Ken Davenport: Recent Episodes
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There’s a whole group of folks that just rolled their eyes when they saw the subject of this article.
But hear me out!
Broadway is an adaptation business. Almost 70% of what we do are adaptations. It’s only natural that we look to films as source material for what we do. Especially these days, when brands mean so much to a show’s success.
And when done right . . . a movie-to-musical adaptation can be glorious. The Lion King, Billy Elliot, Fully Monty, Kinky Boots, etc. So put your eyes back in their sockets and read on.
Because here are a few I’ve always thought would be fun . . . and some that are just frivolous.
1. Hocus Pocus (1993)Come on, who doesn’t want to see the Sanderson Sisters belting out a witchy ballad? The movie has a magical atmosphere, catchy tunes, and a heartwarming story that would be perfect for a musical. Fantasy worked for Wicked, Harry Potter . . . and more. (And while it never made it to Broadway, I loved that score to Witches of Eastwick.)
2. The Princess Bride (1987)Word is this is in the works. Thank goodness! This classic adventure film is already filled with memorable songs and witty dialogue. A musical adaptation would be a dream come true for fans of both the movie and theater. I predict this will be on Broadway before 2030.
3. That Thing You Do! (1996)This is another one that has been on again and off again. It deserves a shot, even if the movie is now almost 30 years old. I can still sing that title tune. Can you? Stories with music already intrinsic to the plot always help make a musical more believable. So I believe this would work.
4. The Rose (1979)This biopic about the life of a Janis Joplin-like megastar is already a musical in many ways. The movie is filled with iconic songs, and the story is both tragic and inspiring. Idina? Looking for something after Redwood?
5. Grease 2 (1982)Truth time – I’ve tried to get the rights to this many times. I always wanted to do it like a Rocky Horror camp fest where audience members would come dressed like “cool, cool, cool riders” and dance along to “We’re Gonna Score Tonight” and more.
6. The Nightmare Before Christmas (1993)This Tim Burton classic is already a musical, but I think it would be even more magical on stage. We love a spectacle here on Broadway, and this one would have all the trimmings and trappings.
7. The Idolmaker (1980)You’ve probably never heard about this one. It’s the story of a man behind the music – sort of a contemporary Phantom type of thing. Without the mask or murders. Watch it. The ending always makes me tear up.
8. Rocketman (2019)Two words. Elton Effin’ John. Enough said.
9. My Big Fat Greek Wedding (2002)The theater succeeds when it has unique characters . . . enter MBFGW. Which was a one-person show to begin with. So now, let’s bring it full circle and make it a musical!
10. The Muppet Movie Musical (1979)Please, for the love of Kermit, someone put the muppets on stage. In anything, anyhow, just do it now.
BONUS: Slumdog Millionaire (2008)Slumdog Millionaire has been on my list for YEARS. And in case you missed it: we announced recently that we’re developing this story for the stage.
What do you think? Are there any other movies that you think would make great musicals? Let me know in the comments below!
The post 10 Movies That Should Be Made Into a Musical first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 11/10/2024 includeWicked, The Lion King, Sunset Blvd., Hamilton, Hell’s Kitchen, McNeal, The Outsiders, MJ The Musical, The Great Gatsby, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 37Previous Week: 36
Total Gross: $36,467,871.10Previous Week: $32,939,767.04
Total Attendance: 306,329Previous Week: 285,801
Average Capacity: 9,187 (90.12%)Previous Week: 9,266 (85.02%)
Average Paid Admission: $119.05Previous Week: $115.25
Check out the individual show grosses for the week ending on November 10, 2024.
NOTES:
- A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL is in previews at Studio 54 and opens on 11/11.
- MAYBE HAPPY ENDING is in previews at the Belasco and opens on 11/12.
- TAMMY FAYE is in previews at the Palace and opens on 11/14.
- SWEPT AWAY began previews at the Longacre and opens on 11/19.
- DEATH BECOMES HER is in previews at the Lunt-Fontanne and opens on 11/21.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 11/10/2024 first appeared on Ken Davenport.
Two weeks ago, I wrote an article about the 40% (!) increase in the number of new musicals in the last two seasons on Broadway, compared to the 10-year average of new musicals pre-Covid. If you missed that article, click here to read it – cuz the data is a doozy.
It’s an exciting time. Some might even call it a Renaissance (I’m one of them. When I gave my keynote at the TheaterMakers Summit in September of 2020, I bet this would happen, because previous renaissances – including the big one – were born out of similar issues the world faced in 2020-22).
Creators and Producers have pushed boundaries, taken risks, and introduced brand-new talents. We’ve also had musicals that had just given the audience what they often want – a great time that lets them forget about everything else.
Whenever industries like ours go through this kind of shift, and more product is being created, a lot of things are going to be impacted. And, I’d argue, some things should change.
One of the questions I’ve had as I’ve watched the last two Tony seasons . . . is whether five nominees for Best Musical is enough anymore?
(Note: For the “Best Musical, Play, etc.” categories, the number of nominees varies between 3 and 5. Only when there are more than 9 potential nominees can the final number of nominees be 5 – and that is the result of some math, as you can read here.)
And why stop there? Do we have enough nominees for Best Actor and Actress? Director? Designers?
With the sheer number of new musicals entering the market each year, the Nominators have an even tougher job than they ever had before. (I don’t know how they do it, to be honest.) Narrowing down such a large volume of unique shows and talented performers has to be quite a daunting task. And I don’t want anyone or any show to get overlooked because there are so many to choose from.
Getting a Tony nomination can be a life-changing event for anyone who receives one, and a business-changing event for any show that receives one. Now that we’ve entered this renaissance – this new era of diversity, creativity, and sheer quantity when it comes to new musicals – could we expand the number we’re honoring?
Our sister industry, Hollywood, expanded their number of nominees for Best Picture, as the democratization of film production put so many more options forward for the Academy to consider. I don’t think the Academy Awards have suffered as a result. In fact, I enjoy seeing more options up there each year.
Am I talking about doubling or tripling the number of nominees? No way. But it seems like we could add an, “If there are more than 11 potential nominees, there can be 6 nominees,” type of thing – don’t you think? It wouldn’t be a guarantee – only if the Nominators voted accordingly – again, the math would solve it. (I sometimes wonder if that rule that capped it at 5 if we had 9 candidates was only because we never thought we’d produce so many more so consistently! I mean, who knew we’d go through a pandemic and have a Renaissance?)
Flexibility with our number of nominees in the Best Musical category, and in all categories, feels like a wonderful way to celebrate the breadth and the brilliance of what’s being created on our Broadway stages. For me, that’s what the Tonys are about.
Want even more industry and marketing insights? Follow me on social media! When I don’t write a full article here, I share micro-KENisms on Instagram, LinkedIn, Facebook, and TikTok (yes, even TikTok!)
The post And The (Number of) Nominees are . . . first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 11/3/2024 includeWicked, The Lion King, Sunset Blvd., Hamilton, MJ The Musical, McNeal, The Outsiders, Hell’s Kitchen, Aladdin, & Oh, Mary!
See some quick data points below.
Number of Shows on Broadway: 36Previous Week: 36
Total Gross: $32,939,767.04Previous Week: $33,921,069.25
Total Attendance: 285,801Previous Week: 285,396
Average Capacity: 9,266 (85.02%)Previous Week: 9,069 (87.42%)
Average Paid Admission: $115.25Previous Week: $118.86
Check out the individual show grosses for the week ending on November 3, 2024.
NOTES:
- A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL is in previews at Studio 54 and opens on 11/11.
- MAYBE HAPPY ENDING is in previews at the Belasco and opens on 11/12.
- TAMMY FAYE is in previews at the Palace and opens on 11/14.
- SWEPT AWAY began previews at the Longacre and opens on 11/19.
- DEATH BECOMES HER is in previews at the Lunt-Fontanne and opens on 11/21.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 11/3/2024 first appeared on Ken Davenport.
I’m not going to bury the lead.
I’m thrilled to announce that I have been given the absolute honor of developing the Academy Award winning film, “Slumdog Millionaire,” into a musical.
To me, the brilliant film by the incomparable director Danny Boyle and genius writers Simon Beaufoy & Vikas Swarup (based on his book Q&A), with songs by the legendary A.R. Rahman, has always felt like an ideal stage property.
It features an incredible and unique story, set in a place most audiences aren’t familiar with. It’s a rollercoaster of drama with the highest of stakes, and I’m not talking about the Millionaire part. And yet, it’s infused with so much love and joy that . . . well . . . it ends with them in song and dance. Oh, and those songs!
So, of course, I’d want to develop it for the stage.
But there is another reason I sought out this opportunity:
I first saw the film with my father, Dr. Kenny Dipchand Hasija, who was born in India in 1929 and didn’t come to the US until the 1960s. My father didn’t speak too often of where or how he grew up. (When we saw the film “Gandhi” together in the 80s, I had to squeeze it out of him that he saw Ghandi speak on more than one occasion.)
When the credits started to roll, so did the stories . . . stories that were filled with such love and pride of where he was from. We spoke for hours. It was one of the closest moments we ever had.
Right then and there, I vowed to one day find a way to bring our Indian culture to the stage as a way to honor him and the people of Indian descent all over the world. It was something I knew I had to do, especially since I had changed my name from Kenneth Anjum Hasija to Ken Davenport in the early 90s. (A mentor of mine told me I “had” to, if I wanted to work on Broadway . . . which is a longer story for another time.)
So now, to get the opportunity with that very film? It’s beyond what I ever could have imagined when I sat with my dad that day. And I can’t help but feel that he had a hand in this from where he is now . . .
I must say a thank-you to Paul Smith at Celador Films, for putting up with my relentless follow-up and for entrusting me with this property, as well as the support from A.R. Rahman and everyone involved in the film.
I vow to do everything I can to live up to and exceed the expectations for this incredible property on the stage. My dad would want nothing less.
I wish I could tell you that the opening night was right around the corner. But the developmental process has only just begun.
Sign up here to get official updates along the way.And, of course, follow me on my socials to get the unofficial updates. Because if you think I talked about my other shows before, just wait until this one gets rolling.
Instagram: @kendavenportbway
Facebook: @kendavenport
LinkedIn: @kendavenport
YouTube: @KenDavenportBway
TikTok: @kendavenportbway
Jai Ho!
Oh, and by the way . . . Happy Diwali.
The post My Next Project – And My Most Important and Personal One first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 10/27/2024 includeWicked, The Lion King, Hamilton, Sunset Bldv., Hell’s Kitchen, MJ The Musical, The Outsiders, McNeal, Aladdin, & Oh, Mary!
See some quick data points below.
Number of Shows on Broadway: 36Previous Week: 35
Total Gross: $33,921,069.25Previous Week: $34,689,136.75
Total Attendance: 285,396Previous Week: 282,356
Average Capacity: 9,069 (87.42%)Previous Week: 8,891 (90.74%)
Average Paid Admission: $118.86Previous Week: $122.86
Check out the individual show grosses for the week ending on October 27, 2024.
NOTES:
- LEFT ON TENTH opened at the Jones on 10/23.
- ROMEO + JULIET opened at Circle in the Square on 10/24.
- JOB closed on 10/27.
- A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL is in previews at Studio 54 and opens on 11/11.
- MAYBE HAPPY ENDING is in previews at the Belasco and opens on 11/12.
- TAMMY FAYE is in previews at the Palace and opens on 11/14.
- DEATH BECOMES HER began previews at the Lunt-Fontanne and opens on 11/21. One preview (Thurs. 10/24) was cancelled.
- SUNSET BLVD. had seven performances with 1,646 seats and one performance with 1,312 seats this week, for a total capacity of 12,834. As this report cannot accommodate both capacities, the number of seats is displayed as 1,604.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 10/27/2024 first appeared on Ken Davenport.
Last year, the buzz around Shubert Alley was in the sheer volume of new musicals on the boards.
And for once, the buzz wasn’t exaggerated. (We theatermakers are dramatic by nature. The sky is always falling while we’re seeing triple rainbows.)
In the 2023-24 season, there were 16 brand spankin’ NEW musicals.
That’s a lot. (Especially when only five can get a Best Musical Tony nomination. And especially when nominations and wins are such a key component of life on Broadway and life AFTER Broadway.)
When the season was over, everyone said, “Well, that will never happen again!”
Enter this season.
Right now . . . as of October 19th, when I’m composing this . . . I count twelve announced new musicals (or ready to announce new musicals). TWELVE. And it’s only October.
So much for a fluke. This is now a TREND.
To put that into perspective, I had my new Associate Producer do some data mining.
We looked at the ten years prior to the pandemic.
The average number of new musicals on Broadway each year was 9.6.
So if we stuck at the 12 for this year, plus the 16 from last year, that means in the two most recent years, we’re averaging 14 new musicals a year. That’s a whopping 46% more than the average of the previous 10 years.
What does all this mean? Is this triple rainbow time? Or is the sky falling?
Well, it’s a bit of both.
For fans of new musicals has there ever been a better time? There has never been so much new product available for people who like singing and dancing with their drama.
But the challenge for the industry is . . . the grosses are still 18% down, while expenses are up, from 10-30%!
More product, fewer customers. It’s like if people stopped driving and the auto companies said, “Let’s make more cars.”
Don’t get me wrong . . . I AM one of those fans of new musicals, so I’m in heaven with all this product. But the challenge these musicals have in competing for a smaller audience (and a changing one) concerns me. Will shows that should stand out get that opportunity? Will new voices be heard? Will the only thing that survives be big branded IP?
Time will tell . . . and hopefully the audience will come ROARING back to its pre-covid levels and beyond (and hopefully Broadway inflation will flatline at least).
So why is this happening? What’s causing this now-official-trend?
Is it:
- A still unclogging pandemic pipeline?
- The tax credit encouraging producers to produce?
- Shows closing faster making more theaters available?
- More limited runs?
- All the above and more.
Will it continue? Can it continue?
Of course it can – provided there are investors willing to invest, despite greater risks, and in decreased margins. (Another reason why the extension of the Broadway tax credit is essential – because we’re not out of the pandemic woods yet.)
Enjoy this new musical-infused season. Go see something you wouldn’t usually see. Because all these musicals need your support.
Because what I’d love to see is not only more new musicals, but more recouping new musicals. If we could accomplish that? The art form would explode even more than it already is.
(Stay tuned – because this volume of new musicals is screaming for a few changes in the industry – I’m going to lobby for one in a couple of weeks).
Want even more industry and marketing insights? Follow me on social media! When I don’t write a full article here, I share micro-KENisms on Instagram, LinkedIn, Facebook, and TikTok (yes, even TikTok!)
The post The musicals are coming! The musicals are coming! first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 10/20/2024 includeWicked, The Lion King, Hamilton, Hell’s Kitchen, MJ The Musical, The Outsiders, McNeal, The Great Gatsby, Aladdin, & Sunset Blvd.
See some quick data points below.
Number of Shows on Broadway: 35Previous Week: 32
Total Gross: $34,689,136.75Previous Week: $34,268,131.81
Total Attendance: 282,356Previous Week: 268,081
Average Capacity: 8,891 (90.74%)Previous Week: 9,203 (91.03%)
Average Paid Admission: $122.86Previous Week: $127.83
Check out the individual show grosses for the week ending on October 20, 2024.
NOTES:
- SUNSET BLVD. opened at the St. James on 10/20. The show had six performances with 1,638 seats and one performance with 1,654 seats this week, for a total capacity of 11,482. As this report cannot accommodate both capacities, the number of seats is displayed as 1,640.
- LEFT ON TENTH is in previews at the Jones and opens on 10/23.
- ROMEO + JULIET is in previews at Circle in the Square and opens on 10/24.
- A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL began previews at Studio 54 and opens on 11/11.
- MAYBE HAPPY ENDING began previews at the Belasco and opens on 11/12.
- TAMMY FAYE began previews at the Palace and opens on 11/14.
- Please note that Indigenous Peoples’ Day/Columbus Day weekend fell within this week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 10/20/2024 first appeared on Ken Davenport.
You know what I’m talking about?
NOT theater tickets.
I’m talking about Uber Eats.
I’m also talking about Uber.
Buying from Uber Eats is more expensive than ordering directly from the restaurant. An Uber is more expensive than a taxi.
But so many people do it anyway. Why? That company, and so many like it, have made the purchasing decision so easy, so frictionless, that you’re able to accomplish what you want (and often MORE than you want – add-ons, etc.) with a few clicks.
Of course, many an online Broadway ticket seller, including Broadway.com and TodayTix, have done the same thing.
As Producers on Broadway, Off Broadway or anywhere, we most likely don’t control how tickets are bought and sold. The platform comes with the theater.
But that doesn’t mean we can’t learn from the Ubers of the world, especially when we need to maximize our revenue with every purchase.
Your website, app, box office and more should be as frictionless as possible. Go . . . open your website right now (or another website), and go through the ticket purchasing process. How quickly do you SEE the button that takes you to get tickets? How many clicks does it take?
And . . . are you on your phone or a computer? Better check both.
Then ask yourself . . . what can I do to make this an easier process for my buyers? Removing one click, or making a button easier to find, or bigger, or on every page, can increase the speed in which you make a sale. And may even increase the amount that your buyers are spending. (We saw great results from promoting our premium experience tickets for The Neil Diamond Musical everywhere on our site.)
Customers pay for things that have value. And when something is easy to do, and saves them time, it has value.
Reduce the friction in your purchasing process and you’ll be uber successful.
Want even more industry and marketing insights? Follow me on social media! When I don’t write a full article here, I share micro-KENisms on Instagram, LinkedIn, Facebook, and TikTok (yes, even TikTok!)
The post I know it’s more expensive, but I click the button anyway. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 10/13/2024 includeWicked, The Lion King, Hamilton, Moulin Rouge! The Musical, The Outsiders, MJ The Musical, Hell’s Kitchen, Aladdin, Sunset Blvd., & The Great Gatsby.
See some quick data points below.
Number of Shows on Broadway: 32Previous Week: 32
Total Gross: $34,268,131.81Previous Week: $29,633,659.52
Total Attendance: 253,475Previous Week: 253,475
Average Capacity: 9,203 (91.03%)Previous Week: 9,100 (87.05%)
Average Paid Admission: $127.83Previous Week: $116.91
Check out the individual show grosses for the week ending on October 13, 2024.
NOTES:
- OUR TOWN opened at the Barrymore on 10/10.
- SUNSET BLVD. is in previews at the St. James and opens on 10/20.
- LEFT ON TENTH is in previews at the Jones and opens on 10/23.
- ROMEO + JULIET is in previews at Circle in the Square and opens on 10/24.
- LEFT ON TENTH is in previews at the Jones and opens on 10/23.
- MCNEAL had a planned five-performance week.
- Please note that Indigenous Peoples’ Day/Columbus Day weekend fell within this week. (Last season, it fell within Week 20.)
- Please note that Yom Kippur fell within this week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 10/13/2024 first appeared on Ken Davenport.
Every year, I look forward to American Theatre’s Top 10 List of Most Produced Plays. And the list did not disappoint this year. While I usually share the list in my newsletter, this year I wanted to do a bit of a deeper dive . . . into WHY these plays made the list.
Now, this next part may be a bit controversial – but here’s what I did to try and figure this out.
I asked ChatGPT to analyze this 2024-25 list and tell me what these shows have in common.
I was specifically looking for current theatrical trends, audience interests, and the cultural context influencing productions.
So read ChatGPT’s analysis of the most produced shows. Just take it with a grain of AI.
And then, tell me – do you agree? Disagree?
The rest of this article is a GUEST POST by CHAPGPT
This list of the most-produced plays for the 2024-25 season reveals some intriguing trends and commonalities among the works. Here’s an analysis of what these plays have in common:
- Diverse Themes and Genres
- Social Commentary: Many of the plays tackle significant social issues. For instance, What the Constitution Means to Me explores themes of constitutional rights and identity, while Fat Ham reinterprets classic narratives around family and identity.
- Cultural Relevance: Plays like King James and Primary Trust touch on contemporary societal issues, making them resonate with current audiences.
- Light-heartedness and Humor: Shows like The Play That Goes Wrong and POTUS employ comedy to engage audiences, showcasing the enduring appeal of humor in theater.
- Strong Female Representation
Several plays feature strong female characters or are written by women. What the Constitution Means to Me and POTUS both center on women’s perspectives, highlighting a trend towards greater representation and diverse voices in theater.
- Adaptations and Revivals
While the list includes original works, adaptations like Waitress suggest a continued interest in familiar narratives that are reimagined for modern audiences. This balance between original works and adaptations speaks to the evolving nature of theatrical storytelling.
- Engaging and Accessible Storytelling
The successful productions often feature compelling narratives that are both engaging and accessible to a wide audience. Plays that balance depth with entertainment tend to attract more productions, as they appeal to various demographics.
- Popularity of Established Works
Notably, musicals like Jersey Boys and Waitress are perennial favorites. Their established popularity indicates that theaters often choose well-known works for guaranteed audience engagement, particularly in seasons with broader economic uncertainties.
- Focus on Contemporary Issues
Many plays address issues relevant to today’s society, such as politics, identity, and existential questions (A Case for the Existence of God). This relevance helps draw audiences who are seeking to connect with the current cultural landscape.
The list reflects a blend of new voices and classic themes, emphasizing diversity, accessibility, and social relevance. The prevalence of female-centric narratives and humor, alongside the continuing appeal of adaptations and familiar works, indicates a dynamic landscape in contemporary theater that aims to resonate with a wide range of audiences.
The post How To Become One Of The Most Produced Plays Next Year first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 9/29/2024 includeWicked, The Lion King, Hamilton, The Outsiders, MJ the Musical, Oh, Mary!, Hell’s Kitchen, McNeal, & Moulin Rouge! The Musical, The Great Gatsby.
See some quick data points below.
Number of Shows on Broadway: 32Previous Week: 29
Total Gross: $26,449,033.34Previous Week: $25,296,947.66
Total Attendance: 234,963Previous Week: 226,267
Average Capacity: 8,484 (86.55%)Previous Week: 9,244 (84.40%)
Average Paid Admission: $112.57Previous Week: $111.80
Check out the individual show grosses for the week ending on September 29, 2024.
NOTES:
- THE HILLS OF CALIFORNIA opened at the Broadhurst on 9/29.
