ The New Victory (once the Theatre Republic)

Stage 42, the off-Broadway house formerly known as the Little Shubert, has never been a Broadway theater, but I do dream about it being one someday. Add one seat to Stage 42’s 499-seat capacity and you have a theater eligible for Broadway status, where smaller commercial shows could find a home.

And The New Victory, a beautiful theater on 42nd Street that houses family entertainment, originally opened as a Broadway house in 1900 and was for awhile run by David Belasco. It too could potentially function as a great space for smaller commercial Broadway shows.

… On the other hand, I’m also thrilled for what these two theaters are now: great, big off-Broadway houses. In addition to wanting more Broadway houses, I also long for more viable off-Broadway theaters on the larger end… which are finally coming back in demand… just when we’ve destroyed most of them. Oh, show business!

So say a little prayer for the Hellinger, Edison, Hammerstein’s, Liberty, Times Square, Century, Little Shubert, and Theatre Republic. Just like the Hudson, they could come back to Broadway life someday. Anything is possible in the theatre!

… And if a future era finds our theaters endangered again, get ready to protest outside the American Airlines (which isn’t landmarked!) with me. How we treat the theaters themselves is so important, and has a huge impact on the generations and shows yet to come.

P.S. In my book series The Untold Stories of Broadway, many tales about lost Broadway theaters are told. Each book features seven current Broadway theaters and one lost theater (the Hellinger in book one, Criterion Center Stage Right in book two, and Edison in book three). I’ve interviewed hundreds of theatre professionals about their work in different Broadway houses. Check out the books to read great Broadway stories from all of these folks as well as my own discoveries about each theater that I’ve made along the way!

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Do you have a unique perspective that you’d like to share with readers of TheProducersPerspective?  Email me to apply for one of our guest blogger positions.

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