- MCNEAL is in previews at the Beaumont and opens on 9/30.
- YELLOW FACE is in previews at the Haimes and opens on 10/1.
- OUR TOWN is in previews at the Barrymore and opens on 10/10.
- SUNSET BLVD. began previews at the St. James and opens on 10/20.
- LEFT ON TENTH began previews at the Jones and opens on 10/23.
- ROMEO + JULIET began previews at Circle in the Square and opens on 10/24.
- HARRY POTTER AND THE CURSED CHILD had six performances with 1,622 seats and two performances with 1,278 seats this week, for a total capacity of 12,288. As this report cannot accommodate both capacities, the figure 1,536 was used.
- HELL’S KITCHEN cancelled two performances (Weds. 9/25 mat. and eve.).
- THE ROOMMATE cancelled three performances (Sat. 9/28 mat. and eve., Sun. 9/29 mat.)
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 9/29/2024 first appeared on Ken Davenport.
It’s been four and a half years since my Dad passed.
But since his passing, my Dad has had an Obi-Wan Kenobi-like effect on me. I can feel him encouraging me . . . and encouraging others . . . even more so now than ever. And I look forward to finding more ways to honor his passion for the arts, our heritage, and the loving way he challenged me.
And I’m proud to say that one of the ways he continues to encourage is through the charity that I started on his behalf . . . The Dr. Kenny Encouragement Fund!
In addition to the grants we’ve given for his scholarship with EdTA, South Asians on Broadway, Swanasa, and others, we’ve also awarded individual grants right here . . . directly to theatermakers like Marelisse Navarro-Sanabria, Germono Toussaint, William Tanner Mobley, and Jenn Susi.
And since it is officially “Back To School” time, what better way to celebrate than by giving another grant to encourage another theatermaker?
We’re giving away $1,000 to an applicant currently enrolled in or recently graduated from post-secondary school, pursuing a career in the theater industry.
More details for the scholarship are on the application page, which is accepting applications NOW. We will close the application process on 10/7. We will announce the winners on 10/31.
>> APPLY HEREOh, and what I have learned in doing this for a few years now, is that it’s hard to get the word out to the folks who could use these funds the most. So please, post this article and share it with others.
—
The Dr. Kenny Encouragement Fund is a 501(c)(3) nonprofit, tax-exempt charitable organization, started in honor of my late father, Dr. Kenny Dipchand Hasija, who immigrated here from India in the 60s and encouraged me, his only son, not to follow in his footsteps . . . but to pursue a life in the theater.
This fund aims to carry on his tradition of unconditional support and encouragement of pursuing one’s passions in life, and pay tribute to his love of theater. The organization will seek to provide financial support to students of the arts and theatermakers who demonstrate genuine need, and an embodiment of the spirit of Dr. Kenny. Each year the fund will contribute to activities such as awarding scholarships, distributing relief funds, and donating to individual artists and arts organizations, especially those from unrepresented or marginalized communities.
We are thankful for those who help us in our mission. If you’d like to contribute to the Fund, allowing us to expand the work we do, click here.
The post Applications Now Open For 2024 Dr. Kenny Encouragement Fund Grants for TheaterMakers first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 9/22/2024 include The Lion King, Wicked, Hamilton, The Outsiders, Hell’s Kitchen, McNeal, Oh, Mary!, MJ the Musical, & Moulin Rouge! The Musical.
See some quick data points below.
Number of Shows on Broadway: 29Previous Week: 28
Total Gross: $25,296,947.66Previous Week: $27,262,406.04
Total Attendance: 226,267Previous Week: 234,635
Average Capacity: 9,244 (84.40%)Previous Week: 8,940 (93.73%)
Average Paid Admission: $111.80Previous Week: $116.19
Check out the individual show grosses for the week ending on September 22, 2024.
NOTES:
- THE HILLS OF CALIFORNIA is in previews at the Broadhurst and opens on 9/29.
- MCNEAL is in previews at the Beaumont and opens on 9/30.
- YELLOW FACE began previews at the Haimes and opens on 10/1.
- OUR TOWN began previews at the Barrymore and opens on 10/10.
- HARRY POTTER AND THE CURSED CHILD had seven performances with 1,622 seats and one performance with 1,278 seats this week, for a total capacity of 12,632. As this report cannot accommodate both capacities, the figure 1,579 was used.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 9/22/2024 first appeared on Ken Davenport.
The two primary types of Producers on Broadway are Lead Producers and Co-Producers. (For the 3rd type, click here.)
Lead producing is what I spend most of my time focusing on . . . like A Beautiful Noise, Once on this Island, and the upcoming Joy, The Griswolds’ Broadway Vacation, and a soon-to-be-announced-something-that-gets-me-excited-just-dreaming-about-it (which I’ve done for a decade).
But I sometimes co-produce . . . when the right Lead Producer and the right opportunity present themselves. (For you business folks out there, this is just like when Founders of Companies join the boards of other friends’ startups.)
I always announce the shows, so you can understand why I make the choices I do . . . because let me tell you . . . each decision is different, because each show is different . . . oh, and also, the times are different. Decisions I made ten years ago or twenty years ago (yikes, I can say that now), are not necessarily the same decisions I’d make today.
The decision to be a Co-Producer on Othello was easy.
First, I’ve been looking to work with Lead Producer Brian Moreland for some time now. (I’ve also been trying to get him to come to my golf outing for some time now, but that’s another story, right, Brian? )
But second? Can you guess?
You’re probably going to say the stars. Denzel Washington. Jake Gyllenhaal. Shakespeare (He counts). And yes, Director Kenny Leon (who DOES come to my golf outing!) . . . because he really counts.
But you’d only be half-right. Of course, all those boldfaced names are a big reason for me to invest in the show. However, if you asked me why I was co-producing Othello, I’d boil it down to one word . . .
EVENT.
Of course, it IS an event because of Denzel. Jake. Shakes. Kenny, etc, etc.
But it’s the combination of those people that makes it unmissable for SO many different types of fans. And it’s a limited run – which means people only have 15 weeks or just over 100 performances to see these massive stars in a historic play.
It’s an event.
I mean . . . think about it . . . it’s not often that stars like this gather together to perform in a play like this, directed by a man like this.
In fact – one could make a good bet that Denzel and Jake might never be on stage performing Shakespeare again.
And when you have that kind of rare experience, combined with a limited run, well, I think it’s something that people will prioritize seeing . . . and pay the prices that a premium experience like this in a limited run requires to make it even work.
To boil my decision down? When I look at shows, I throw all the elements into a pot, mix it up and see what I’ve got.
For this one, it came up tasting like a once-in-a-theatergoer’s-lifetime event that people would have to see.
Hopefully, you’ll be one of them. Click here to get tickets.
Oh, and if you’re producing a show . . . what elements can you throw into YOUR pot to make your show unmissable? And don’t think just stars . . . there are plenty of other things you can do to make your show stand out.
The post Why I’m Co-Producing Othello on Broadway first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 9/15/2024 include Wicked, The Lion King, Cabaret at the Kit Kat Club, Hamilton, Hell’s Kitchen, MJ the Musical, Moulin Rouge! The Musical, The Outsiders, Aladdin, and The Great Gatsby.
See some quick data points below.
Number of Shows on Broadway: 28Previous Week: 26
Total Gross: $27,262,406.04Previous Week: $25,461,583.83
Total Attendance: 234,635Previous Week: 220,582
Average Capacity: 8,940 (93.73%)Previous Week: 9,334 (90.90%)
Average Paid Admission: $116.19Previous Week: $115.43
Check out the individual show grosses for the week ending on September 15, 2024.
NOTES:
- THE ROOMMATE opened on 9/12. Two performances had to be canceled (Sat. 9/14 mat. and eve.).
- THE HILLS OF CALIFORNIA began previews at the Broadhurst and opens on 9/29.
- MCNEAL is in previews at the Beaumont and opens on 9/30.
- YELLOW FACE began previews at the Haimes and opens on 10/1.
- HARRY POTTER AND THE CURSED CHILD had seven performances with 1,622 seats and one performance with 1,278 seats this week, for a total capacity of 12,632. As this report cannot accommodate both capacities, the figure 1,579 was used.
- WICKED had four performances with 1,807 seats and four performances with 1,926 seats this week, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- NYC Broadway Week began on 9/3 and ended on 9/15.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 9/15/2024 first appeared on Ken Davenport.
I receive hundreds of emails every month from newsletter subscribers and social media followers. I do my best to respond to as many as I can as I remember what it was like to be the person on the other end of that computer screen.
Which is why, when I received an email from Ben Waterhouse asking for some advice on his weekly analysis of Broadway grosses on the Broadway subreddit, I checked it out . . . and was WOWed.
As a college student, he’s doing much more in the industry than I was at that age!
So I asked him if he’d want to write a Guest Post here on my newsletter to share the business of Broadway from the Gen-Z POV.
And he said YES so here you go . . . Ben’s four observations of the financial impact of social media on the Broadway Grosses.
In this day and age all of us are glued to our phones and social media. According to media analyst group GWI, the average American spends around 2.5 hours per day on social media. For teenagers that number increases to 4.8 hours per day according to Gallup. However, in this increasingly online age, Broadway has struggled to adapt to the demands of social media; both Tony Award Best Musical winners in 2022 and 2023 failed to reach more than 50 thousand followers on any individual social media account, and neither one of them managed to become financially successful on Broadway[1][2][3][4].
Of the new musicals in the 2023-2024 Broadway Season, these are the top five highest grossing shows in 2024 (by weekly average gross through September 1).
| Hell’s Kitchen | $1,463,548 | | The Great Gatsby | $1,166,110 | | Outsiders | $1,147,032 | | Back to the Future | $1,065,735 | | Water for Elephants | $937,286 |
These are the shows with the highest follower counts across Instagram and Tiktok, with their increase in follower count since January 1, 2024, as of September 8, 2024. None of the new musicals from the 23-24 season have a significant following on Facebook or YouTube.
| Show | Follower count (Instagram +TikTok) | 2024 Number Increase | | The Great Gatsby | 205,116 | +143,216 | | The Outsiders | 143,170 | +126,919 | | The Notebook | 107,526 | +95,977 | | Back to the Future | 104,327 | +51,713 | | Water for Elephants | 74,625 | +63,581 |
There are a few takeaways from these numbers.
1: Social Media Following Doesn’t Guarantee Box Office SuccessThough there is a correlation between social media following and the grosses, it is not infallible. The Notebook has the third largest social media following of any new musical this past season, and has spawned the song with the most streams this year. Yet they have announced a closing date, and are frequently near the bottom of the weekly grosses. On the flip side, Hell’s Kitchen is the most commercially successful new show of the season. But they are a wide margin away from being in the top five by social media following, coming in behind Suffs for seventh amongst new musicals.
2: Pre-Opening Buzz Drives Social Media GrowthThe largest bump in follower count is going to come in the three months before or after a show opens. This is illustrated by Back to the Future, which opened in Summer 2023, and over half of their social media followers followed their social media accounts before the beginning of this year. It is difficult- but not impossible to increase a social media following long after opening. Ideally, a show should induce a snowball effect, where people seeing the show talk about it on social media (and follow the show’s social media accounts), and use that to influence their friends or followers to see it in kind, and that is easiest when the buzz around a show is at its highest.
3: Strategic Social Media Can Turn Flops into HitsSocial media, when used effectively, can turn a show with all the ingredients of a commercial flop, to a commercial success. The Great Gatsby was panned by critics, and was effectively shut out of major awards ceremonies. In spite of this, they have the second highest grosses of any new musical from this past season, and they have used moments from the show to launch social media trends. The choreography from one of their numbers went viral, with other broadway actors getting in on the action to great success. Sound bites from the show have been viewed or heard tens of millions of times, far exceeding the reach of even a televised Tony Awards performance. This has led to The Great Gatsby being one of the most talked about shows of the season, and it has translated into very strong grosses.
@bwaygatsby Studio Stage @sampauly and company perform ‘New Money’ #bwaygatsby #domkelleychoreo ♬ original sound – The Great Gatsby Musical
@jjniemann Replying to @Kynzie we had to hit em with the new money @The Great Gatsby Musical #theatre #theatrekid #actor #musical #broadway #dance #dancer #dancing #gatsby #pov ♬ original sound – The Great Gatsby Musical
4: Consistency Trumps Viral Moments in Social Media MarketingIt does seem that it is more effective to use social media to create a consistent brand, rather than chasing viral moments. Some Like It Hot last summer had multiple TikToks with several million views, but they were unable to translate that social media success into consistent grosses. Notebook and Water for Elephants have each had viral moments, but similarly have been unable to turn it into a high level of commercial success, in spite of each having some combination of good reviews and recognizable IP.
Social media’s total impact on Broadway is still subject to study, and likely remains an untapped market. An April study suggests that nearly three-quarters of Millennial and Gen Z people who had not attended a Broadway show in the past year could be persuaded by social media advertising. Even more revealing, over 700 of the 1000 respondents of that survey live in the NYC metro area, and as such they are the prime market for a Broadway show. It’s clear that there is a massive untapped demographic, and social media is the way to reach them.
This article was written by Ben Waterhouse. Ben Waterhouse is a Performing Arts Scholar at Rochester Institute of Technology in Rochester, New York. He does a weekly analysis of the Broadway Grosses on the r/broadway subreddit, linked here.
The post [Guest Post] Four Observations of the Financial Impact of Social Media on the Broadway Grosses first appeared on Ken Davenport.
Politics is high drama. It always has been. But in the last 10-20 years, it has reached some serious Sophoclean-type @#$%.
It has high stakes, unique characters, and lots of twists and turns.
Just look at the last three months of this presidential election alone! I mean – you couldn’t write this stuff! If you pitched me a script with all the plot points of this past summer, I’d probably say, “It’s not believable.”
We could only hope that all of our shows have this kind of conflict, stakes and drama! Just look at how many people tuned into Tuesday’s debate.
I watched, like so many others . . . and, apart from the political takeaways, I was reminded of 5 things that could be used on Broadway or wherever you are making your theater:
- The Opening Image
“The Opening Image” is a screenwriting term used in a book I highly recommend, Blake Snyder’s great read and formula, *Save The Cat. But the same story beat is in every great theatrical production too. The first thing you see sets the tone (and usually the protagonist).*
The tone of the debate, and of the characters and their points of view, was established from the moment the candidates walked out on the stage . . . and Vice President Harris walked right over and shook her opponent’s hand.
Not only did we see where she stood, but it was talked about immediately by the commentators from the television networks and all the commentators (real people) on the social networks.
What’s your opening image? Does it set your tone? And does it get people talking?
- Having An Audience Creates More Excitement and Energy
I know there were a lot of reasons they didn’t have an audience in that room – but I missed it. And I actually think the debaters missed it too. Playing off the crowd, working hard to get them on your side, working hard to win them back if you’ve lost them . . . that’s part of doing what politicians do . . . and, of course, what theatermakers do.
If you’re a theatermaker, get in front of an audience as much as you can. Even if it’s just 10 people. Do readings, workshops, and more, even if you have to read all the 27 parts in your show.
- Say It So Often People Remember It
We may get tired of politicians repeating the same thing over and over again . . . even when we like them . . . but they know that it’s an essential part of the marketing of their message. They need multiple impressions for it to not only sink in . . . but for the consumer of the message to be able to REPEAT IT to others.
That’s what marketing is all about – not just getting you to “buy” whatever the person is selling – but to know it, remember it, and believe it so much that you are able to tell it to other people!
If you’re marketing your show . . . to ticket buyers or to investors . . . make sure you bang home that message over and over and over again. (And if you don’t have a clear, politician-sized message, then best get one.)
- The Endorsement Heard Around The World
It was no coincidence that Taylor Swift’s endorsement came moments after the debate ended.
Endorsements, whether they are Swift-sized or from an influencer – with ten thousand or even two thousand Instagram followers – matter for EVERYONE.
If you have a show, you must have a strategy for gaining endorsements. Yes, go for celebrities – but there are many different levels of celebrity.
Getting the late Dustin Diamond to SEE The Awesome 80s Prom was a big deal for us . . . and then he actually starred in the show. (By the way – he was a blast to work with, up for anything, and a terrific company member.)
Who are you getting to endorse YOU after a big moment (reading, first performance, etc.)?
- Leave Them With . . .
We talked about The Opening Imagine . . . but what about The Last Message? (That’s my story point). Well, the debate had two very different candidates end with two very different messages.
I believe that in the theater, especially for musicals, you must leave your audience with hope. Even if it’s only one ray of sunshine . . . you’ve got to inspire people to leave that building knowing things can and will get better.
The debate had two very different endings by two very different candidates.
Give me joy, optimism, a chance for a brighter future, a chance for change, not just for change’s sake, but for the benefit of all . . . everywhere?
Well, that’s a show . . . and a candidate . . . I get behind.
I hope you watched. If not, I hope you watch over the next few weeks. I hope you look at all the issues, especially the ones that matter to you . . . and to the world. And make the choice you want to make.
But vote. It is still what makes this country the greatest country to live, work, and make theater in.
Register to vote here. The post 5 Things The Debate Reminded Me About Broadway first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 9/8/2024 include Wicked, The Lion King, Hamilton, Cabaret at the Kit Kat Club, Hell’s Kitchen, MJ the Musical, The Outsiders, Moulin Rouge! The Musical, Oh, Mary! and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 26
Previous Week: 25
Total Gross: $25,461,583.83Previous Week: $28,131,404.96
Total Attendance: 220,582Previous Week: 223,670
Average Capacity: 9,334 (90.90%)Previous Week: 9,472 (94.46%)
Average Paid Admission: $115.43Previous Week: $125.77
Check out the individual show grosses for the week ending on September 8, 2024.
NOTES:
- THE ROOMMATE is in previews at the Booth and opens on 9/12.
- MCNEAL began previews at the Beaumont and opens on 9/30.
- HARRY POTTER AND THE CURSED CHILD had seven performances with 1,622 seats and one performance with 1,278 seats this week, for a total capacity of 12,632. As this report cannot accommodate both capacities, the figure 1,579 was used.
- WICKED had four performances with 1,807 seats and four performances with 1,926 seats this week, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- NYC Broadway Week began on 9/3 and continues through 9/15.
- Please note that Labor Day weekend fell within the week prior.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 9/8/2024 first appeared on Ken Davenport.
The basics of a Broadway budget consist of the following THREE primary parts:
- Production Budget (what it takes to get to opening night)
- Operating Budget (what it takes to keep the show open each week)
- Recoupment Chart (how long it takes you to recoup, based on the percentage of the seats that are occupied)
If you’re an investor or considering becoming an investor, this is what you should expect to see in your documents.
Additionally, you may receive a:
- Price Scale/Gross Potential (what you can earn each week if you sell every seat at whatever prices you set)
- Royalty % Breakdown (what %s of weekly profit are paid to the creative team)
If you are the Producer of a show, there is another financial document that should be your bible . . . but you may not get it unless you ask for it.
That’s a CASH FLOW statement.
This document details when you need the money that you’re spending in that Production budget on a monthly or weekly basis. Because if a Broadway show costs $20mm . . . you don’t need $20mm two years before. You need a much smaller amount to get going, and then it increases when you do a workshop, or out-of-town, then slows before you get to Broadway, then speeds up like a Nascar driver on a straightaway. But even as you get closer to opening . . . you don’t need your opening night party payments until, well, closer to opening night, etc, etc.
A Cash Flow statement helps you manage not only how your money is spent . . . (and these days, sitting on money can make you money if it’s in the right money market account) . . . but it helps you manage your RAISE.
Remember when I said you don’t need $20mm two years out? That means you don’t need to raise that amount two years out. Just like anything else, your raise ROLLS.
Cash flows are often left out of financial documents. And they shouldn’t be . . . especially if you’re an emerging producer.
If you don’t get one . . . ask for one. I’ve seen too many people not raise the amount of money they needed . . . not because they couldn’t . . . because they didn’t know the money needed to be raised when it needed to be raised.
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If you’re a theatermaker with a show trying to get produced on Broadway or beyond, and you’re ready to invest in your own success…there are just a small had full of spots available spots to work with me directly as part of my private mastermind program. Click here to learn more.
The post The most important document you’re NOT using in your Broadway financials first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 9/1/2024 include Wicked, The Lion King, Hamilton, Hell’s Kitchen, The Outsiders, Cabaret at the Kit Kat Club, MJ the Musical, Moulin Rouge! The Musical, Aladdin, and Harry Potter and the Cursed Child.
See some quick data points below.
Number of Shows on Broadway: 25Previous Week: 24
Total Gross: $28,131,404.96Previous Week: $25,343,598.60
Total Attendance: 223,670Previous Week: 211,342
Average Capacity: 9,472 (94.46%)Previous Week: 9,718 (90.61%)
Average Paid Admission: $125.77Previous Week: $119.92
Check out the individual show grosses for the week ending on September 1, 2024.
NOTES:
- THE ROOMMATE began previews at the Booth and opens on 9/12.
- Labor Day weekend fell within this week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 9/1/2024 first appeared on Ken Davenport.
First, let me get this out of the way:
If you’re a theater fan who is interested in new works, you should go to the Fringe.
If you’re a theatermaker, who is interested in making new works, whether you’re a writer, producer, director, actor or anything . . . you must go to the Fringe.
For me, it was an inspirational experience.
To see the thousands of theatermakers creating new work, on small stages, in the most challenging circumstances, for little or no money . . . yet with such unbridled joy . . . was a reminder of why we all do what we do.
Broadway has been a challenge these past four years. And it’s not getting any easier. Since the pandemic, we’ve all questioned why we do it. We all questioned if we should do something else. We all developed a little bitterness as costs escalated, audiences haven’t returned in full . . . and making and marketing the work got harder.
For me? Being at the Fringe washed away that caked-on cynicism in one day. It was like going to a theater spa. I’m refreshed, renewed, and ready to double down on my commitment to making theater.
On top of THAT, I learned a Fringe-ton of stuff . . . about making theater, making theater at festivals, marketing theater, marketing theater at festivals, and also that Scotland makes a great food truck pizza (I had it twice in one day).
Here are 10 Things I Learned from the Edinburgh Fringe:
Outdoor Is Everywhere . . . and It Worked.Look at these videos I took. Every wall, lamp post, and tunnel was filled with posters advertising the shows. And I gotta say, these outdoor ads are what got me thinking about what show to see more than anything (except one thing – see #2). Outdoor ads not only advertise your show, but the size and scope of it says your show is important.
Nothing Beats . . . Word Of MouthDespite all the outdoor ads, flyer folks, and other forms of advertising, how did we pick the shows we wanted to see? Just like on Broadway, word of mouth is what drives most of our ticket sales. We found ourselves asking EVERYONE, “What do you recommend? What did you love the most?” And when someone walked up to us cold with glitter on their face and said, “You must go see this show we just saw,” we bought tickets to House of Life moments later.
Short shows90% of the shows we saw were 50 minutes to an hour. (This is partly due to the set-up-and-strike-before-the-next-production-in-the-same-location style of the Fringe that allows them to produce 3,000 shows..) This allowed us to see more shows. We never felt burned out. If something wasn’t our style, it was only 50 minutes to an hour.
But most importantly, and the biggest takeaway for all of us here and anywhere developing new works . . . if you’ve got a brand-new show, and you’re trying to get people’s attention or involvement for the future . . . maybe DON’T show them the whole thing! Do an abbreviated “Fringe” version. Show them only the best of what you got – because if this is the first time you’re presenting your show – it’s not opening-night ready yet – because you’ve never had an audience. So give ‘em an hour and get ‘em on the hook, giving you time to reel them in.
Hour-long readings or investor showcases here in the city should be the new norm in my book. (Unless you’re working your show creatively – in which case you gotta do the whole thing.)
The Immersive Movement Is Upon UsWe saw shows that didn’t have seats. We saw shows where the audience ended up on the stage. We saw shows where the audiences were encouraged to sing along. We saw shows where audience members made paper airplanes and flew them at other audience members.
In fact, we did NOT see ONE show that didn’t break the fourth wall at some point.
“What fourth wall?” is what current theatermakers are asking. And audiences are loving it.
So Much Can Be Done With So Little One of my favorite podcast interviews was with Broadway and Hollywood A-list Director and Actor, Joe Mantello. He admitted that at one point in his career things on Broadway weren’t going as well as he would have liked. So, he went to Chicago and purposefully worked on small shows with no budgets . . . to jumpstart his creativity.
Working with limited time, means, space . . . forces the artistic genius in all of us to solve the problem with what we have. And THAT imagination is what the theater is all about.
We are not film. We are an imaginative art form. Embrace less and that can be more.
It worked for Joe. And all the Fringe shows we saw.
Mix & Mingle With Your AudienceAfter EVERY show, the creators, actors, etc. made a curtain speech. Of course they asked for online reviews and word-of-mouth recommendations to friends (see #2), but the majority of them also said they’d be outside after. “We’d love to have a drink with you,” was what I heard so many times. They took pictures, had pints, laughed, sold merch . . . and made connections with the people who matter most . . . the audience.
We should do the same . . . at readings and workshops, yes . . . and also at our shows.
Pandemic Time Was Productive Time.A common phrase I heard from the theatermakers I met . . “We made this during the pandemic.” Not much to take away from this, except to say how inspired I was by all the folks out there who made stuff during a time when we weren’t sure if we were ever going to be able to do this again.
Those who used that time to be productive are reaping the rewards now. And if that wasn’t you? Well, it’s not too late. Start your thing today. The Fringe will start taking applications soon.
Same Time, Same Place, Same Festival.
A pain point about other festivals I’ve attended is the crazy performance schedules each show is given. “We’ve got 5 more shows! Today at 1:45, tomorrow at 11 AM, off for two days, then next Friday at 1 AM and Sunday and 4:37 PM.” Ugh.
All the shows we were pitched at the Edinburgh Fringe? “We’re here at 1 PM every day for the next two weeks except Monday.” Boom. It was so much easier for us to schedule our time and see more shows.
When scheduling your show for a festival or a run, keep things as consistent as possible. I like to think of my shows like “Must See TV”. Same time, same channel, every single week.
F&B Was EverywhereIt’s the UK, so the public consumption of a pint is more the rage than it is here in the States, but this might as well have been a foodie festival as well as an live arts festival. Every space had a variety of food, deserts, beverages and more. And let’s face it . . . everything’s better with F&B.
So Were Stars . . . But They Still Count.Remember all those posters I talked about in #1? What adorned 90% of those posters were lots of four and five star reviews. The ads for shows were like a Van Gogh painting . . . it was so starry, starry. But they also worked.
Good housekeeping seals matter to audience members . . . especially when there is so much to choose from. And the stars work even if the sources are unknown. Get someone else . . . anyone or anything else (including audience members) to validate your work and it’ll help you stand out.
That’s 10 . . . but here’s a bonus . . . and it’s a big one . . .
People Effin’ Love Live EntertainmentI already talked about how inspiring it was to see those thousands of theatermakers joyfully doing what they love. But you know who else was loving everything fringey-minute of it? Every one of the hundreds upon hundreds of thousands of people who have descended upon Edinburgh every year. Almost 3 million tickets are sold!
What does that mean? What is the take away?
The fringe is about one thing . . . live entertainment. It’s not film. Or video games. (Although some shows can incorporate those elements for sure.) It’s LIVE. People have to show up to perform their art and people have to be there to see that art in order for it to BE art.
And boy do they show up.
So for those of you who doubt that the theater will continue to thrive . . . go to the Fringe. It’s the greatest reminder that people gathering to hear great stories told in interesting ways is the oldest form of entertainment . . . and IMHO, the absolute greatest.
See you next year.
And special thanks to the inaugural year of Playbill’s Fringe Ship for taking such great care of me, and my producers, investors and more who went as a group! We’re already making plans to travel together again. If you’d like to hear about our next theatermakin’ trip, sign up for my newsletter here so you can be the first to know what we’ve got cookin’. Announcement coming in October.
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Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post 10 Things I Learned From Edinburgh Fringe Festival first appeared on Ken Davenport.
I hope you don’t mind, but I had to take a break from talking about the business . . . so I could talk about these people who are making themselves a big part of the business.
Just read this:
Brian Belding‘s The White Rose opened Off Broadway this past winter. Oh, and if that wasn’t enough, they released an album. You can stream it here. And as far as the show goes, it looks like London is next.
Jenne Wason‘s Winesday opened Off Broadway this Spring at The Theater Center. It got this great write up in that nationally published Wine Spectator (her target audience!) The show is planning a return to NYC this fall.
Catherine Gropper‘s The Meeting: The Interpreter is running Off Broadway right now starring top notch talent and getting fantastic press. (It’s a very timely topic.) The show is executive produced by Broadway and Off Broadway producers and general managers, Tony Castrigno and Mark Rubinsky, who are becoming quite the specialists in this market. You can grab tickets here.
Jason Rose, who produced ¡Americano! Off-Broadway at New World Stages during the pandemic is back again with another attention grabbing show . . . The Ghost of John McCain. It opens in September at The Soho Playhouse. Get tickets here.
Stewart Alden Tabler’s The Runaround won the Rainbow Award at the Border Light Theater Festival in Cleveland.
Producer Megan Ann Rasmussen‘s Spells of the Sea secured a spot at The Kennedy Center. Oh, and she also got her first Broadway producing credit, with more to come. Check out her website here.
Aaron Spitz, Evan Goldfischer and Patrick Gandy‘s new musical just had a “sold-out” reading packed with Broadway talent (and they raised money as a result).
Producer Brian Purcell had two presentations in NYC, grabbed a producing partner, and is in talks for a London concert production of his musical, Jo.
Doug Devita just emailed me . . . from his second regional production in just about as many months of another one of his plays, Fable. And it’s getting raves!
Mike Sheedy‘s new musical featuring all songs made famous by Cher (which he secured the rights to) had its first reading, and is now planning its second . . . with a Broadway creative team.
They’ve done all that. And it’s only August. I can’t imagine what they’ll do next. But I’m going to be there. Because every one of the theatermakers above is a part of our special group we put together, designed to get people where they want to go with their shows or their career – faster than they can get there on their own.
I’m proud of them. So I had to share.
I hope you’ll go see their shows or listen to their albums . . . or even just send a little positive energy their way. It’s not easy doing what they’ve done.
And if you’re working on a show – I wish you the same success.
The post They’ve had quite a year first appeared on Ken Davenport.
When I crowdfunded Godspell 13 years ago, I was testing a thesis. I believed there were a lot of people out there interested in investing in Broadway shows. They just didn’t know how to start.
Based on the number of people who raised their hand expressing interest in investing in Godspell when the news broke, that thesis was correct.
I spoke to a lot of folks about investing in Broadway back then. And they had a lot of questions. How do you get started investing? How does the cash flow back to Broadway Investors? What if I didn’t want to be a Broadway Investor, but wanted to produce instead?
And one potential investor said to me, “Is there a book on Broadway investing I can read?”
I paused. And realized there wasn’t one. So I wrote one. It’s called Broadway Investing 101, and it became a bestseller on Amazon.com.
Just last week, someone bought it, and emailed me with more questions. Which reminded me of a very popular seminar I hosted prior to the pandemic called . . . yep . . . Broadway Investing 101 (NY Mag even did an article about it).
I haven’t done it in years. But since I’ve been getting more questions about Broadway investing lately, I thought . . . maybe . . . I should do it again.
So we’re doing it again!
But this time – virtually.
On Wednesday, August 28th at 5pm ET/2pm PT, I’m leading a live masterclass called Broadway Investing 101.
Click here to register. You’ll learn:
- The myths of Broadway Investing
- How to get started investing (who to talk to, how much you need, and more)
- How to mitigate the risks of investing for you (and your investors)
- The perks you should get for investing (and what you should offer to investors)
- The questions you should ask (that most investors don’t)
It’s ideal for anyone who has ever thought about investing in Broadway shows – or even those who have invested in Broadway before but want a little more info on the subject (especially since Broadway investing has changed a lot over the last several years.)
But get this . . .
Sometimes you make something and people use it for something else.
Listerine, the mouthwash, was a surgical antiseptic, before you gargled with it.
Play-doh? That was a wallpaper cleaner before your toddler played with it.
I wrote the book, Broadway Investing 101, for people curious about investing in Broadway shows (And for those people who were doing it, but wanted to know a wee bit more about it!).
But in the last month alone, I had three people tell me that the book not only told them what they wanted to know about investing . . . but that it helped them raise money for their own shows.
It taught them to understand how the process works, which made them more comfortable pitching their own shows.
So whichever side of the Broadway investing equation you’re on – I think you’ll enjoy this updated seminar.
Sign up here. And we’ll see you on 8/28.
This online presentation is for educational purposes only. It is not an offer to sell or a solicitation of an offer to buy units in any entity. Also, remember, investing in anything is risky, and investing in Broadway shows is very risky (as we’ll discuss in the presentation). Before you invest in anything, whether that’s a Broadway show or a stock, make sure you seek proper financial guidance to determine if investing in right for your personal situation.The post [Live Masterclass] What You Should Know About Broadway Investing first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 8/11/2024 include Wicked, The Lion King, Hamilton, The Wiz, Aladdin, Hell’s Kitchen, Cabaret at the Kit Kat Club, The Outsiders, MJ the Musical, and Harry Potter and the Cursed Child.
See some quick data points below.
Number of Shows on Broadway: 26
Previous Week: 26
Total Gross: $30,768,499.94
Previous Week: $30,523,164.03
Total Attendance: 242,572
Previous Week: 239,326
Average Capacity: 9,893 (94.31%)
Previous Week: 9,719 (94.71%)
Average Paid Admission: $126.84
Previous Week: $127.54
Check out the individual show grosses for the week ending on August 11, 2024.
NOTES:
- ONCE UPON A MATTRESS is in previews at the Hudson and opens on 8/12.
- ILLINOISE closed on 8/10.
- The Sun. 8/11 evening performance of THE LION KING was fully comped.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 8/11/2024 first appeared on Ken Davenport.
It has been 43 days since “Sweet Caroline” was last sung on a Broadway stage. And there are 40 days until we say “Hello Again” and share Neil Diamond’s story with the world.
But today is a special day.
Because today, I am pleased to introduce to you the cast of the North American tour of A Beautiful Noise.
So make some Noise for this Beautiful group . . .
Joining American Idol winner Nick Fradiani (Neil Diamond – Then), will be Tony Nominee Robert Westenberg (Neil Diamond – Now), Hannah Jewel Kohn (Marcia Murphey), Lisa Reneé Pitts (Doctor), Michael Accardo (Bert Berns/ Kieve Diamond), Tuck Milligan (Fred Weintraub/ Tommy O’Rourke), Kate A. Mulligan (Ellie Greenwich/ Rose Diamond) and Tiffany Tatreau (Jaye Posner).
Rounding out the company as “The Noise” are Cooper Clack, Chris Marsh Clark, Dennis Dizon (Swing), Dale Duko, Deirdre Dunkin, Rene Mirai Guyon (Swing), Ginger Hurley, Jer (Swing), Spencer Donavan Jones, Zoë Maloney (Swing), Ellen McGihon, Thabitha Moruthane, Tasheim Ramsey Pack, Jeilani Rhone-Collins, Daniela Rodrigo (Swing), Alec Michael Ryan (Swing) and J’Kobe Wallace.
Neil Diamond is one of the best live entertainers the world has ever seen.
In his fifty-year career, he’s performed for millions of fans around the globe.
I couldn’t imagine a more perfect way to honor his legacy than having A Beautiful Noise touring North America, visiting the same cities where he gave so many people so much joy.
I look forward to launching the tour in Providence – a city that has been in love with Neil’s music for decades and where Neil himself performed almost a dozen times.
A few stops like Providence, RI; Hartford, CT; St. Louis, MO; Dayton, OH; Washington, DC & Greenville, SC are on sale now. Click here to get tickets to those cities.
To be notified of presale dates and future cities added to the tour, join the mailing list here (scroll down to the bottom for the sign up section).
The post Make Some Noise for the A Beautiful Noise Tour Cast first appeared on Ken Davenport.
Last week’s article had me thinking more about the state of music on Broadway. (And you too, based on these comments.)
We know that musicals based on or infused with music made popular on the radio is more prevalent . . . and more popular . . . now than ever.
First, we must remember that the biomusical or jukebox musical isn’t a new form. Using music to make a musical was around well before Mamma Mia.
Crazy For You, Ain’t Misbehavin’, Forever Plaid, Smokey Joe’s Cafe, Buddy, Leader of The Pack, Big Deal, Bubblin’ Brown Sugar and lots more. The Beggar’s Opera, produced in 1728, has been called the O.G. jukebox musical.
So this ain’t nothin’ new.
But that’s not what I was thinking.
There was a time when music from musicals was all over the radio. Showtunes WERE popular music. So you’d hear tunes by Gershwin, Berlin, Kern and more all over the radio . . . and television. In fact, here’s a bit of musical theater trivia for you . . .
When The Beatles made their American debut on The Ed Sullivan Show . . . the most important moment in the British invasion . . . do you know what they sang?
They did “All My Loving.” They also did “She Loves You.”
And then they did . . . “‘Til There Was You” from The Effin’ Music Man!
Can you believe that? In their breakthrough moment . . . they did a song from a Broadway musical.
Imagine Taylor Swift’s first appearance on The Tonight Show. You think she does “Out Tonight” from Rent? No way.
We’ve had some super popular musicals in the past several decades. But not since the “Memory” days has anything truly gotten onto the radio (and even that was more of an adult contemporary). Hamilton got a little play with its Grammys appearance.
But think about all the original shows that have been seen by millions . . . that have never had a song on the radio . . . never mind on the pop charts.
That’s a long way from the 20s, 30s, 40s and 50s.
But the relationship between popular (or radio music) and musicals still remains. The tides just flow in the opposite direction now.
We make musicals based on what has been on the radio more often than ever before. Instead of music heard IN musicals making it to the radio first.
What happened? Tastes changed. Who listens to the radio has changed. Technology changed at warp-speed . . . music could get made and marketed much faster than a musical.
But it’s important to acknowledge that the relationship is there . . . and it’s an important one, just different now than when that relationship began. What’s the takeaway?
First, I don’t ever try to “get my musical’s music on the radio.” It’d be like winning the lottery . . . and using the winnings to buy a radio station and force them to play it.
Second, the music in your musical must resonate with your audience . . . whoever you want that audience to be.
– – – –
Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post The relationship between Broadway and Pop(ular) music . . . has reversed. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 8/4/2024 include The Lion King, Wicked, Hamilton, Hell’s Kitchen, Aladdin, Cabaret at the Kit Kat Club, The Outsiders, Harry Potter and the Cursed Child, MJ the Musical, and The Wiz.
See some quick data points below.
Number of Shows on Broadway: 26
Previous Week: 25
Total Gross: $30,523,164.03
Previous Week: $31,287,759.67
Total Attendance: 239,326
Previous Week: 240,301
Average Capacity: 9,719 (94.71%)
Previous Week: 10,046 (95.68%)
Average Paid Admission: $127.54
Previous Week: $130.20
Check out the individual show grosses for the week ending on August 4, 2024.
NOTES:
- JOB opened at the Hayes on 7/30.
- ONCE UPON A MATTRESS began previews at the Hudson and opens on 8/12.
- THE WIZ cancelled one performance (Weds. eve. 7/31).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 8/4/2024 first appeared on Ken Davenport.
Trigger alert: If you’re a lover of brand-spankin’ new musicals, this article is gonna irritate you.
While preparing for my State of the State of Broadway presentation, I dug up some data.
I wanted to know what was working NOW. What was resonating with audiences. What they wanted to see. And what they were telling other people to see.
So I looked at the highest grossing new musicals (based on the weekly average of their run) of the last five years . . . excluding the megahits.
Here comes that trigger, my original musical lovers.
4 out of the top 5 highest grossing new shows featured pre-existing music. Yep, they were jukebox or bio musicals. MJ, & Juliet, Moulin Rouge and Hell’s Kitchen. (The 5th and only original in this group was Beetlejuice, by the way.)
(Side note – but another not insignificant detail – 4 out of 5 were also in theaters with over 1400 seats – could bigger theaters be returning to favor?)
What does this mean?
It means that when buying tickets to a musical – the music is the most important element – and an audience wants music that they know and love.
Now – before you blow your top – note that I did NOT say, “an audience wants music that has been on the radio,” although that can certainly help.
I said, “an audience wants music that they know and love.”
So, for us original musical purists out there – our job is not to complain about what the audience wants – they are the audience, after all. We are here BECAUSE of them – so we must acknowledge what they are willing to pay for. And give it to them.
Honestly? This isn’t new. Andrew Lloyd Webber knew this way back in the 70s . . . which is one of the reasons he released Jesus Christ Superstar as a concept recording FIRST. That music was everywhere, which made the musical take off faster as a result. (Lin-Manuel Miranda is using this classic strategy with his new musical as well. Even HE knows the importance of getting those tunes out there.)
And look at Six! A recent social media post from their official channel boasted of one billion streams of their music! Now can you see why the show is a hit? When it almost “shouldn’t be,” by conventional rules of “what works” on Broadway?
I’m convinced that Waitress was a hit because Sara Bareilles recorded (and performed) “Songs From Waitress” well before the show premiered.
And while Be More Chill may not have had a long run on Broadway, it GOT to Broadway on the back of the audience’s consumption of the music before the show opened.
We can’t fight what the audience wants. We just need to find new ways to give it to them.
That can mean jukebox and bio musicals. (They aren’t going away – because they are working and they are what the mass audience enjoys.)
But there is still room for new musicals. But if we want to open a new musical on Broadway or anywhere in 2024 and get it to run, it’s more important than ever to get the music to the people beforehand.
– – – –
Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post What Audiences Want From The Music In Their Musicals first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 7/28/2024 include The Lion King, Wicked, Hamilton, Hell’s Kitchen, Aladdin, Cabaret at the Kit Kat Club, The Outsiders, MJ the Musical, The Wiz, and Harry Potter and the Cursed Child.
See some quick data points below.
Number of Shows on Broadway: 25
Previous Week: 27
Total Gross: $31,287,759.67
Previous Week: $31,423,899.21
Total Attendance: 240,301
Previous Week: 249,701
Average Capacity: 10,046 (95.68%)
Previous Week: 9,762 (94.74%)
Average Paid Admission: $130.20
Previous Week: $125.85
Check out the individual show grosses for the week ending on July 28, 2024.
NOTES:
- JOB is in previews at the Hayes and opens on 7/30.
- THE LION KING had a nine-performance week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 7/28/2024 first appeared on Ken Davenport.
There’s no question. The most dramatic show on or off Broadway is this year’s presidential election. It’s absolutely Shakespearean!
I asked a famous playwright the other day what they thought about what was going on, and they said, “I write made-up stories for a living . . . and I never could have come up with this!”
I’ve been following it daily hourly, like hundreds and hundreds of millions of other people . . . which got me to think . . . what could we learn from this real-life story to help us create gripping made-up stories for the stage?
Here are a few things I was reminded of to make sure I’ve got in my next show:
1. HIGH STAKESNot every story can be about the contest for the most powerful position in the free world. But what can we do to make the stakes feel that high in our Hero’s world? I try to challenge myself to make every story life-or-death – even if they are not life-or-death. How can they feel like life-or-death for our hero, even if it’s a comedy? Les Miz is actual life-or-death . . . but the Authors of Avenue Q or Shucked made it feel life-or-death for those protagonists in their much tinier world (which isn’t so tiny to those protagonists).
2. IT’S A RACE . . . WITH A CLOCK AND SOMETHING ELSEElections are actually called “races.” There is a finish line . . . Election Day. On that day (or shortly thereafter), there will be a winner (regardless of whether or not someone whines about losing).
What can we do to make it feel like our hero is running (not walking) towards a finish line – and how can we make it clear that there is a win or a loss?
Contests are exciting. Audiences love watching games where they wonder who is going to win . . . even when deep down they know who is going to win. Which brings me to . . .
3. SURPRISE!Look what has happened in the last four weeks! We’ve had the debate heard ‘round the world, an assassination attempt, an incumbent President dropping out of a race, and now the first Black woman and first Asian American to lead the ticket of a major political party.
Could you have predicted ONE of these a month ago?
Call it twists and turns . . . call it surprise . . . call it whatever, but in the theater we have to keep our audiences on their toes.
4. JUST WHEN IT CAN’T GET MORE DRAMATIC . . .. . . you should make it more dramatic.
Heroes overcome obstacles. That is their job. And we like watching them do it. So keep throwing stuff in their way . . . in the same way that things keep popping up in this election. And we’re still over three months away from that finish line! I’ve literally heard people say, “What’s going to happen next?”
That’s what we want our audiences to feel . . . and when we get them to feel that way . . . don’t let up! Throw something else at ‘em!
Hopefully this election will settle a bit . . . but your story should never settle.
Shakespeare took most of his most dramatic stories from real life events . . . and sometimes politics. (Julius Caesar, anyone?) And I’d imagine someone is going to write a play about this election too.
But what can you learn from this real life event to make your existing play or musical even more gripping?
– – – –
Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post 4 Things I Learned About Storytelling from the Election (So Far) first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 7/21/2024 include The Lion King, Wicked, Hamilton, Hell’s Kitchen, Cabaret at the Kit Kat Club, Aladdin, MJ the Musical, The Outsiders, The Wiz, and Harry Potter and the Cursed Child.
See some quick data points below.
Number of Shows on Broadway: 27
Previous Week: 26
Total Gross: $31,423,899.21
Previous Week: $29,845,591.56
Total Attendance: 249,701
Previous Week: 242,578
Average Capacity: 9,762 (94.74%)
Previous Week: 9,989 (93.40%)
Average Paid Admission: $125.85
Previous Week: $123.04
Check out the individual show grosses for the week ending on July 21, 2024.
NOTES:
- HOME and THE WHO’S TOMMY closed on 7/21.
- JOB began previews at the Hayes and opens on 7/30.
- HOME had a planned seven-performance week.
- WICKED had four performances with 1,807 seats and four performances with 1,926 seats this week, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 7/21/2024 first appeared on Ken Davenport.
Last weekend I was chatting with Tracey MacFarland, Founder and President of Booking at Broadway & Beyond Theatricals.
At its most simplest form, her job is to sell shows that play Broadway, Off-Broadway, etc. to theaters around the country (and the world!).
So I said to her: “What materials do agents need in order to sell the show to performing arts centers, regional theaters, etc.?”
Her answer?
VIDEO.
Presenters (the theaters that book these shows) NEED some sort of representation of what the show is, and a video is the best way to give it to them.
Now, what was interesting to me was that a few months ago I was speaking to a Group Sales Agent. I asked them the same question . . . what did they need to sell a show to a group BEFORE the show opened on Broadway? Their response . . . was the same.
VIDEO.
And I have a feeling if we asked individual ticket buyers the same question, we’d get the same response!
Video holds a lot of power online right now. Just look at TikTok, YouTube, Instagram.
>> WATCH MY VIDEOVideo makes the show more tangible, more real, and gives our potential buyers a better idea of the look and feel of the show.
But here’s the challenge that I’m facing – and I’m sure you are too.
How do you get video for a show that hasn’t been produced yet?
I’d love to hear your thoughts on YouTube or Instagram.
What can we do to create video content for our shows a year before the show exists, in order to sell it to booking agents, performing arts centers, groups buyers, and individual ticket buyers?
>> Click here to share your thoughts on Instagram.
>> Click here to share your thoughts on YouTube.
The post The One Thing Touring & Group Sales Agents Said They Need to Promote Your Show first appeared on Ken Davenport.
Here’s one thing you don’t know about me: I’m a country music fan.
In fact, Chris Young’s “You” was my wedding song. And I’ve even written about country music (and Chris) before.
I know, you’re asking yourself . . . How in the name of Ethel Merman did a theater kid from New England, born to an Indian physician and a Hippie from San Francisco, end up listening to songs about pickups and solo cups?
It’s not that bizarre if you think about it – because you know what country musicians write?
Story songs.
What is a musical? A collection of story songs! (It’s one of the reasons I got behind this.)
But I diiiiiigress (as a country singer would drawl.)
The other day . . . I was listening to the Chris Young Spotify channel (and yes, I am taking my wife to see him for our 10th anniversary) . . . and that good ol’ country boy taught me something else.
I heard a different voice on one of his tunes. Turns out it was another country star . . . Cassadee Pope.
A few songs later, there was another tune . . . with Vince Gill.
Turns out, Chris has a whole bunch of collaborations.
He’s not the only artist who has done this, of course. He’s just my favorite.
Sinatra had the Duets album. Neil Diamond and Barbra Streisand did “You Don’t Bring Me Flowers,” which is now IN a musical. (Click here to listen to it.)
What’s so brilliant about this concept?
Two artists with two audiences come together to create new content . . . and thrill their audience, and gain a new one at the same time.
Fans of Chris hear Cassadee and vice versa. Fans of Vince hear Chris, etc. etc.
There isn’t a concern about competition. Or running out of an audience. Smart, strategic alliances like these benefit these artists more than they could ever hurt.
So why don’t Broadway shows collaborate more?
There’s no reason why two shows couldn’t come together to create a piece of social media content.
Or literally “collaborate” on a social media post.
Or better . . . collaborate on a direct mail printing that splits the costs so it can reach more people.
One of my favorite concepts is the “Show Buddy” idea. You find a show with a similar demographic and you agree to market each other. Flyer each others’ lines at the box office. Stuff each’s programs. And my favorite part . . . after an audience sees show #1, they get an email saying, “You should try Show #2!” (Since very few people see shows twice, show #1 doesn’t have much to lose – and would get the benefit of the marketing from Show #2 saying to its customers to go see Show #1!)
Producers (and I’ve been in this group myself, I’ll admit) are often too scared to even whisper about another show around a customer or potential customer. But why? When done thoughtfully and with a plan (like any partnership), it can benefit both parties (like any partnership).
And hey . . . even Microsoft and Apple collaborate. Even China and the US collaborate.
I think there’s a safe and efficient way for a couple of Broadway shows to collaborate.
I’m up for it . . . so if you’re producing a Broadway show when I am, feel free to reach out. Perhaps we can grow our audience . . . and Broadway’s, at the same time.
And now I return to my regularly scheduled program of a Chris Young playlist.
The post What Country Music Taught Me About Collaboration first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 7/14/2024 include The Lion King, Wicked, Hamilton, Hell’s Kitchen, Cabaret at the Kit Kat Club, Aladdin, The Outsiders, MJ the Musical, Harry Potter and the Cursed Child, and The Wiz.
See some quick data points below.
Number of Shows on Broadway: 26
Previous Week: 27
Total Gross: $29,845,591.56
Previous Week: $31,930,995.58
Total Attendance: 242,578
Previous Week: 250,342
Average Capacity: 9,989 (93.40%)
Previous Week: 9,695 (95.63%)
Average Paid Admission: $123.04
Previous Week: $127.55
Check out the individual show grosses for the week ending on July 14, 2024.
NOTES:
- OH, MARY! opened at the Lyceum on 7/11.
- HOME had a planned seven-performance week.
- ILLINOISE began an eight-performance weekly schedule.
- THE LION KING had a nine-performance week.
- WICKED had four performances with 1,807 seats and four performances with 1,926 seats this week, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 7/14/2024 first appeared on Ken Davenport.
During the pandemic, I held a quarterly Zoom for my Broadway Investors and Co-Producers called The State of the State of Broadway.
We compared the current grosses to past grosses. We talked about the latest marketing initiatives to get the audiences back to the theater. We discussed what was coming to Broadway and made predictions for the future. We even gossiped a bit.
Lately, a lot of folks on social have been asking me for my thoughts on Broadway’s current “state”. So, I thought I’d open up my next presentation to you!
We are making theater in interesting times, my friends. And it’s important for us all to look at how we’re doing, what trends we’re seeing, and what we can do to make more and better theater for the future.
So, on July 17, 2024 at 5pm ET, I’m hosting a presentation on Zoom called “The State of the State of Broadway in 2024”. And you are invited.
Join me for this State of the State where I’ll break down:
- How are we doing at the box office compared to the “before times”?
- Has the demographic on Broadway changed? How?
- What’s working . . . and where is it coming from?
- The forecast for the 2024-25 season.
- And more.
It’ll only be about 30-40 minutes. And I’ll leave a good chunk of time for questions as well.
The presentation is totally free. No catch. Just conversation. My only hope is that it helps you make a show or see a show.
Register for the “State of the State of Broadway in 2024” presentation.See you there.
The post The State of The State of Broadway in 2024 first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 7/7/2024 include Merrily We Roll Along, The Lion King, Wicked, Hamilton, Cabaret at the Kit Kat Club, Aladdin, Hell’s Kitchen, Harry Potter and the Cursed Child, The Outsiders, and MJ the Musical.
See some quick data points below.
Number of Shows on Broadway: 27
Previous Week: 30
Total Gross: $31,930,995.58
Previous Week: $34,783,390.20
Total Attendance: 250,342
Previous Week: 264,578
Average Capacity: 9,695 (95.63%)
Previous Week: 9,499 (92.85%)
Average Paid Admission: $127.55
Previous Week: $131.47
Check out the individual show grosses for the week ending on July 7, 2024.
NOTES:
- MERRILY WE ROLL ALONG closed on 7/7.
- OH, MARY! is in previews at the Lyceum and opens on 7/11.
- HOME had a planned 4-performance week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 7/7/2024 first appeared on Ken Davenport.
We live in interesting times on Broadway.
It has been four years since the shutdown. We are no longer in “recovery mode”. We are in our new normal.
What we’re seeing right now is our new starting point.
The audiences that haven’t returned . . . some of them will never return.
But the audiences that are coming more often than they did . . . they’ll bring others.
Inflation will slow, but costs won’t go the other direction.
So, rather than complain about them, it’s time for us to realize this is not just a new hand we’ve been dealt . . . it’s a new game. (I write this line as a direct message to my OWN brain, to be honest, as I’ve been stewing over this for a while – and I need to tell myself this message – not necessarily you!)
Now . . . as I look to the future, here’s one thing that is looming that could change the game again. It was in a NY Times article a few weeks ago – one quote that made my pandemic scars burn all over again.
It’s one of the biggest threats to the Broadway business.
It was in this article . . . about the $3mm tax credit that was afforded to productions post-Covid. It was designed to reduce the costs of Broadway production coming back at a time when:
- Fewer people were coming (and still are – to the tune of 18% down since pre-pandemic)
- Costs were higher than ever (and still are – to the tune of 10-30%)
Every Broadway budget I’ve seen contemplating new productions includes the assumption that the show will receive the tax credit. Yet still, even with that $3mm credit, the recoupment schedules are more challenging than they ever have been.
So what’s the threat?
Well, Governor Hochul, the angelic force who delivered this tax credit to us . . . one of the few politicians over the years who has acknowledged the importance of Broadway to the economic engine of the entire state, not just the city . . . was quoted twice in the article.
First, about where the industry is right now, she said . . .
“We are still in a crisis situation, and I’ll do whatever it takes.”
And she has. (Her reversal on congestion pricing . . . even if it’s only short-term . . . was an example of that.)
She went on to say this about the tax credit, which is what shook me:
“This is not a permanent situation. It is a temporary assistance to make sure that one of our most iconic industries never fails.”
Not permanent.
Temporary.
Yet, right now, every budget we’re creating IS dependent on it. And yet recoupment rates are slower than they were pre-pandemic.
So what happens IF it’s not extended . . . or better yet, made permanent?
First, it should be. And I’m not only praying, but I’m going to do everything I can to help let everyone know that it should be. (And if you’re a Broadway fan, you should too – tax incentives and credits aren’t about making money – they are about reducing risk to make more art – so that we can TAKE more risks – and do shows that might not normally be done.)
Second, as much as I’m about positive thinking and acting like something is FACT even when it isn’t . . . our industry needs to stop depending on the tax credit to create reasonable budgets. We have to assume that it is going to go away. Which means we have to find a way to make our numbers WORK based on what we have.
Otherwise, if the tax credit rug gets pulled out from under us . . . the shock might be too much for our shows to handle.
The threat is real. The tax credit has an expiration. It’s been extended once, but it’s not guaranteed to get extended again. And every year it’s going to get harder to get an extension . . . and our Governor has said it’s a bandaid, not a stitch.
So let’s not operate that way with our operating budgets.
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Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post The Biggest Threat to the Broadway Business. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 6/30/2024 include Merrily We Roll Along, The Lion King, Wicked, Hamilton, Cabaret at the Kit Kat Club, Hell’s Kitchen, Aladdin, The Outsiders, MJ the Musical, and The Wiz.
See some quick data points below.
Number of Shows on Broadway: 30
Previous Week: 32
Total Gross: $34,783,390.20
Previous Week: $37,565,096.80
Total Attendance: 264,578
Previous Week: 282,752
Average Capacity: 9,499 (92.85%)
Previous Week: 9,517 (92.83%)
Average Paid Admission: $131.47
Previous Week: $132.86
Check out the individual show grosses for the week ending on June 30, 2024.
NOTES:
- A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL; APPROPRIATE; and MARY JANE closed on 6/30.
- OH, MARY! began previews at the Lyceum and opens on 7/11.
- Both HOME and MARY JANE had a planned 7-performance week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 6/30/2024 first appeared on Ken Davenport.
They say that when you have a kid, the time flies by. They also say that time flies when you’re having fun.
Well, I always say my shows are like my kids. And despite being the longest run of a show I’ve ever produced at 657 performances (besting Godspell by 363 shows), boy has the time flown by for the run of A Beautiful Noise.
And boy did we, and our audiences, have fun.
I’ll be forever grateful for the opportunity I was given by Neil, as well as his friend, and my partner, Bob Gaudio. (I joke about it often – but let me tell you – one of the most surreal moments I had was being on a zoom with these two legends – listening to them tell stories about playing in front of 40,000 people – and me wondering if I was in the wrong zoom room!)
As well as our Director Michael Mayer, Choreographer Steven Hoggett, our incredible designers, David Rockwell, Emilio Sosa, Jessica Paz, Kevin Adams, Luc Verschueren, and music team, Sonny Paladino, Brian Usifer and my partner-in-Joy-crime, AnnMarie Milazzo.
And then there’s Anthony McCarten – the four time Oscar nominee that I never thought would want to take time out from his incredibly busy screenplay schedule to work in the theater. I also must thank his agent, Olivier Sultan at CAA, for finding this Neil Diamond-lovin’ needle in the writer haystack. (Yes, that’s right, a Producer just thanked an agent.)
And our General Managers Amy Jacobs and A.J. Orth, Company Managers Miguel Ortiz and Mikayla Bump and Stage Managers Bonnie Panson, Julie DeVore, Alexander Allen, Colyn W. Fiendel. Our Box Office staff and every Usher and every individual who works at the Broadhurst.
And oh, that cast! From Will to Nick, from Robyn to Amber, from Linda to Shirine, and Mark, Bri, Jessie, Michael, Tom, the off-stage swings and understudies, and that incredible Noise who still have me jaw-dropped when I watch “Crunchy Granola“. #Blessed
This is a hard goodbye, to be honest. Because in a pre-covid world, with our suburban audiences coming over the bridges and tunnels at their previous levels, and with costs at their previous levels, this show would run another 3 years . . . easy.
But I’m so proud that we are one of the longest running new musicals to open since the pandemic. And more importantly, I’m proud of the art on that stage . . . and the story it tells about Neil . . . and the story it tells about ALL of us.
We’re far from done here. We’re coming to America this fall with a national tour . . . and we are also coming to the rest of the world – I just can’t talk about it, so stay tuned to this channel for more.
And finally, a thank you to every single person who “Bah-bah-bah-ed” with us at the show. You’re why we do it. And you’re why we were able to do it this long.
And with that . . . I am. I said.
The post “I Am I Said”: My Thoughts on the Closing of A Beautiful Noise on Broadway first appeared on Ken Davenport.
The airline industry and Broadway have a lot in common.
Both have what I call “Perishable Inventory.” At a certain time (the moment the plane leaves the gate and the moment the curtain goes up), a seat that was worth several hundred dollars, immediately goes to zero. Poof. Potential revenue goes bye-bye and you can never get it back. (Other industries with Perishable Inventory include restaurants, movie theaters, concerts, golf courses, etc.)
Because the airline industry is so massive, they have been the leaders in finding ways to sell as much of their inventory as possible before it perishes, AND maximizing the revenue they get from whatever they do sell . . . to make up for anything they do not sell.
Other industries, including Broadway, often follow suit.
For example . . . first class tickets? Well, that’s the same as a premium ticket.
Frequent Flier miles? We have Audience Rewards.
It goes on.
That got me to thinking . . . should we start providing extra leg room seats?
We know that the size and comfort of seats in Broadway houses are a major pain point for consumers.
But how?
By doing something counterintuitive.
For years, we’ve been trying to get more seats in the theaters. (I remember on Altar Boyz, I added a couple of folding chairs on a side platform and some high stools in the back!).
What if . . . we removed 4-8 seats in one row. The seats BEHIND that row would have . . . presto chango . . . extra leg room!
Shows could sell those seats at a higher premium . . . to account for the lost revenue from the seats that were removed (which is what the airlines do, of course).
And wait . . . taking another cue from the airlines . . . those extra leg room seats are usually in the front of the plane, to provide easier access to leaving.
What if we put a set of extra leg room seats at the BACK of our orchestras? We could sell those as priority access to the restrooms! I’d put a concierge (like the one we have at A Beautiful Noise) standing right there as the curtain comes down. (Bonus – those back of the orchestra seats are harder to sell, so this might not even cost any revenue!)
Provided there was interest in these seats (and from the audience research I’ve done, I have no doubt there would be), I’m confident that any lost revenue from the “missing seats” could be made up by charging more for the “Extra Leg Room” seats.
Worth a shot, don’t you think?
Other P.I.I. (Perishable Inventory Industries) aside from airlines are experimenting with pulling out seats and creating more unique opportunities for their attendees . . . at baseball stadiums and concert venues.
We should too.
What do you think about having Extra Leg Room seats at a theater? Think it would work?
The post Should we have extra leg room in theaters? first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 6/23/2024 include The Lion King, Wicked, Merrily We Roll Along, Hamilton, Cabaret at the Kit Kat Club, Hell’s Kitchen, An Enemy of the People, The Wiz, Aladdin, and MJ the Musical.
See some quick data points below.
Number of Shows on Broadway: 32
Previous Week: 35
Total Gross: $37,565,096.80
Previous Week: $36,851,328.99
Total Attendance: 282,752
Previous Week: 293,997
Average Capacity: 9,517 (92.85%)
Previous Week: 9,321 (90.12%)
Average Paid Admission: $132.86
Previous Week: $125.35
Check out the individual show grosses for the week ending on June 23, 2024.
NOTES:
- AN ENEMY OF THE PEOPLE, PATRIOTS, and THE HEART OF ROCK AND ROLL closed on 6/23.
- MARY JANE had a planned 7-performance week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 6/23/2024 first appeared on Ken Davenport.
Every so often, I partner with other Producers on a show coming to Broadway. This season, I’ve got a few of them. (Stay tuned for those announcements later.)
But this article is talking about the extraordinary Oh Mary . . . by the extraordinary genius Cole Escola.
When I decide to co-produce a show, I’m going to tell you here . . . and more importantly, tell you why . . . since so many of the questions I get asked here and on my social is how do I decide what shows to produce.
With Oh Mary, it was an Oh No Brainer.
Yes, the reviews were great. Yes, the awards rolled in.
But it was the word of mouth that got me . . . and so many others, since it sold out every seat and then some downtown, and extended, and extended, and extended.
Word of mouth is what sells tickets . . . and when multiple people were emailing, calling, throwing rocks at me to get my attention to see if I saw the show . . . I recognize the makings of something very special.
Add that to the unbelievably unique experience that the show is . . . and that there’s never been anything like it . . . you’ve got the makings of other shows of its type . . . Avenue Q, Play That Goes Wrong, etc., etc.
So I got involved, thanks to an offer from the show’s Lead Producers, Kevin McCollum, Lucas McMahon, Mike Lavoie, and Carlee Briglia (who have an incredible eye) and thanks to my producing partner, Adam Riemer who saw it before I did! (Even Producers respond to word-of-mouth . . . and get involved as Producers!)
And it starts previews tonight.
If you missed it downtown, and you probably did since no one could get in . . . you have only 12 weeks to catch it on Broadway.
Get your tickets here. And then let me know what you think.
See you there.
The post Why I’m Co-Producing Oh Mary On Broadway first appeared on Ken Davenport.
I just got back from London, and the theater scene is booming.
As I walked around and took in shows and took meetings, I noticed that there were several things that the London scene has MORE of than NYC.
Here are things that London has more of . . .
MORE Immersive TheaterMaybe it’s because the revolutionary company Punch Drunk originates from London, but they’ve got more immersive options in London than anywhere else I’ve seen. From Mamma Mia The Party to The Guys & Dolls!
MORE Theaters period!They’ve everywhere. It helps that there is no distinction between Broadway and Off Broadway. Just look at this map of all the spaces for shows! (Oh, and we should steal this map idea too – on a construction site wall!)
MORE Young ProducersThere are more young producers not only producing, but making a living producing. I met them in their offices, I met them at the theater. They are everywhere. A business model that allows young producers to make theater and make a living secures the future of the art form and the business.
MORE Original WorkI saw more new musicals over there in a week that I’d never heard of based on original ideas than we get in a whole season. The economics allow artists and audiences to take more risks, which only fuels more exciting theater in the future.
MORE CasinosLondon has casinos on almost every block in the heart of the theater district. (You have to be a “member” to enter.) With the debate about a Times Square casino raging amongst theater folks and retail folks, it was interesting to see these dot every other block. Please note – I’m not saying I’m in favor of a Times Square casino – because a US Casino and a London one are big ol’ differences. (But I’d be curious to know what the theater district feels about them.)
MORE Ticket BrokersI’ve written about this before, but I love seeing storefronts selling tickets everywhere. The more places to buy, the more you’ll see. It’s the democratization of the purchase process.
MORE Shared OfficesA lot of producers and creatives share offices. I’ve always thought that shared synergy would create more theater and decrease the feel of competition.
MORE Sandwich BoardsSandwich boards make people think of cheesy marketing – but they’re all over classy London theaters. And they work. They’re right in eyesight – and they can be modified to market what’s happening THAT moment.
MORE Theaters that serve Tea!Love the Drury Lane that allows you to enter any time, check out the art, and sit down for some tea. It has become my London office in the afternoons.
MORE Shows, Concerts, Events and More on dark nights.London Real Estate, like NY Real Estate, is super expensive. So they don’t let it sit empty if they can avoid it. There are concerts (which are increasing in number as a development option), family shows and mores when the mainstage show is dark. You got the space, use it!
(A BONUS MORE) MORE FamilyLondon has more of my family over there.
Have you been to London lately? What have you noticed over there that they have more of? And would you like that here?
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Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post I just got back from London, and the theater scene is booming. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 6/16/2024 include The Lion King, Wicked, Hamilton, Cabaret at the Kit Kat Club, Merrily We Roll Along, Hell’s Kitchen, The Wiz, Aladdin, An Enemy of the People, and MJ the Musical.
See some quick data points below.
Number of Shows on Broadway: 35
Previous Week: 35
Total Gross: $36,851,328.99
Previous Week: $36,011,651.28
Total Attendance: 293,997
Previous Week: 291,082
Average Capacity: 9,321 (90.12%)
Previous Week: 9,353 (88.61%)
Average Paid Admission: $125.35
Previous Week: $120.04
Check out the individual show grosses for the week ending on June 16, 2024.
NOTES:
- BEN PLATT: LIVE AT THE PALACE closed on 6/15.
- MOTHER PLAY and UNCLE VANYA closed on 6/16.
- MOTHER PLAY had seven performances with 581 seats and one performance with 542 seats this week, for a total capacity of 4,609. As this report cannot accommodate both capacities, the figure 576 was used.
- STEREOPHONIC and THE OUTSIDERS each had an adjusted 7-performance week that was planned.
- The 77th Annual Tony Awards were held at the David H. Koch Theater at Lincoln Center for the Performing Arts on Sunday, 6/16.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 6/16/2024 first appeared on Ken Davenport.
Bring the curtain down, my theater-lovin’ friends! That’s a wrap on another season . . . and one of the most dramatic (pun intended) award shows I’ve seen.
While Stereophonic and Merrily rolled on to their expected wins, that Best Musical race was as tight as I’ve ever seen. A two way race is one thing . . . but anyone could have taken that big prize last night.
I won’t spoil the rest for you in case you haven’t seen the results. Click here if you want a full listing of all the winners.
I wasn’t at the awards last night – I chose to throw a “Super Bowl”-like party instead (which was a blast – and included sing-a-longs, Tony bingo, and more). What I enjoy about watching the awards on television is that you get to experience it like an actual audience member. Because what you see when you’re in the room, live, is NOT what the audience at home sees.
And it is the audience at home that truly matters . . . since the Tony Awards are the shows’ and the industry’s biggest marketing event of the year. (The Academy Awards wrap up a film’s sales cycle, where in the theater, the Tonys START the action on ticket sales for so many.)
From my seat at Pennsylvania 6, here are my Top 10 Favorite moments from The 77th Annual Tony Awards . . .
#1 – Ariana’s Take IIIAriana DeBose saved the Tonys last year, when she hosted without a script. She came back this year, and had a script, and knocked it out of the park again. She can do anything. Now, let’s hope she does another Broadway show soon!
#2 – They Made it Rain!One of the two most “talkable topics” (my phrase to describe word-of-mouth getters) in The Outsiders is the Rumble and the Rain. “Surely they won’t be able to make it rain during the rumble on the Tony Awards.” They did. You could practically hear the collective “oooooooooh” from all the viewers. Spectacle, even when it’s simple, still sells. And if someone ever says, “How are you going to do that?” you should absolutely do it. Because if you pull it out, you’ll be that much more successful.
#3 – Their Voices Were Heard in Stereo-Phonic.When The Tony Awards announced their performances, the (now) Tony Award-winning Best Play Stereophonic originally did not make the list. But their fan base came out of the SOUND BOARD to make a case for their favorite play to be included in the performance list. It’s a solid reminder to harness your community. Make them feel involved and show them they have a voice! Because in Stereophonic’s case, it WORKED! Their fan base’s voices were heard and they performed at the Tony Awards last night.
#4 – A Special Goodbye to Chita.The “In Memoriam” section of the Tony Awards is always moving. But I love that they took a longer moment to honor one of the greatest . . . Chita Rivera. One of of the shows I’m most proud of producing is The Visit . . . because she was in it.
#5 – Longer SpeechesHistorically, award shows limit the time that winners have to speak on stage (cue: the wrap up music). But this year, it seems the Tony Awards allowed for LONGER speeches, giving the winners more time to insight inspiration or share their gratitude. It allowed the winners to get over their nerves, get grounded . . . and find their way to inspiration (and made sure they didn’t forget anyone!).
#6 – The Tightest of Races The 2023-2024 Broadway season saw 39 new productions which included 21 musicals (16 original, 5 revivals), 16 plays (12 original, 4 revivals), and two special engagements (both original). Of the 38 eligible productions this season, 26 productions received at least 1 nomination. That’s a lot of competition.
And that Best Musical Tony Award could have gone to ANY of those nominated shows. Usually you have a strong feeling who is going to win. Sometimes it is between two shows. But three or more? It made those last few moments feel like a tied-up Super Bowl with 2 seconds left.
#7 – Hillary Rodham ClintonHRC received a standing ovation from Broadway when she took the stage to introduce Suffs’ Tony Awards performance. She said, “I have stood on a lot of stages, but this is very special.” That kind of connection to a world leader is not only important to her show, but also to the entire industry. It says, “Hey, important people love us. You should too.”
#8 – A SMASHing SurpriseYou didn’t see it, but during the commercial break, SMASH surprised the in-house audience with a new teaser. And word from inside Lincoln Center was the ovation was pretty awesome. The teaser includes this anecdote: “If you loved the TV series, it’s exactly what you want. And if you didn’t, we changed everything.”
#9 – Gutenberg’s Meta Moment That Taught Us All Something If you were wondering why Gutenberg! The Musical was nominated in the Best Revival of a Musical category this year when it has never appeared on Broadway before, Bud & Doug are here to explain! While I would have loved Andrew and Josh to have done a number, this was almost just as good. Now – what other shows can we get those two to do together?
#10 – New Shows Announcing They’re Coming To BroadwayThough the Tony Awards are a celebration of the current season of Broadway shows, last night’s telecast also gave us a preview of what is to come. From the SMASH teaser to The Last Five Years making their Broadway announcement, to Idina presenting (because she’s returning in Redwood), we saw some great plugs of what’s to come in the next 12 months.
So . . . what do you think is going to win a Tony Award in 2025?
And what was your favorite moment from last night?
– – – –
Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post My Top 10 Favorite Moments From The 2024 Tony Awards first appeared on Ken Davenport.
My Dad taught me a lot of things. The most important lesson I learned from him . . . just that . . . to always keep learning.
He was constantly studying, reading, and taking workshops on everything from writing to art to computers (in 1979) and more.
He told me it not only kept your mind muscles in top shape, but he always learned something profound that he could take back to his primary focus . . . medicine and how to improve his care of patients.
So when I got an idea for a movie, I decided to learn about screenwriting. (I was also super curious as to the differences between screenwriting and writing for the theater. See more on that below.)
I stumbled onto Jill Chamberlain’s groundbreaking book, The Nutshell Technique, during the pandemic. If you don’t know The Nutshell Technique, it’s a system used by tons of super successful Hollywood screenwriters who have called it, “The Rosetta Stone”.
You can get it here, just like I did.
But taking action after reading a book is hard. That’s why my screenplay only got about halfway done.
I don’t know about you, but I do much more when I have accountability, homework, and a place and time I’m supposed to be every week.
So a few months ago, I signed up for Jill’s live, 10-week workshop, which puts you on a path to COMPLETING a screenplay in that 10 weeks. (It ain’t easy, but you can do it – and in addition to being done, it’ll be a lot better than if you tried to do it on your own.)
The workshop was enlightening, inspirational, and communal (nice to be with other people trying to do the same thing you are). Oh, and it was fascinating to see what I could learn about screenwriting that I could apply to theater . . . and what I should NOT!
Jill’s got another workshop coming up this summer (starts June 24th) and again the fall (starts October 14th). Because I took it, and because it helped me, and because I have a feeling lots of you folks out there have screenplay ideas too (or just want to learn), I asked Jill if she’d give my readers a discount. Even though her workshops always sell out, she agreed! (And I didn’t even get a discount when I signed up!)
Click here to learn more and sign up.
Use code: KDFULL2024 and get $70 off the Full Participant tuition for her Screenwriting Master Class or her TV Writing class. Those participants slots are limited, so if you want one of those, sign up now.
If you aren’t ready to dive in, but still want to learn, Jill has an amazing audit program for both classes that allows you to watch all the classes live and/or the class recordings, receive all the handouts, and watch her dissect the full participants’ work. If you want to audit, use code KDAUDIT2024 and you’ll save $10.
These coupon codes are good for her 2024 workshops and cannot be combined with any other offer.
And when your movie is a big hit, promise me you won’t desert us. Come back to the theater, ok? Good.
Thanks, Jill, for the class and the discounts!
The post Screenwriter or Not, Here’s Why I Recommend This first appeared on Ken Davenport.
In the 77th annual Tony Award ceremony, Ariana DeBose hosted live from Lincoln Center’s David H. Koch Theater. Presented by The Broadway League and the American Theatre Wing.
2024 Tony Award Winners:BEST PLAY: Stereophonic
BEST MUSICAL: The Outsiders
BEST BOOK OF A MUSICAL: Suffs
BEST ORIGINAL SCORE: Suffs
BEST REVIVAL OF A PLAY: Appropriate
BEST REVIVAL OF A MUSICAL: Merrily We Roll Along
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY: Jeremy Strong (An Enemy of the People)
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY: Sarah Paulson (Appropriate)
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL: Jonathan Groff (Merrily We Roll Along)
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL: Maleah Joi Moon (Hell’s Kitchen)
BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY: Will Brill (Stereophonic)
BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY: Kara Young (Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch)
BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL: Daniel Radcliffe (Merrily We Roll Along)
BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL: Kecia Lewis (Hell’s Kitchen)
BEST SCENIC DESIGN OF A PLAY: David Zinn (Stereophonic)
BEST SCENIC DESIGN OF A MUSICAL: Tom Scutt (Cabaret at the Kit Kat Club)
BEST COSTUME DESIGN OF A PLAY: Dede Ayite (Jaja’s African Hair Braiding)
BEST COSTUME DESIGN OF A MUSICAL: Linda Cho (The Great Gatsby)
BEST LIGHTING DESIGN OF A PLAY: Jane Cox (Appropriate)
BEST LIGHTING DESIGN OF A MUSICAL: Brian MacDevitt and Hana S. Kim (The Outsiders)
BEST SOUND DESIGN OF A PLAY: Ryan Rumery (Stereophonic)
BEST SOUND DESIGN OF A MUSICAL: Cody Spencer (The Outsiders)
BEST DIRECTION OF A PLAY: Daniel Aukin (Stereophonic)
BEST DIRECTION OF A MUSICAL: Danya Taymor (The Outsiders)
BEST CHOREOGRAPHY: Justin Peck (Illnoise)
BEST ORCHESTRATIONS: Jonathan Tunick (Merrily We Roll Along)
SPECIAL TONY AWARD FOR LIFETIME ACHIEVEMENT IN THE THEATRE: Jack O’Brien, George C. Wolfe
SPECIAL TONY AWARD: Abe Jacob, Alex Edelman, Nikiya Mathis
TONY HONORS FOR EXCELLENCE IN THE THEATRE: Colleen Jennings-Roggensack, Dramatists Guild Foundation, Judith O. Rubin, The Samuel J. Friedman Health Center for the Performing Arts, Wendall K. Harrington, The Wilma Theater
The post Tony Awards 2024 Winners Full List – June 17, 2024 first appeared on Ken Davenport.
It’s Tony Awards weekend!
If you’re like me, then you’ve been waiting for the 77th Annual Tony Awards all year long!
You’ve probably noticed that the broadcast is happening a little differently this year.
Well have no fear! My team has put together a step-by-step list for everything you need to do to prepare for the theater industry’s biggest night.
The 77th Annual Tony Awards are on Sunday, June 16th.
SCHEDULE:6:30pm-8pm ET/3:30pm-5pm PTThe Tony Awards: Act One – a pre-show live, exclusive content leading into the 77th Annual Tony Awards on CBS and Pluto TV. This year’s “Act One” will be hosted by Julianne Hough and Utkarsh Ambudkar.
7pm-8pm ET/4pm-5pm PTExclusive Red Carpet content on Paramount+.
8pm-11pm ET/5pm-8pm PTThe American Theatre Wing presents the 76th Annual Tony Awards live on CBS and Paramount+.
HOW TO WATCH ON PARAMOUNT+:If you don’t already have a Paramount+ account, sign up for a FREE 7-day trial here.*
If you don’t want to keep your account after the ceremony, no problem! Set yourself a reminder to cancel your account before the 7-day trial is up (If you create an account on Tonys day, ask Siri, Alexa, ‘Hey Google’ to remind you to cancel on June 18th.)
When posting on social media, be sure to use these hashtags: #ThisIsBroadway, #TonyAwards2024, #TonyAwards.
Tune into the livestream, see if your predictions were right, and enjoy!
*Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on-demand. Paramount+ Essential subscribers will not have the option to stream live, but will have access to on-demand the day after the special airs.
HOW TO WATCH ON PLUTO TV:The Tony Awards: Act One can be viewed on pluto.tv.
HOW TO WATCH ON CBS:The 76th Annual The Tony Awards will be aired on CBS. You can also stream it live and on demand on Paramount+, Hulu with Live TV, and YouTube TV.
Happy Tonys Weekend!
The post How To Watch The 2024 Tony Awards first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 6/9/2024 include The Lion King, Wicked, Hamilton, Cabaret at the Kit Kat Club, Merrily We Roll Along, Hell’s Kitchen, The Wiz, Aladdin, MJ the Musical, and The Great Gatsby.
See some quick data points below.
Number of Shows on Broadway: 35
Previous Week: 35
Total Gross: $36,011,651.28
Previous Week: $33,662,845.16
Total Attendance: 291,082
Previous Week: 280,253
Average Capacity: 9,353 (88.61%)
Previous Week: 9,298 (86.12%)
Average Paid Admission: $120.04
Previous Week: $120.12
Check out the individual show grosses for the week ending on June 9, 2024.
NOTES:
- HOME opened at the Haimes on 6/5.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 6/9/2024 first appeared on Ken Davenport.
Influencers are all the rage.
As social media rises in power as a word-of-mouth accelerator and as a direct-response sales tool (yep, it’s true), individuals with a tribe of passionate followers have become more, well, influential as well.
Like anything online, it’s easy to jump on the latest sell-tickets-quick scheme, which almost always results in NO ticket sales, and depleted ad budgets.
But in the post-pandemic era, with a younger demographic heading to the theater (and needed at the theater), the theater must start to embrace the Influencer as actual media.
To put it more specifically . . . Taylor Swift is like the NY Times.
Individuals with large followings that put out their opinions, news, human interest stories (pix of their pups) are like any other form of advertising media.
Some have massive international followings . . . and some are niche “publications” that may not have a large number of followers, but they have THE followers for a certain subject.
So how should the theater and Broadway work with them?
First, when I consider working with Influencers, I remind myself of this first . . .
Influencers are Advertising.
Therefore, I follow the same rules I follow when deciding whether or not to buy media from a magazine, an online publication, etc.
- What is the distribution?
How many followers? How many impressions are you going to get? Important: just like the NY Times may tell you that they have 9.9 million digital subscribers, that does NOT mean that all of them are going to see your ad. We miss most of the advertising we see online and in print. If you place a full page ad in NY Magazine that appears on page 27 and the reader only gets to 23 or flips through the page quickly, the impression didn’t happen. Same is for an Influencer’s # of followers. And more importantly on social media than in traditional media . . . there are algorithms that decide what posts are going to be show to you or NOT. In fact, there was a time when it was said that only 7% of your followers on Instagram saw one of your posts. 7%! All of a sudden, 1 million followers ain’t that much.
- What’s the demographic?
The size of the following isn’t as important as who is following an Influencer. If they don’t line up with the demographic for your show, then the impressions are worth even less. The NY Times has been a good place for plays and some musicals to advertise for years. Because so many of those subscribers are local AND theatergoers. Before spending money or entering into a partnership with an Influencer, don’t just look at the number of followers. Find out where they are – if 800k of an Influencer’s 1mm followers are overseas – that’s not going to do you much good. You want a demographic that is close to NYC. Theater tickets aren’t t-shirts. They can’t be bought and shipped and used anywhere. The customer has to get to a place. So make sure they CAN get to that place. What’s their age? Gender? Do these correspond with the people who are coming to your show AND are likely to recommend it?
- Media is never successful when it’s one-and-done.
We all want to “go viral.” We all want to post something that sells our shows out. But just like advertising, that’s not the way it works. We don’t place one ad in the NY Times. We place several over the course of several weeks or months or longer. We don’t place one TV or radio ad. We buy several spots, again, over several weeks. Then we take a week off. Then we hit it again.
The same strategy applies for Influencers. If you find the right one, you shouldn’t be asking for one post. You should be negotiating a buy like any other advertising buy. First, because as we said above, one post will most likely not be seen by the overwhelming majority of a person’s following. Second, even if it IS seen . . . it takes multiple impressions for a customer to take action. It used to be 5. Then it was 8. Nowadays some people say it takes 100! You’ve got to burn your branding into the customer’s mind . . . over time.
Influencers aren’t going away. In fact, according to the crackerjack panel at the Broadway League Spring Road Conference, 71% of millennials follow Influencers.
So if you think they are having an influence today . . . wait until tomorrow.
There’s a new form of media, and we best learn how to use it.
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Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post Why Taylor Swift Is Like The NY Times (Or How To Work With Influencers on Broadway and How Not To) first appeared on Ken Davenport.
Here’s my prediction for this year’s Tony Awards. This year, someone will accept a Tony, and in their speech, they’ll say how getting to Broadway was a dream . . . proved possible. And that others should continue their quest as well.
The Tony Awards are always inspiring. For me too. But it does take more than dreams to get a show from an idea and then to a page and then to the big Broadway stage.
One of the most common questions I get from readers and followers is “How do I get a show to Broadway,” or “I have an idea . . . what do I do now.”
And see, whenever I get a lot of questions on the same subject, it tells me I haven’t done a good job explaining it.
On June 13, 2024 at 5pm ET, I’m hosting a presentation on Zoom called The Business of Broadway. And you’re invited.
This is an online version of a talk I’ve given around the country that I realized I’ve never given to you. So I’m gonna!
In the presentation, I’ll discuss how a Broadway show comes to be, including:
- The Path to Production: Broadway’s version of R&D and how long it takes.
- Broadway Economics: What goes into those big budgets?
- The Role of The Producer: What I do and other Producers like me do.
- And more.
I’ll leave a good chunk of time for questions as well.
The presentation is totally free. I hope it helps.
My only ask is that if it DOES help you get on the path to production, you thank me in your Tony speech someday.
Register for the “Business of Broadway” presentation.See you there.
The post How a show goes from an idea all the way to Broadway and Beyond first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 6/2/2024 include The Lion King, Wicked, Hamilton, Cabaret at the Kit Kat Club, Hell’s Kitchen, The Wiz, Aladdin, MJ the Musical, Merrily We Roll Along, and The Great Gatsby.
See some quick data points below.
Number of Shows on Broadway: 35
Previous Week: 34
Total Gross: $33,662,845.16
Previous Week: $35,295,405.35
Total Attendance: 280,253
Previous Week: 287,246
Average Capacity: 9,298 (86.12%)
Previous Week: 9,242 (91.42%)
Average Paid Admission: $120.12
Previous Week: $119.35
Check out the individual show grosses for the week ending on June 2, 2024.
NOTES:
- BEN PLATT: LIVE AT THE PALACE opened on 5/28.
- HOME is in previews at the Haimes and opens on 6/5.
- MOTHER PLAY cancelled one performance (Weds. 5/29 mat.)
- WICKED had four performances with 1,807 seats and four performances with 1,926 seats this week, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- Please note that Memorial Day Weekend fell within the week prior (both this season and last season).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 6/2/2024 first appeared on Ken Davenport.
This one is in the books.
Broadway officially closed its financial books with the 52nd week of the season this past week. (The symbolic season end will take place on June 16th, when the artistic books are closed and Tony Awards are doled out.)
So . . . how did we do compared to last season . . . financially?
And more importantly, how did we do compared to the last pre-pandemic season? Have we recovered? Are we making progress?
First, the numbers for the 2023-24 season:
2023-24 Broadway Season Statistics
Total Gross: $1,539,278,706
Total Attendance: 12,287,708
Total # of Playing Weeks: 1,471
Average Ticket Price: $125.27
How did that compare to the 2023-23 season?
2022-23 Broadway Season Statistics
Total Gross: $1,577,586,897
Total Attendance: 12,283,399
Total # of Playing Weeks: 1,474
Average Ticket Price: $128.43
So, last season looked like this compared to the previous one:
Gross: DOWN 2.46%
Attendance: UP .04%
Playing weeks: DOWN .20%
Average Ticket Price: DOWN 2.49%
In other words . . . the #s were flat. Barely a change.
Which is . . . not great. We’re supposed to be in a recovery phase. And we were flat. And remember, Broadway expenses escalate much higher than inflation every year (union contracts go up annually, advertising rates, etc, etc). That means: a flat year is a financial regression.
Now, and more importantly, let’s compare this past season to 2018-19.
2018-19 Broadway Season Statistics
Total Gross: $1,829,312,140
Total Attendance: 14,768,254
Total # of Playing Weeks: 1,737
Average Ticket Price: $123.87
So, here’s the big question . . . here is the answer to “How is Broadway recovering post-pandemic?”
Drumroll please . . . here is how this past season compares to the last complete pre-pandemic season:
Gross: DOWN 17.22%
Attendance: DOWN 18.34%
Playing weeks: DOWN 16.58%
Average Ticket Price: UP 1.12%
Three of the four major indicators of Broadway’s financial health are down.
And the last is flat.
This data, and the “flat” data of this past year to the year before it, tells me that the recovery has stalled. And the return to the “health” we had prior to the pandemic is going to take much longer than anyone expected.
Add in the aforementioned hyper Broadway inflation we are feeling right now, when expenses are 10-20% higher . . . and we’re seeing an approximately 30% swing in the bottom line . . . then you add a gross that’s down 17.22% and expenses that are up around 15% . . .
No wonder more shows are closing quicker.
No wonder fewer shows are recouping.
Unfortunately, based on historical data . . . the current year that we’re in is only expected to get a little worse. The research shows that we have a “down year” every four years . . . that coincides with the Presidential Election and the Summer Olympics. (See this post for that analysis.)
So it’s going to get a little rougher.
What do we do?
First, we must get our expenses in line. Higher expenses and lower grosses mean shows close faster, which means less work for everyone. Also, when shows close faster, investors get skittish, which means fewer shows, period. (And playing weeks are already down – thanks in part to the loss of our long runners like Phantom, Come From Away, Dear Evan Hansen and even my A Beautiful Noise.) It may SEEM like a lot of shows are happening, because a lot more shows are OPENING. But that doesn’t mean a lot more shows are running.
Second, we must get the Suburban Audience back. The local market outside the city is down a whopping 30+% from pre-pandemic levels. They are reluctant to return for a whole bunch of reasons, from the perception of crime, to the cost of commuting into the city, and the fact that their habit of theatergoing was broken for 2+ years.
Will we get back to where we were before Covid jumped up and bit us in the box office?
YES.
Will it take longer?
YES.
Will it take NEW ways of thinking?
YES.
Will it take cooperation from everyone who has a vested interest in the health of Broadway?
YES.
We’ve been here before. The 70s and 80s were terrible on Broadway and in the city. Producers, Theater Owners, General Managers, Lawyers, Agents, and Vendors all came together to come up with solutions. (The Royalty Pool was created during that era!)
We will get through this. But it’s not going to be easy. And doing the same thing we’ve always done isn’t going to be the fastest or best way.
I’m up for the challenge – are you?
I look forward to reporting the season statistics in a year or two that says we’ve PASSED pre-pandemic levels . . . and MORE shows are profitable, which means more investors are investing, which means more theater and more work for everyone.
To work we go . . .
The post The 2023-24 Broadway Season Is Over. How Did We Do? first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 5/26/2024 include The Lion King, Wicked, Hamilton, Cabaret at the Kit Kat Club, Merrily We Roll Along, Hell’s Kitchen, MJ the Musical, The Wiz, Aladdin, and Harry Potter and the Cursed Child.
See some quick data points below.
Number of Shows on Broadway: 34
Previous Week: 35
Total Gross: $35,295,405.35
Previous Week: $36,381,957.90
Total Attendance: 287,246
Previous Week: 292,642
Average Capacity: 9,242 (91.42%)
Previous Week: 9,152 (91.36%)
Average Paid Admission: $119.35
Previous Week: $120.93
Check out the individual show grosses for the week ending on May 26, 2024.
NOTES:
- HOME is in previews at the Haimes and opens on 6/5.
- The Tues. 5/21 performance of CABARET AT THE KIT KAT CLUB was fully comped.
- MOTHER PLAY cancelled two performances (Sat. 5/25 eve. and Sun. 5/26 mat.).
- WICKED had four performances with 1,807 seats and four performances with 1,926 seats this week, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- Memorial Day weekend fell within this week. (Memorial Day weekend also fell within Week 1 of last season.)
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 5/26/2024 first appeared on Ken Davenport.
Simple 3 step business formula:
- Find something that causes a person a lot of pain.
- Come up with a solution to that pain.
- Sell that solution.
Here’s something that has been causing Producers a lot of pain. Ironically, it was born from something giving Producers a lot of pleasure: The New York City Musical and Theatrical Production tax credit.
The tax credit is a credit of up to $3mm (!) for shows that opened (or are opening) during these very tenuous post-Covid times . . . when costs are higher, and fewer people are coming. (Hey suburbanites – I’m talking to you! Come back! We miss you!)
It was a much needed incentive for Producers to spend money on shows and get a lot of people back to work. And, it’s working . . . evident by the record number of shows on the boards this season.
But one part of the credit isn’t working as well as Producers would like.
It’s taking time to actually receive the money. In most cases, a year and a half – or two.
I could say a lot about city and state systems, but in this case . . . I can’t blame them. It’s a brand new program. It’s up to a $3mm check. Theater financials aren’t the easiest to digest.
I think we all thought these checks were going to get to us as fast as that PPP money came during the early days of Covid. Or how fast that SVOG money came.
But that was a different time. And a federal program.
This is different.
And hey – this money is SUCH a gift, we can’t and shouldn’t complain.
The issue is . . . Producers can’t use that money to keep the shows open. Another $3mm in your hand could keep a show open and therefore people employed for weeks, even if the show was losing money. AND, if the show turned around (which is why you’d want to keep it open), it could catch fire, win an award, and run for months or years.
That’s why getting that cash credited back, and quickly, would be super beneficial.
I know they’re trying to speed it up, but it’s not quite there yet.
In the short term, a lot of Producers are seeking loans against that tax credit from other Producers, Investors, or in some cases, loaning it to the shows themselves.
It’s not easy, takes time, and who wants to ask your investors for more money when you’re in this situation?
In other words, what we have here is a PAIN POINT.
Enter stage left, Thomas Laub and Blue Fox Financing (“The largest network of lenders for independent film projects”). As reported by the one of the best journalists on the biz of Broadway we have, Mark Hershberg, this company is setting up loans to shows to get them the cash they need (and are due) and when they need it.
In other words, they have a SOLUTION TO A PAIN POINT.
And we owe them a debt (literally) of gratitude.
Now they will sell it, and I have a feeling, get a lot of buyers. (Unfortunately, with interest rates what they are, I’m a bit nervous as to the cost of this capital – because that simple business formula only works if there is profit to be made.)
Until, that is, the state and city speed up the delivery of that tax credit. Or until it disappears.
But more on that next week. Sign up here to make sure you get that article delivered straight to your inbox.
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Got a comment on this article? I want to hear it! I write these articles because I believe the world is a better place if there is more theater in it. And there is only more theater in the world if we’re talking about how to make more theater and better there.
And your comment will help!
Click here to comment on Facebook.Click here to comment on Instagram.Click here to comment on LinkedIn.The post Somebody had to do it (and I’m thankful for it). first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 5/19/2024 include The Lion King, Cabaret at the Kit Kat Club, Hamilton, Wicked, Merrily We Roll Along, Hell’s Kitchen, MJ the Musical, The Wiz, The Great Gatsby, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 35
Previous Week: 34
Total Gross: $36,381,957.90
Previous Week: $35,727,376.57
Total Attendance: 292,642
Previous Week: 286,841
Average Capacity: 9,152 (91.36%)
Previous Week: 9,316 (90.56%)
Average Paid Admission: $120.93
Previous Week: $122.42
Check out the individual show grosses for the week ending on May 19, 2024.
NOTES:
- This was the final week of the 2023-2024 season, which began on 5/22/2023 and ended on 5/19/2024. For detailed Broadway season statistics and notes, visit the Research section of The Broadway League website at https://www.broadwayleague.com/research/statistics-broadway-nyc/.
- LEMPICKA closed on 5/19.
- HOME began previews at the Haimes and opens on 6/5.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 5/19/2024 first appeared on Ken Davenport.
“Beware the Ides of ~~March~~ May!”
Getting through the winter on Broadway is tough. Once you do emerge from the frozen box office tundras of January, February (and even March), it’s easy to think it’s smooth sailing to the summer.
Then you get to May.
Talk to anyone about the “worst” times of the year for Broadway sales, and you’ll hear the above-mentioned winter months and September. And it’s true. Those months suck. Great grossing shows on their way to recoupment can take a few steps backwards during these tricky times (especially these days, when fewer people are coming to Broadway.)
But if you’ve been following the Broadway grosses over the last few weeks, you may be surprised at how shows, new and old, have been underperforming. (If you want to get the Broadway grosses emailed to you each week, click here.)
And that’s because . . . May sucks too.
But why? And what can we do about it?
Here are three reasons why May sales underperform other months of the year:
1 – The CompetitionEveryone is talking about the number of new shows on Broadway this year, and how many opened this spring. It’s true, this year is unlike others. But every season is backloaded, as more shows open closer to The Tony cutoff.
That means there are more shows to see in May than at other times of the year. That means whatever dollars are coming into Broadway are spread out over more product. Because what we know about theatergoers and their habits, just because there are more shows, doesn’t mean they are going to come more often. Nope. They see shows once a year, once every few months, etc. Pump a bunch of more product on the boards and it doesn’t equal more sales and more bodies.
This is especially true when the shows are new.
2 – The Competition for A Consumer’s TimeTalk to any local families in May and they’re all running from one event to another. There are:
Graduations
Dance Recitals
First Communions
Weddings
And more . . .
We often forget that seeing a show on Broadway is a MULTIPLE step process:
- What show do I want to see?
- Who do I want to see it with?
- When can ALL of the people I listed in the answer to #2 go!
And it’s that 3rd question that stalls so many of our local consumers . . . especially in May.
3 – May is a Transition Time.May is like a tween, stuck in between two specific periods.
It’s not the beginning of spring, and it’s not the summer yet either.
People vacation in Spring. People vacation in Summer. So if they just took a vacation, they’re not going to take another one. And if they’re gearing up for a vacation, they’re not going to take another one.
That’s why tourist traffic to NYC is low in May . . . as the tourists gear up for those later June and July weeks, when they will flood the streets of Times Square.
Broadway’s fiscal health depends on tourist traffic. 65% of our audience is made up of theatergoers OUTSIDE the tri-state area. If they’re not coming, our numbers are going to be depressed . . . and so will a lot of Producers.
May FEELS like it should sell much better than it does. The lack of people coming to shows, and more product on the streets, creates for one of the most challenging times of the year for new shows to get their footing, and for the season holders to keep their head above their weekly nut.
What do we do during this period if we know it’s coming?
I’m a fan of hunkering down and decreasing advertising. If you know people aren’t going to come, why spend money trying to force them to?
Oh, and maybe this is another reason we should look at not opening so many shows in the spring . . .
What times of year do YOU like going to see shows?
I’d love to hear your response. Here are three ways to share your opinion:
- Click here to submit your comment and continue the conversation on Instagram.
- Click here to submit your comment on Facebook.
- Click here to submit your comment on LinkedIn.
And follow me while you’re there.
The post 3 Reasons Why May Sales on Broadway Are Mediocre (at best!) first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 5/12/2024 include The Lion King, Cabaret at the Kit Kat Club, Hamilton, Wicked, MJ the Musical, The Wiz, Moulin Rouge! The Musical, Merrily We Roll Along, Hell’s Kitchen, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 34
Previous Week: 35
Total Gross: $35,727,376.57
Previous Week: $34,757,295.51
Total Attendance: 286,841
Previous Week: 289,947
Average Capacity: 9,316 (90.56%)
Previous Week: 9,389 (88.24%)
Average Paid Admission: $122.42
Previous Week: $117.61
Check out the individual show grosses for the week ending on May 12, 2024.
NOTES:
- ILLINOISE cancelled one performance (Weds. 5/8).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 5/12/2024 first appeared on Ken Davenport.
Ask anyone in the online space and they’ll tell you that if you want to increase conversions, add a no-questions-asked, money-back guarantee.
And if you really want to turbo charge your guarantee, offer a 110% or more money-back guarantee.
The customer-centric philosophy of “satisfaction guaranteed” is what helped turn Amazon.com into AMAZON.COM.
But it’s not just online. Guarantees are offered at Starbucks, Marriott and more.
There’s one place where the satisfaction, love-it-or-your-money-back, does NOT exist. And that’s Broadway.
Should it?
From a business perspective, I’d argue that it is MORE necessary on Broadway than in any other industry! When a customer buys a ticket for a Broadway show they haven’t seen before, they are buying the absolute unknown. Maybe they’ve seen a video clip or two, or heard a song – but in most cases, they have no clue as to what that show is going to look or sound like until they throw down the $150 or more.
A Broadway show isn’t a Starbucks where you can take a taste of your friend’s frappuccino before you buy one. It’s not a shirt you can try on in a fitting room.
Our audience is going into this expensive purchase mostly blind . . . and if they don’t like it? They’re SOL.
Unless there was a guarantee.
Guarantees close more sales. It is proven.
So if we offered them on Broadway, would they do the same?
I think they would. (I’ve tried them myself on a few shows, and not only did people appreciate it – but we had maybe one email asking for money back!)
So what are the arguments against it?
- Will people take advantage of it? (Not based on my experience)
- Will it look desperate? (If luxury hotel brands can do it, why can’t we?)
- How do we police it? (You make them send a letter or something – and honestly, most people won’t.)
- Are we giving away money if we sell out and then someone asks for money back for tickets we could have sold? (Maybe, but it’s rare to have a completely sold out show these days – and I’d argue you’ll convert way more with the guarantee to make up for it – not even considering.)
Of all of the responses I’ve heard opposing any such wording on a show’s website or in marketing materials is the fear that it’ll look desperate.
I think that’s our ego talking. What may feel like we’re “selling” too much feels like the exact opposite to the customer.
And when we’re asking them to get to a specific location at a specific time for a specific high-priced product, and they don’t know specifically what that product even is?
It could only help.
By the way – I will tell you this – whether you see it on the websites or marketing materials for the shows I produce or not . . . I will always have a satisfaction guarantee on my shows.
What do you think about a guarantee for Broadway shows?
The post Should Broadway Shows Offer a Guarantee? first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 5/5/2024 include The Lion King, Cabaret at the Kit Kat Club, Sweeney Todd: The Demon Barber of Fleet Street, Hamilton, Wicked, The Wiz, MJ the Musical, Merrily We Roll Along, Moulin Rouge! The Musical, and Hell’s Kitchen.
See some quick data points below.
Number of Shows on Broadway: 35
Previous Week: 36
Total Gross: $34,757,295.51
Previous Week: $37,553,463.90
Total Attendance: 289,947
Previous Week: 307,754
Average Capacity: 9,389 (88.24%)
Previous Week: 9,291 (92.01%)
Average Paid Admission: $117.61
Previous Week: $119.98
Check out the individual show grosses for the week ending on May 5, 2024.
NOTES:
- SWEENEY TODD: THE DEMON BARBER OF FLEET STREET closed on 5/5.
- ALADDIN had both a TDF Introduction to Theatre buyout performance (Weds. 5/1 mat.) and TDF Autism Friendly buyout performance (Sun. 5/5 mat.).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 5/5/2024 first appeared on Ken Davenport.
The onslaught of new musicals this spring made folks change-up their normal operating procedure.
Competing shows opened on the same night. Ad campaigns were created in 48 hours. Creatives were working on two or more shows at once.
One byproduct of our overstocked pond could end up as a Broadway version of Viagra – in the way that Viagra was meant to solve one problem (heart disease) and ended up solving an entirely different one.
Here’s what happened:
At least two shows I know of had challenges scheduling their opening nights.
As I wrote about in this blog, Broadway show openings are often scheduled for the timing of when reviews will hit, in order to get maximum eyeballs. Although this has changed drastically over the years as the newspaper disappeared, it’s still a widely used and smart strategy. Opening nights are one of the biggest awareness plays a show gets early in its run – and the media is free! So best to schedule your night when you’ll get the most bang for your no-bucks!
This year, for a few shows, it was impossible to find a good night to have an opening that got you a strong review drop the next day . . . AND have a party.
So what did these shows do? They smartly split the night into two. They held what has become affectionately known as “Gala” opening night parties – that were NOT on the same night that the reviews dropped.
And from what I heard . . . they were a big, big hit.
Gone was the anxiety of walking around the party checking your phone every five minutes for the Did They Like It email to land. The cast, creatives, producers, investors and everyone could do what they wanted to do and deserved to do . . . celebrate the massive accomplishment of getting a show to Broadway, no matter the outcome.
(If you’ve ever been to an opening night party when a negative review hits the wires, then you know they have a way of killing the vibe and clearing the room.)
A day or so after the gala, the reviews come out. And because they’re not backed up against the Big Night, they don’t seem as impactful, either way.
Another benefit? If the night that’s best for your strategic opening happens to be a night when all the big venues in midtown are booked, you can save some money by shifting your gala to an off night! In these days of super-inflationary Broadway expenses, that savings could be worth the two-for Gala and Opening Night combo.
The industry accidentally bumped into this thanks to our traffic jam this Spring. I’m hoping we can bump into a few more . . . or better yet, all put our brains together on different ways of doing things over the next few . . . years decades.
Because despite the amount of shows this spring, we’ve got a similar sized set of challenges that face us in our future.
The post Here’s a trend that will (and should) continue. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending on 4/28/2024 include The Lion King, Wicked, Hamilton, Cabaret at the Kit Kat Club, The Wiz, MJ the Musical, Sweeney Todd: The Demon Barber of Fleet Street, Merrily We Roll Along, Aladdin, and Moulin Rouge! The Musical.
See some quick data points below.
Number of Shows on Broadway: 36
Previous Week: 36
Total Gross: $37,553,463.90
Previous Week: $34,650,614.34
Total Attendance: 307,754
Previous Week: 299,107
Average Capacity: 9,291 (92.01%)
Previous Week: 9,078 (91.53%)
Average Paid Admission: $119.98
Previous Week: $112.58
Check out the individual show grosses for the week ending on April 28, 2024.
NOTES:
- PATRIOTS opened at the Barrymore on 4/22.
- THE HEART OF ROCK AND ROLL opened at the Jones on 4/22.
- MARY JANE opened at the Friedman on 4/23.
- ILLINOISE opened at the St. James on 4/24.
- UNCLE VANYA opened at the Beaumont on 4/24.
- MOTHER PLAY opened at the Hayes on 4/25.
- THE GREAT GATSBY opened at the Broadway on 4/25.
- KIMBERLY AKIMBO closed on 4/28.
- CABARET AT THE KIT KAT CLUB cancelled one performance (Weds. 4/24 mat.).
- WICKED had four performances with 1,807 seats and four performances with 1,926 seats this week, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 4/28/2024 first appeared on Ken Davenport.
This morning on April 30, 2024, Tony Award winners Renée Elise Goldsberry and Jesse Tyler Ferguson announced the nominees for the 77th Annual Tony Awards. This season, 36 musicals and plays were eligible – which means 36 musicals and plays opened on Broadway during the eligibility period from April 28, 2023 to April 25, 2024.
Congrats to ALL 36 musicals and plays that made it to Broadway! And congratulations to all this year’s nominees.
Hell’s Kitchen and Stereophonic tie for the most Tony nominations this year. To see each category, scroll for the complete list.
And tune in to watch Ariana DeBose host the 77th Annual Tony Awards on Sunday, June 16th live from Lincoln Center’s David H. Koch Theater.
Best MusicalHell’s Kitchen
Illinoise
The Outsiders
Suffs
Water for Elephants
Best PlayJaja’s African Hair Braiding
Mary Jane
Mother Play
Prayer for the French Republic
Stereophonic
BEST REVIVAL OF A PLAYAppropriate
An Enemy of the PeoplePurlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Best Revival of a MusicalCabaret
Gutenberg! The Musical
Merrily We Roll Along
The Who’s Tommy
Best Performance by an Actor in a leading role in a MusicalBrian d’Arcy James, Days of Wine and Roses
Brody Grant, The Outsiders
Jonathan Groff, Merrily We Roll Along
Dorian Harewood, The Notebook
Eddie Redmayne, Cabaret
Best Performance by an Actress in a leading role in a MusicalEden Espinosa, Lempicka
Maleah Joi Moon, Hell’s Kitchen
Kelli O’Hara, Days of Wine and Roses
Maryann Plunkett, The Notebook
Gayle Rankin, Cabaret
Best Performance by an Actor in a leading role in a PlayWilliam Jackson Harper, Uncle Vanya
Leslie Odom, Jr., Purlie Victorious
Liev Schreiber, Doubt
Jeremy Strong, An Enemy of the People
Michael Stuhlbarg, Patriots
Best Performance by an Actress in a leading role in a PlayBetsy Aidem, Prayer for the French Republic
Jessica Lange, Mother Play
Rachel McAdams, Mary JaneSarah Paulson, Appropriate
Amy Ryan, Doubt
BEST PERFORMANCE BY An ACTOR IN A featured role in a PLAYWill Brill, Stereophonic
Eli Gelb, Stereophonic
Jim Parsons, Mother Play
Tom Pecinka, Stereophonic
Corey Stoll, Appropriate
BEST PERFORMANCE BY An ACTRESS IN A featured role in a PLAYQuincy Tyler Bernstine, Doubt: A Parable
Juliana Canfield, Stereophonic
Celia Keenan-Bolger, Mother Play
Sarah Pidgeon, Stereophonic
Kara Young, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Best Performance by an Actor in a featured role in a MusicalRoger Bart, Back to the Future: The Musical
Joshua Boone, The Outsiders
Brandon Victor Dixon, Hell’s Kitchen
Sky Lakota-Lynch, The Outsiders
Daniel Radcliffe, Merrily We Roll Along
Steven Skybell, Cabaret at the Kit Kat Club
Best Performance by an Actress in a featured role in a MusicalShoshana Bean, Hell’s Kitchen
Amber Iman, Lempicka
Nikki M. James, Suffs
Leslie Rodriguez Kritzer, Monty Python’s Spamalot
Kecia Lewis, Hell’s Kitchen
Lindsay Mendez, Merrily We Roll Along
Bebe Neuwirth, Cabaret at the Kit Kat Club
Best Direction of a PlayDaniel Aukin, Stereophonic
Anne Kauffman, Mary Jane
Kenny Leon, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
Lila Neugebauer, Appropriate
Whitney White, Jaja’s African Hair Braiding
Best Direction of a MusicalMaria Friedman, Merrily We Roll Along
Michael Greif, Hell’s Kitchen
Leigh Silverman, Suffs
Jessica Stone, Water for Elephants
Danya Taymor, The Outsiders
Best ChoreographyCamille A. Brown, Hell’s Kitchen
Jesse Robb and Shana Carroll, Water for Elephants
Rick Kuperman and Jeff Kuperman, The Outsiders
Annie-B Parson, Here Lies Love
Justin Peck, Illinoise
BEST BOOK OF A MUSICALKristoffer Dias, Hell’s Kitchen
Bekah Brunstetter, The Notebook
Adam Rapp and Justin Levine, The Outsiders
Shaina Taub, Suffs
Rick Elice, Water for Elephants
BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATREAdam Guettel, Days of Wine and Roses
David Byrne and Fatboy Slime, Here Lies Love
James Revival (Jonathan Clay and Zach Chance) and Justin Levine, The Outsiders
Will Butler, Stereophonic
Shaina Taub, Suffs
Best OrchestrationsTimo Andres, Illinoise
Will Butler and Justin Craig, Stereophonic
Justin Levine, Matt Hinkley, Jamestown Revival (Jonathan Clay and Zach Chance), The Outsiders
Tom Kitt and Adam Blackstone, Hell’s Kitchen
Jonathan Tunick, Merrily We Roll Along
BEST SCENIC DESIGN OF A PLAYdots, Appropriate
dots, An Enemy of the People
Derek McLane, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, Jaja’s African Hair Braiding
Best Scenic Design of a MusicalAMP Featuring Tatian Kahvegian, The Outsiders
Robert Brill and Peter Nigrini, Hell’s Kitchen
Takeshi Kata, Water for Elephants
David Korins, Here Lies Love
Riccardo Hernández and Peter Nigrini, Lempicka
Tim Hatley and Finn Ross, Back to the Future: The Musical
Tom Scutt, Cabaret at the Kit Kat Club
Best Costume Design of a playDede Ayite, Appropriate
Dede Ayite, Jaja’s African Hair Braiding
Enver Chakartash, Stereophonic
Emilio Sosa, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch
David Zinn, An Enemy of the People
Best Costume Design of a MusicalDede Ayite, Hell’s Kitchen
Linda Cho, The Great Gatsby
David Israel Reynoso, Water for Elephants
Tom Scutt, Cabaret at the Kit Kat Club
Paul Tazewell, Suffs
Best Lighting Design of a PlayIsabella Byrd, An Enemy of the People
Amith Chandrashaker, Prayer for the French Republic
Jiyoun Chang, Stereophonic
Jane Cox, Appropriate
Natasha Katz, Grey House
Best Lighting Design of a MusicalBrandon Stirling Baker, Illinoise
Isabella Byrd, Cabaret at the Kit Kat Club
Natasha Katz, Hell’s Kitchen
Bradley King and David Bengali, Water for Elephants
Brian MacDevitt and Hana S. Kim, The Outsiders
Best Sound Design of a PlayJustin Ellington and Stefania Bulbarella, Jaja’s African Hair Braiding
Leah Gelpe, Mary Jane
Tom Gibbons, Grey House
Bray Poor and Will Pickens, Appropriate
Ryan Rumery, Stereophonic
Best Sound Design of a MusicalM.L. Dogg and Cody Spencer, Here Lies Love
Kai Harada, Merrily We Roll Along
Nick Kidster for Autograph, Cabaret at the Kit Kat Club
Gareth Owen, Hell’s Kitchen
Cody Spencer, The Outsiders
Productions With Multiple Nominations:Hell’s Kitchen – 13
Stereophonic – 13
The Outsiders – 12
Cabaret at the Kit Kat Club – 9
Appropriate – 8
Merrily We Roll Along – 7
Water for Elephants – 7
Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch – 6
Suffs – 6
An Enemy of the People – 5
Jaja’s African Hair Braiding – 5
Here Lies Love – 4
Illinoise – 4
Mary Jane – 4
Mother Play – 4
Days of Wine and Roses – 3
Doubt: A Parable – 3
Lempicka – 3
The Notebook – 3
Prayer for the French Republic – 3
Back To The Future: The Musical – 2
Grey House – 2
The Great Gatsby – 1
Gutenberg! The Musical! – 1
Monty Python’s Spamalot – 1
Patriots – 1
Uncle Vanya – 1
The Who’s Tommy – 1
The post Tony Awards 2024 Nominations Full List – April 30, 2024 first appeared on Ken Davenport.
You’ve heard it before.
But maybe you haven’t quite understood it.
And don’t worry, you’re not alone. I’d bet a “1 for 1” deal on Hamilton that a huge percentage of people who HAVE “1 for X” deals on Broadway as an Investor or Producer don’t quite understand what they mean or how they’re calculated.
What further complicates it are the different ways they are offered.
It took me a long time to get it. And sometimes I still have to sit down and draw pictures and do old fashioned algebra to figure it out.
That’s why I decided to break down for you (and me!) in this article. (I tried this once before in this video – watch it – if only to see Baby Ken’s first “How To” video with black hair and all.)
AND, since Baby Ken’s first video, I’ve come up with a much simpler way to explain this to anyone considering investing in a Broadway show.
Here we go . . .
WHAT IS A 1 FOR X DEAL?A “1 for X” (e.g. 1 for 1, 1 for 2, 1 for 6) is a deal offered to Co-Producers or Investors in Broadway show (or Off Broadway, West End or other commercial production) in exchange for investing or raising a larger amount of capital than a typical investment.
It is a preferred rate of return.
Lead Producers reward those who invest or raise larger amounts of capital for taking more risk and for doing some of their work for them! (Someone who invests or raises $500,000 saves the Lead Producer a lot of time.)
WHAT A “REGULAR” BROADWAY INVESTOR GETS AS A RETURNBefore I explain what a “1 for X” deal gets, it’s important to understand what a traditional investor gets.
An investor who invests $50,000 in a Broadway show is entitled to their share of 100% of the profits until the show recoups.
By way of example . . .
Let’s say you invest $100,000 in a brand new jukebox musical based on the music of Taylor Swift called SWIFTEES! SWIFTEES has a capitalization of $20,000,000 That means, you invested .5% of the capitalization (100,000/20,000,000).
If, in its first week, after all expenses, royalties, theater rent, etc, SWIFTEES made $1,000,000 of PROFIT (it would!), then that full $1,000,000 would go towards paying back the investors.
Therefore, your share of that $1,000,000 would be $5,000. That $5,000 represents .5% of that pre-recoupment profit of $1,000,000.
20 more weeks like that and you would have your full investment back.
HOW BROADWAY INVESTORS ARE PAID AFTER A SHOW RECOUPSAfter a Broadway show (or Off Broadway show, etc.) recoups its investment, the profits are split between the Investors and Producers.
On Broadway and in the US, that split is 50/50 or 50% of profits going to the Producers and 50% going to the Investors. (In the West End, that split is 60/40 in favor of the Investor.)
Using the above example, if SWIFTEES! recouped (it would), and earned $1,000,000 in profit, after all expenses, royalties, net profit participants, etc, then $500,000 would go to the Producers and $500,000 would go to the investors.
Your share of that $1,000,000 is now $2,500. You receive your .5% share of the $500,000 the investors receive, rather than the pre-recoupment .5% share of the $1,000,000.
WHERE THE “1 for X” DEAL COMES INTO THE BROADWAY INVESTMENT PICTUREProduces offer these deals to incentivize larger investors or Co-Producers to invest or raise (sometimes referred as aggregating or “bundling”) larger amounts of money. These deals are commonly referred to as “entitlements” and are usually given to potential investors or Co-Producers on an Entitlement Sheet. (See below on how to get a sample entitlement sheet.)
The “1” in the phrase “1 for X” is always constant. The X is the variable. I have never seen or heard of A “2 for X” or “3 for X” deal. Sometimes, people reverse the “1 for X” in their description and refer to the “1 for X” deal as a “X for 1”. However, this is not the norm or industry standard. (Even though it may make more sense, as you’ll see below.)
Common “1 for X” deals are:
1 for 1
1 for 2
1 for 3
1 for 4
. . .
1 for 7
A deal higher than 1 for 7 is exceptionally rare. The thing it remember is that as the X gets larger, the enhancement or premium you receive gets smalle.r
In the simplest of terms, what the 1 for X deal means is that . . . for every X dollars you receive or investors receive in profit POST RECOUPMENT, you shall receive an extra 1 dollar in additional profit. This additional profit comes from the Producer’s share of profits. This is why these deals are only POST recoupment, because prior to recoupment the Producer has no profit to share.
Since this additional profit is coming from the Producer’s share of profits, it does NOT reduce or dilute the regular investor’s share.
Using the example above, let’s say you invest $1,000,000 in SWIFTEE and were given a “1 for 4” deal for your larger investment.
$1,000,000 represents 5% of the capitalization ($1,000,000/$20,000,000).
Using the example above . . .
If SWIFTEE earned $1,000,000 in profit after all expenses and any net profit participants (often key creatives or personnel receive a piece of profit off the top), $500,000 would be allocated to the investors and $500,000 to the Producers.
You would receive 5% of the $500,000 or $25,000 for your investment.
In addition, you are entitled to a 1 for 4 deal, or 1 dollar for every 4 dollars your investment generated.
So in this case, you would ALSO receive $6,250. This amount would be deducted from the Producer’s $500,000 share.
Your total return would be $31,250. ($25,000 plus the entitlement return of $6,250.)
NOTE: Co-Producers who raise money can earn a 1 for X deal even when they do not invest in the show directly.
In the case above, if you RAISED the $1,000,000 from other investors and didn’t invest in SWIFTEE! personally (How dare you), you would only earn the 1 for 4 entitlement of $6,250. But you would not have risked any capital.
OTHER WAYS “1 FOR X” DEALS ARE DESCRIBEDWhat makes these deals more confusing than they are on their own, is that “1 for X” are often described in other ways.
The two ways you may hear these deals pitched to you as a potential Broadway Investor, or how they may appear on an entitlement sheet are as follows:
“Additional Percentage”A “1 for X” deal is also a way of describing a Broadway Investor or Co-Producer receiving an additional percentage of profit based on their investment, or as my lawyer likes to say, “an percentage enhancement of your ordinary investor share.”
A 1 for 4 deal represents 1 additional dollar for every four dollars the investment returns, or, an additional 25% (1 divided by 4).
A 1 for 6 deal represents 1 additional dollar for every six dollars the investment returns, or, an additional 16.67% (1 divided by 6).
A 1 for 1 deal represents 1 additional dollar for every 1 dollar the investment returns, or, an additional 100% (1 divided by 1). (1 for 1 deals are the “best” deals usually offered to investors and they are usually reserved for early stage investments in Broadway shows, often referred to as Seed Money in other industries or “Front Money” in ours.
In the example above where your $1,000,000 earned you a 1 for 4 deal, you would be entitled to an additional 25% of what the Investment returned. In the $1,000,000 profit scenario above, you would receive 25% of your $25,000 investment return, which is the aforementioned $6,250. ($25,000 x .25). Total return is again $31,250.
“On XX Terms”“1 for X” deals are sometimes referred to as “On XX Terms,” especially in the West End. The West End does not use “1 for X”.
In an “On XX Terms” deal, the XX stands for the percentage or total profit that your investment and entitlement returns are entitled to.
So, if you receive an offer for a “On 75% Terms”, you are entitled to your pro-rata share of 75% of the profits after all expenses, NOT 50%, as is traditional.
Back to our SWIFTEE example, if you invested $1,000,000 on 75% terms of a $20mm capitalization, and there was $1,000,000 in profit, you would receive 5% ($1mm/$20mm) of $750,000 (75% of the $1mm) or $37,500.
QUICK QUIZ: A 75% terms deal is the equivalent of what “1 FOR XX” deal?
(Answer at end of post!)
Most find this description of Producer and Investor deals the most confusing, but if you plan on investing in West End, then get ready to see a lot of terms deals!
THE SIMPLE WAY TO DESCRIBE A “1 FOR X” DEALThe above describes the technical definitions or examples of the “1 FOR X” deal.
And I still think it’s too complicated.
That’s why when I’m offering entitlement deals to potential Broadway investors or Co-Producers, I describe it in a much simpler way, using actual dollar figures instead of “1 for Xs” or “XX% Terms” or numbers that I find confuse Broadway Investors and Producers!
What I do is take the additional percentage that the investment would receive and add that to the investment amount.
For example, if a $1,000,000 investment earned a 1 for 4, that is the equivalent of an extra 25% in profit. I calculate 25% of $1,000,000, which is $250,000. I then add the $250,000 to $1,000,000 to get $1,250,000.
My description of how the 1 for 4 deal would be, “Investing $1,000,000 in this production at a 1 for 4 deal would be the equivalent of investing $1,250,000 in terms of the profit you receive. You get the profits as if you invested $1.25mm rather than $1mm. Your money is working harder for you than it does for a “regular” investor.”
Again, to our SWIFTEE example.
In the week of $1,000,000 of profit POST recoupment, the investors receive $500,000. A $1,000,000 investment would receive $25,000 from the investment side. A 1 for 4 deal on the $25,000 would be an extra $6,250 or a total of $31,250.
Now, a $1,250,000 investment would be entitled to 6.25% of the investor profit, or in this case 6.25% of $500,000.
6.25% of $500,000 is . . . $31,250.
In my thousands of asks of investment from Co-Producer and larger investments, this description has by far been the easiest for all of us (including me) to understand and calculate.
– – – –
I hope the above helps you understand and evaluate any Broadway investments that you may be considering as a “regular” investor or a Co-Producer. And if you are a Producer raising money, I hope it helps you raise money easier and faster.
If you are interested in learning more about the mechanics of Broadway investing and producing, including strategies I use to evaluate Broadway opportunities, as well on tips on raising money, I wrote the book on Broadway investing, called Broadway Investing 101. It has a bunch of five star reviews on Amazon. And if you get it now, it comes with some bonuses including actual offering documents, budgets and more. Click here to get it now.
ANSWER TO THE QUIZ!
A “On 75% Terms” deal is the equivalent of a 1 for 2 deal.
In the example above, if the $1mm were invested in “traditionally,” you would be entitled 5% of 50% of the profit (5% of $500k) or $25,000. For every two dollars you received as an investor, you’d receive $1 dollar as a producer, or 50%. $50 of $25,000 is $12,500. Add that to the $25,000 and you receive a total of $37,500 . . . the same as an on a 75% terms deal.
Hope you got it right! For more quizzes, click here.
The post What a “1 for X” Deal Means In Broadway Investing & Producing. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 4/21/2024 include The Lion King, Wicked, Hamilton, MJ the Musical, The Wiz, Moulin Rouge! The Musical, Sweeney Todd: The Demon Barber of Fleet Street, Aladdin, Merrily We Roll Along, and Harry Potter and the Cursed Child.
See some quick data points below.
Number of Shows on Broadway: 36
Previous Week: 36
Total Gross: $34,650,614.34
Previous Week: $35,535,213.75
Total Attendance: 299,107
Previous Week: 292,028
Average Capacity: 9,078 (91.53%)
Previous Week: 8,916 (90.98%)
Average Paid Admission: $112.58
Previous Week: $118.39
Check out the individual show grosses for the week ending on April 21, 2024.
NOTES:
- THE WIZ opened at the Marquis on 4/17.
- SUFFS opened at the Music Box on 4/18.
- STEREOPHONIC opened at the Golden on 4/19.
- HELL’S KITCHEN opened at the Shubert on 4/20.
- CABARET AT THE KIT KAT CLUB opened at the Wilson on 4/21. There was one comped preview (in addition to the usual comped opening night).
- DOUBT: A PARABLE closed on 4/21.
- PATRIOTS is in previews at the Barrymore and opens on 4/22.
- THE HEART OF ROCK AND ROLL is in previews at the Jones and opens on 4/22.
- MARY JANE is in previews at the Friedman and opens on 4/23.
- UNCLE VANYA is in previews at the Beaumont and opens on 4/24.
- MOTHER PLAY is in previews at the Hayes and opens on 4/25.
- THE GREAT GATSBY is in previews at the Broadway and opens on 4/25.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 4/21/2024 first appeared on Ken Davenport.
As this season winds down, I’m already hearing whispers in the wind of what’s coming next season.
Some shows announced their NY plans. Some are expected to announce. And some are still rumors.
But if things shake out the way some people are suggesting . . . next year could have a very interesting theme to it.
And maybe, hopefully, it’s the theme that the public has been waiting for. Because we need that public back and in a big, big way.
Because all the marketing magic in the world won’t work unless the shows we produce are the shows audiences want . . . nope . . . will do ANYTHING, to see.
Here’s what I see coming (in new musicals, anyway) . . .
Smash is coming to Broadway. An exciting “comedy about a musical” (love that tagline).
And we also know that Tammy Faye is coming in . . . with a “joyful and deliriously fun score” by Elton John. (And one of the funniest musical comedy actors we have is Andrew Rannells.)
Then we get into the “expected to come in” category.
I’d put money on Boop and Death Becomes Her opening before the Tony deadline.
And after Sunday’s Olivier Win for Best Musical – I wouldn’t be surprised if Operation Mincemeat has secret plans to open this season.
That’s . . . count ’em with me . . . five new musical COMEDIES are opening in one season. And that’s just what we know so far! There could be more, brewing on the back burner.
And top that sundae off with the cherry of Forbidden Broadway opening on Broadway for the first time, and we could have one of the most fun-filled, sugary seasons on Broadway in years.
That’s quite a contrast for the upcoming season.
So if this is what’s happening . . . the real question is . . . why is it happening?
Is it in reaction to the audience’s desire to laugh, as they still battle with post-pandemic blues? Is it our attempt to woo back the Suburban Audience, and convince them that a night in New York City isn’t what they see on the news? (Remember when Mamma Mia! got a positive NY Times review and a nomination for Best Musical after September 11th?)
It feels that way. And boy would programming the season like this sure seem like the smart thing to do.
But it’s probably nothing more than coincidence. Development paths are irregular. The timing of when shows get theaters is irregular. We can’t program a season like a television network programs their schedule.
(In fact, this trend reminds me of when Godspell, Book of Mormon, Leap of Faith and Sister Act all opened in the same season . . . and I did an interview about whether it was a trend towards faith based musicals. See my response here.)
Luck or not, I do believe the comeback of the musical comedy next season and thereafter is exactly what the musical theater doctor called for.
Do you think this is what will get more audiences back to the theater?
The post What Next Season Is Starting To Look Like . . . first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 4/14/2024 include The Lion King, Hamilton, Wicked, Cabaret at the Kit Kat Club, MJ the Musical, Merrily We Roll Along, Aladdin, Moulin Rouge! The Musical, Sweeney Todd: The Demon Barber of Fleet Street, and The Wiz.
See some quick data points below.
Number of Shows on Broadway: 36
Previous Week: 37
Total Gross: $35,535,213.75
Previous Week: $39,445,823.39
Total Attendance: 292,028
Previous Week: 305,211
Average Capacity: 8,916 (90.98%)
Previous Week: 8,797 (93.74%)
Average Paid Admission: $118.39
Previous Week: $123.93
Check out the individual show grosses for the week ending in April 14, 2024.
NOTES:
- THE OUTSIDERS opened at the Jacobs on 4/11.
- LEMPICKA opened at the Longacre on 4/14.
- THE WIZ is in previews at the Marquis and opens on 4/17.
- SUFFS is in previews at the Music Box and opens on 4/18.
- STEREOPHONIC is in previews at the Golden and opens on 4/19.
- HELL’S KITCHEN is in previews at the Shubert and opens on 4/20.
- CABARET AT THE KIT KAT CLUB is in previews at the Wilson and opens on 4/21.
- PATRIOTS is in previews at the Barrymore and opens on 4/22.
- THE HEART OF ROCK AND ROLL is in previews at the Jones and opens on 4/22.
- MARY JANE is in previews at the Friedman and opens on 4/23. Two of the seven scheduled previews for this week were cancelled (Tues. 4/9 and Weds. 4/10).
- UNCLE VANYA is in previews at the Beaumont and opens on 4/24.
- MOTHER PLAY is in previews at the Hayes and opens on 4/25.
- THE GREAT GATSBY is in previews at the Broadway and opens on 4/25.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 4/14/2024 first appeared on Ken Davenport.
The history of pricing on Broadway:
Way way back: One price for each section.
Way back: Premium tickets for the best in the house. It first started with the Broadway Inner Circle on The Producers. $480 got you a private entrance and one of the best seats in the house. It was our first attempt to beat brokers at their own game.
The now: Finally catching up with airlines, ticketing analysts suggest new prices daily. Prices flex up and down with demand. Unlike airlines, this work is manual.
Variable Pricing is the reason why the $1 Million Dollar Club is no longer the cool club in town. Because of variable pricing, the big shows hit $2mm, $3mm and yes, The Lion King even posted a $4mm week.
While these cases are examples of the rich getting richer, Variable Pricing is a gift to all shows. Especially now, when $1mm is a common breakeven (!) for a new musical. Without being able to flex up when the demand warrants, more shows would lose more money.
But Variable Pricing isn’t all rainbows and puppy dogs. It’s got a dark side.
First, it gives a perception that all tickets are expensive. Why? Well, the expensive tickets are the only thing everyone (i.e. the media) talk about. And when those prime orchestra tickets for the hottest show in town are in the news, people believe that’s what all Broadway tickets cost. And that’s just not the case. (And don’t even get me started on articles that say “THEATER” tickets are expensive. Because I am happy to show you 100 ways to see inexpensive and great theater. It just might not be on Broadway.)
But there’s another way that Variable Pricing can hurt those shows in the middle of the market.
Back in the Way Way Back times. And even in the Way Back times. Shows sold out . . . all the time.
Now? Not so much.
Why? Is it because they are not doing well? Absolutely not. It’s because they are doing SO well.
When I was Company Manager, a Box Office Treasurer once asked me a trick question.
“Ken, would you want to sell your show out 8 times a week?”
“Sure,” I said.
“Nope,” he said. “You want to sell all but ONE seat. Only then you’ll know you’ve priced your house perfectly. If you sell it out, you might be leaving money on the table.”
And the hit shows used to sell out all the time. And fast. Gosh, when I wanted tickets to Phantom in the Way Way Back times, I waited nine months for balcony seats!
But now?
The hits increase prices as demand increases, slowing down their sell out . . . meaning they go into each week with tickets to sell.
Ten years ago? They didn’t.
Which means . . . ten years ago, new shows weren’t competing against the biggest hits in town. They were already sold out.
Now? A new show is competing with EVERYTHING, including the biggest hits in town, because everyone goes into every week with tickets to sell.
Yes, those tickets for those hits may be those expensive ones that the media loves to talk about. But they have tickets. And for a lot of tourists, who are here for the first time, and maybe the only time, they’re ok with shelling out more for the experience of seeing a Broadway show.
And thus we get $4mm grosses.
Which is fantastic for those big fat hits, who get bigger and fatter – but for the musicals getting off the ground? Variable Pricing can be an asset and a liability.
The post How Variable Pricing Has Helped and Hurt the Broadway Market first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 4/7/2024 include The Lion King, Wicked, Hamilton, Aladdin, MJ the Musical, Harry Potter and the Cursed Child, Cabaret at the Kit Kat Club, Moulin Rouge! The Musical, Sweeney Todd: The Demon Barber of Fleet Street, and Back to the Future: The Musical.
See some quick data points below.
Number of Shows on Broadway: 37
Previous Week: 32
Total Gross: $39,445,823.39
Previous Week: $37,095,505.27
Total Attendance: 305,211
Previous Week: 271,802
Average Capacity: 8,797 (93.74%)
Previous Week: 8,768 (96.60%)
Average Paid Admission: $123.93
Previous Week: $130.25
Check out the individual show grosses for the week ending in April 7, 2024.
NOTES:
- SPAMALOT closed on 4/7.
- THE OUTSIDERS is in previews at the Jacobs and opens on 4/11.
- LEMPICKA is in previews at the Longacre and opens on 4/14.
- THE WIZ is in previews at the Marquis and opens on 4/17.
- SUFFS is in previews at the Music Box and opens on 4/18.
- STEREOPHONIC began previews at the Golden and opens on 4/19.
- HELL’S KITCHEN is in previews at the Shubert and opens on 4/20.
- CABARET AT THE KIT KAT CLUB began previews at the Wilson and opens on 4/21.
- PATRIOTS began previews at the Barrymore and opens on 4/22.
- THE HEART OF ROCK AND ROLL is in previews at the Jones and opens on 4/22.
- MARY JANE began previews at the Friedman and opens on 4/23.
- UNCLE VANYA began previews at the Beaumont and opens on 4/24.
- MOTHER PLAY began previews at the Hayes and opens on 4/25.
- THE GREAT GATSBY is in previews at the Broadway and opens on 4/25.
- ALADDIN had a 9-performance week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 4/7/2024 first appeared on Ken Davenport.
There’s more Tony nomination talk this year than ever before.
Why?
There are more people eligible for Tony nominations than almost ever before.
There are 15 new musicals eligible. There are 6 revivals of musicals. 11 plays and 4 revivals of plays.
Those Tony Nominators haven’t been home for a regular dinner time in months. (Being a Nominator feels like one of those jobs we all would want – but I feel for them. Seasons like this can’t be easy on their lives. And having to binge-watch all these shows in April has got to zap some of the joy out of seeing theater. So to the Nominators: thank you for your service!)
But what do Nominations do for a show?
Tony Nominations are a Good Housekeeping seal of approval for a show. It’s a stamp from our version of “The Academy” that says, “Bam! This is one of the best of the best of the best of the best.” And to quote the Sally Field cliche, “it is an honor to be nominated.”
But do Nominations move the business needle?
They certainly can.
First, when you’re nominated for one of the big ones, Best Musical or Best Play, you get put on a list within a list.
Let me explain.
I believe that every theatergoer keeps a list of shows they want to see in their head.
Nominations are their own list. And many theatergoers will want to check off each show to make sure they’ve seen the best of the best. They want to see what the industry is celebrating. They want to participate in conversations about the nominees. They want to enter Tony pools!
So get a nomination for a big one and your business will go up . . . but maybe not visibly.
Second, a nomination can help your visibility from a B2B perspective. Tony-nominated shows are more likely to get tours, get licensing deals and be produced around the world. Same with performers, designers, directors and any creative. The words “Tony Nominee” help secure more gigs going forward.
Third . . . and the way that Tony Nominations can help a show at the box office is this . . .
It’s not about the specific nomination a show may get . . . but the number of nominations a show gets.
More is better. Not just because it makes a theatergoer say, “Wow – there must be a lot of excellence in that production.”
But because . . . and here’s the sleeper secret to getting a boost at the box office from Tony nominations . . . it’s because of the press shows with a lot of nominations get.
The Tony Awards are a global event. And when the nominations are announced, they get a massive amount of media coverage.
And the shows that get the most? Well, they don’t just get mentioned in the article. They get the headlines.
Like this real example from last year:
“Tony Award Nominations 2023: ‘Some Like It Hot’ Dominates, Followed by ‘& Juliet,’ ‘Shucked,’ ‘New York, New York’”
And when your title appears in a headline in multiple major publications all over the world, your box office goes up. (Doesn’t mean it’ll stay up – that depends on word-of-mouth AFTER the folks that read the headlines come – but it’ll get a steroid shot for sure.)
Here’s one of my favorite case studies of this trend from years ago – the year that Gentleman’s Guide and Beautiful duked it out. Click here to see how both of these shows (that hadn’t yet found their groove), got a bump on Nomination Day and never looked back.
Nominations matter. Which is why there is so much chatter every year . . . and this year more than ever.
Tune in to the nominations on Tuesday, April 30, 2024. And see what captures the headlines later that day.
The post What Tony Nominations Can Do For A Show first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 3/31/2024 include The Lion King, Wicked, Hamilton, Aladdin, Harry Potter and the Cursed Child, MJ the Musical, Merrily We Roll Along, Moulin Rouge! The Musical, Sweeney Todd: The Demon Barber of Fleet Street, and Back to the Future: The Musical.
See some quick data points below.
Number of Shows on Broadway: 32
Previous Week: 26
Total Gross: $37,095,505.27
Previous Week: $28,519,828.02
Total Attendance: 271,802
Previous Week: 229,911
Average Capacity: 8,768 (96.60%)
Previous Week: 9,528 (92.79%)
Average Paid Admission: $130.25
Previous Week: $121.78
Check out the individual show grosses for the week ending in March 31, 2024.
NOTES:
- APPROPRIATE began its Belasco transfer on 3/25.
- THE WHO’S TOMMY opened at the Nederlander on 3/28.
- DAYS OF WINE AND ROSES closed on 3/31.
- THE OUTSIDERS is in previews at the Jacobs and opens on 4/11.
- LEMPICKA is in previews at the Longacre and opens on 4/14.
- THE WIZ began previews at the Marquis and opens on 4/17.
- SUFFS began previews at the Music Box and opens on 4/18.
- HELL’S KITCHEN began previews at the Shubert and opens on 4/20.
- THE HEART OF ROCK AND ROLL began previews at the Jones and opens on 4/22.
- THE GREAT GATSBY began previews at the Broadway and opens on 4/25.
- ALADDIN’s Thurs. 3/28 performance was a primarily invited/comped 10th anniversary celebration.
- Both THE LION KING and WICKED had 9 performances.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 3/31/2024 first appeared on Ken Davenport.
I’m going to tell you a secret. I know three jokes. (My wife would argue that two and a half don’t even qualify as jokes.)
When I speak about the theater, odds are you’re going to hear one of them.
One of my go-tos is this . . .
“New York is the capital of the theater world . . . I don’t care what London says.”
Ok, ok, it’s not funny-funny – but it usually elicits a few Broadway jingoistic titters.
The not-so-funny thing is . . . I haven’t been using that joke lately. Because I’m getting nervous it isn’t as true as it used to be.
More and more of my Producing peers are more in West End and even Off West End productions than they were before the pandemic. When I meet a producer at lunch or coffee and the inevitable question of “What are you working on now?” comes up . . . the most common answer is . . . “I’m doing XXX in London.”
(I just signed on to two shows over there myself – and I haven’t signed on to any new shows here.)
In fact, I just surveyed my Broadway investors and asked them if they were interested in London. Not only did more give me an emphatic YES than I ever anticipated, but I was SHOCKED at how many of my investors were ALREADY INVESTING IN LONDON.
So what’s happening? Why is US theater money going to the UK?
Here are three reasons:
- Their business is booming.Pandemic? What pandemic? While Broadway’s business is still down a whopping 17% from 2019, and seems to have hit a temporary ceiling on its recovery, The West End’s attendance is UP over 7% over 2019. That’s right . . . UP!
How did they do it? One reason is that the pandemic is more in the rear view mirror in the UK than it is here. In the fall of 2021, when we were just starting to put up a show or two, and very nervous about it, they were BACK. Pubs were overflowing, masks weren’t required, and most importantly, politics were not part of getting back to the “normal.”
I’m not saying that it was the safest thing to do, but the fact is, they got back to their pre-pandemic habits faster than we did, which is why they are in a better place now. (And the hope is – maybe in a year or so, we’ll catch up.) 2. They’ve got lower expenses, which means a better chance at recoupment. The West End has always had lower expenses. But with Broadway’s expenses now higher than ever, they seem even lower. Lower expenses both up front and in operating mean one thing – a better chance at an investor getting their money back. (You’ll notice I didn’t say “make money” – because the most common thing I hear from investors is their desire not to make money – they’d put their cash in the stock market if that was the goal – they just want to get their investment back so they can put it in another show.)
Plays can cost a million pounds or less. Musicals well under ten.
Oh, and then there’s the 40-45% (!) tax credit. 3. It’s not only cheaper to do shows – it’s cheaper to SEE shows!Yep, their tickets are cheaper. They’re not cheap, mind you. A top price for Wicked can be £159 (around $200). But you’ll find more lower priced options, partly because they have so many options of shows to see.
You also won’t find the premium markup that we have. They’ve resisted that trend – although I expect that’ll change in the next couple of years.
Should Broadway lower prices? Eh. I’m not a big believer in the theory that lowering the price of a product is the key to fixing a struggling business. Especially when costs are so high. But could the lower ticket prices in the UK get people out of the house and back in the theatergoing habit faster? Could be.
And here’s a bonus, FOURTH, reason why we may be losing our status to London:
- There are more “MUST SEES” there than here.Cabaret, Sunset Boulevard, the immersive Guys and Dolls, Stranger Things, Operation Mincemeat are just a few of the titles that folks have been telling me I MUST see. (I’ve seen Cabaret and Operation Mincemeat – and they were worth the trip.) And there are more. A lot more.
And while I included this as the “bonus” of this newsletter, it may be the most important factor after all. Because nothing matters . . . not price, not location, not who is in the show or not . . . when the content is extraordinary, and more importantly . . . UNIQUE.
And of course, it is easier to experiment with unique and extraordinary content, when expenses are lower. (See #2)
We’ve had good shows here. Some great ones. But apart from a limited-run Sondheim revival or two . . . we haven’t had the Hamilton, Chorus Line, Jersey Boys, mega-hit that gets EVERYONE back to the theater.
Don’t think that I’m giving up our theater capital crown just yet. (I can’t afford to lose one of my jokes!) Broadway is going to get back to where we were, and even beyond. In the meantime, there is a lot to learn from the renaissance happening in the West End.
And a lot to congratulate them on. Sure, it’s easy to be envious . . . but the fact is, their success is good for us as well.
– – – – –
Speaking of the UK, my staff, some producers and investors of mine, as well as some theatermakers, are going to the Edinburgh Fringe this year! Want to join us? Click here to see how you can come along!
The post Are We Losing To London? first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 3/24/2024 include The Lion King, Wicked, Hamilton, Merrily We Roll Along, MJ The Musical, Aladdin, Moulin Rouge! The Musical, Sweeney Todd: The Demon Barber of Fleet Street, Harry Potter and the Cursed Child, and Back to the Future: The Musical.
See some quick data points below.
Number of Shows on Broadway: 26
Previous Week: 25
Total Gross: $28,519,828.02
Previous Week: $28,059,462.67
Total Attendance: 229,911
Previous Week: 219,954
Average Capacity: 9,528 (92.79%)
Previous Week: 9,398 (93.78%)
Average Paid Admission: $121.78
Previous Week: $126.66
Check out the individual show grosses for the week ending in March 24, 2024.
NOTES:
- AN ENEMY OF THE PEOPLE opened at Circle in the Square on 3/18.
- WATER FOR ELEPHANTS opened at the Imperial on 3/21.
- THE WHO’S TOMMY is in previews at the Nederlander and opens on 3/28. One of the eight scheduled previews for this week was cancelled (Weds. 3/20 matinee).
- THE OUTSIDERS is in previews at the Jacobs and opens on 4/11.
- LEMPICKA began previews at the Longacre and opens on 4/14.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/e 3/24/2024 first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in...
The post Broadway Grosses w/ 9/10/2023: Thursday Matinees first appeared on Ken Davenport.
It’s check-up time! Get out your thermometers and stethoscopes, it’s time to give our ol’ Broadway market a budgetary check-up . . . so that we can learn something to help us build our next budgets.
I promise this won’t hurt a bit. (And just like a real doc, I’m probably fibbing just a little.)
I’m a big fan of what I call “backing-in” to budgets. (By the way, you can do this for any business – and your own personal budget as well.)
Step 1 is simple:
- Look at what the market is bearing. What is the average that your “product” is earning in your industry? In this case, that means, what is the average gross of a new musical on Broadway?
Step 2 is more complicated.
- Build a product (in this case a new musical) that costs less to operate that what the market is bearing. In this case, that means making a new musical that costs less than the average gross of a new musical. (Why less? Because after you pay off your weekly expenses, you’ve got to use what’s left to pay back some of the capitalization of your show.)
If you can do that, then you should have a good shot at recoupment, or at the very least, minimizing your risk, and protecting your downside.
So, let’s tackle step one . . . first!
We (and when I say we, I mean, my new crackerjack executive assistant, Annie – who you met in this video) dug through the annals of the Broadway grosses for last year, and pulled out the weekly grosses for all 9 new musicals. (We eliminated the first week of performances and the last, to adjust for any non-full performance weeks, and any scarcity-lift from a closing show (that a non-closing show wouldn’t have). Oh, and if a show is still running, we used the gross up until w/e 9/3).
Then, we took these individual weekly grosses to calculate the average gross of a new musical from the 22-23 season.
Want to know what it is?
The average gross was . . . .
Wait. Before we tell you. GUESS.
Go ahead. Guess.
And then . . . scroll down . . .
The average gross of a new musical in the 2022-23 season is . . . $717,541.
Yep, that is what the market is bearing right now for a new musical.
Well? Were you close? Did you estimate higher? Lower?
Now comes the hard part.
Step 2.
To produce the most economically sound new Broadway musical, you’d want an all-in operating expenses for LESS than $717,541.
How much less?
Well, that depends on how fast you want to pay back that capitalization. If your “nut” is $100k less than your operating expenses, some quick math will tell you that if you maintained that average gross you’d earn back $5,200,000 per year. That means, it would take about 4 years to get your money back.
But wait – what about the 30-40% of that profit that goes to royalties!
Now look, no one wants to be average. And honestly, these days, getting your average weekly operating expenses UNDER $717,541 is . . . well . . . challenging.
And for so many shows, it may not even be what you want to do (big shows demand bigger budgets, and often do bigger numbers at the box office – it’s no coincidence that Wicked, Phantom, and Lion King are three of our biggest hits and three of the biggest spectacles that have been produced).
We are a high risk industry, and we always will be a high risk industry.
So an average “nut” of less than $717,541 with room to pay back the capitalization may not be possible for most shows right now or ever.
But knowing what the market is bearing at least gives us something to aim for. And since our audience is only 83.17% back from pre pandemic levels, it’s more important than ever to control these expenses, in order to mitigate risk.
Otherwise, that age old stat of 1 out of 5 shows recoup, may turn into 1 out of 10.
The post How did new Broadway musicals gross last year? first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 9/3/2023 include Funny Girl, The Lion King, Hamilton, Wicked, Sweeney Todd: The Demon Barber of Fleet Street, MJ The Musical, Aladdin, Harry Potter and the Cursed Child, Moulin Rouge! The Musical, and Back to the Future: The Musical.
See some quick data points below.
Number of Shows on Broadway: 23Previous Week: 25
Total Gross: $26,027,345.64
Previous Week: $27,215,117.81
Total Attendance: 209,122
Previous Week: 214,332
Average Capacity: 9,956 (90.88%)
Previous Week: 9,975 (85.97%)
Average Paid Admission: $121.59
Previous Week: $121.16
Check out the individual show grosses for the week ending in September 3, 2023.
NOTES:
- FUNNY GIRL and ONCE UPON A ONE MORE TIME closed on 9/3.
- A special summer edition of Kids’ Night on Broadway took place this week, with 17 participating shows.
- Labor Day weekend fell within this week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/ 9/3/2023 first appeared on Ken Davenport.
If you’ve walked by a Starbucks in the past few weeks, you’ve seen the signs.
The return of the Pumpkin Spice Latte is around the corner.
When you saw the ad, most likely you thought two things:
- I want that Pumpkin Spice Latte in my belly!
- OMG, is it fall already? ACK!
We all know this feeling . . . when we see something that reminds us a major event is coming.
And the funny thing is, the something we “see” is always advertising.
We get back to school shopping reminders in July. Target has already put out their Halloween stuff. How many times have you walked into a store, seen Christmas decorations and thought, “It’s not even Thanksgiving yet!”
Why do these big brands put these big retail moments in our face so far in advance? They want us to buy . . . and, they want us to buy in advance.
Broadway could learn a lesson from this.
Whenever Broadway suffers a tragic event, our consumers stop buying in advance.
For example, after September 11th, our audiences stopped buying far out.
After the market meltdown in fall of 2008, they stopped buying in advance.
And after Covid, boy oh boy, did they stop buying . . . period.
It makes sense . . . when faced with trauma, we freeze. We are unsure. We don’t want to make big decisions.
“Can we afford it?” “What happens if there’s another event?” “Will the performance be canceled after I’ve driven all the way into the city?”
All these questions make it easier for an audience to sit on their hands and NOT click ‘buy tickets.’
Of course, we NEED them to buy in advance. Advance sales are the foundation of our shows. It’s what allows Producers to fight through a slow time to get to a better time.
What should we do?
As always, I like to swipe-and-deploy the initiatives of our much bigger and smarter retail peers. (By the way, they are only smarter because they do it more often and have more data.)
Two things I recommend:
- If we want people to buy in advance, we must tell them to buy in advance.
If Thanksgiving and Christmas week are our boom times, we should start pushing people to buy soon. Just like Target, Starbucks, etc. The Rockettes are great at this. They push their Christmas Spectacular in JULY.
- If we want people to buy in advance, we must be on sale FAR in advance.
There is a theory that we should have shorter on-sale periods to “bottle up” our sales. Our audience doesn’t respond to these kinds of tactics any more (unless the show is for sure closing). They want to go when THEY want to go. And we must allow them to purchase tickets as far out as they want. And if the show closes? Well, we give them their money back. The fact is . . . it is much easier to give a customer their money back, then get it in the first place.
One thing we all MUST do: We must stop complaining that our audiences aren’t buying in advance, and make a change to get them TO buy in advance.
What would make you buy in advance? Lower ticket prices? The ability to exchange to any performance? Free Pumpkin Spice Lattes???
Curious to hear your ideas that could change our audience’s habits. Share them on social and tag me or reply to this email.
The post What Pumpkin Spice Lattes Have To Do With Broadway Marketing first appeared on Ken Davenport.
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You’ve heard it for years. 1 out of 5 Broadway...
The post BROADWAY MYTH DEBUNKED #1: Why The “1 Out Of 5 Shows Recoup” Stat Is Wrong. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in...
The post [Broadway Grosses w/ 6/4/2023] It’s Tony Awards Week! first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 5/21/2023 include The Lion King, Hamilton, Sweeney Todd: The Demon Barber of Fleet Street, MJ The Musical, Wicked, Moulin Rouge! The Musical, Aladdin, Parade, Harry Potter and The Cursed Child, & Juliet, and Some Like It Hot.
See some quick data points below.
Number of Shows on Broadway: 35Previous Week: 35
Total Gross: $32,919,241.75
Previous Week: $31,284,004.60
Total Attendance: 276,777
Previous Week: 264,947
Average Capacity: 9,201 (88.12%)
Previous Week: 8,914 (84.49%)
Average Paid Admission: $115.08
Previous Week: $113.86
Check out the individual show grosses for the week ending in May 21, 2023.
NOTES:
- This was the final week of the 2022-2023 season, which began on 5/23/2022 and ended on 5/21/2023. For detailed Broadway season statistics and notes, visit the Research section of The Broadway League website at https://www.broadwayleague.com/research/statistics-broadway-nyc/.
- GREY HOUSE is in previews at the Lyceum and opens on 5/30. The Weds. 5/17 matinee was canceled.
- ONCE UPON A ONE MORE TIME is in previews at the Marquis and opens on 6/22.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 5/21/2023] The end of the 2022-2023 season first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 5/14/2023 include The Lion King, Hamilton, Sweeney Todd: The Demon Barber of Fleet Street, Funny Girl, MJ The Musical, Wicked, Moulin Rouge! The Musical, Aladdin, Parade, and & Juliet.
See some quick data points below.
Number of Shows on Broadway: 35Previous Week: 34
Total Gross: $31,284,004.60
Previous Week: $30,153,132.92
Total Attendance: 264,947
Previous Week: 258,720
Average Capacity: 8,914 (84.49%)
Previous Week: 9,103 (83.19%)
Average Paid Admission: $113.86
Previous Week: $111.68
Check out the individual show grosses for the week ending in May 14, 2023.
NOTES:
- BOB FOSSE’S DANCIN’ closed on 5/14.
- GREY HOUSE is in previews at the Lyceum and opens on 5/30.
- ONCE UPON A ONE MORE TIME began previews at the Marquis and opens on 6/22.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 5/14/2023] A new season first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 5/7/2023 include The Lion King, Sweeney Todd: The Demon Barber of Fleet Street, Hamilton, MJ The Musical, Wicked, Funny Girl, Moulin Rouge! The Musical, Aladdin, Harry Potter And The Cursed Child, and New York, New York.
See some quick data points below.
Number of Shows on Broadway: 34Previous Week: 35
Total Gross: $30,153,132.92
Previous Week: $31,930,896.44
Total Attendance: 258,720
Previous Week: 271,062
Average Capacity: 9,103 (83.19%)
Previous Week: 8,847 (87.35%)
Average Paid Admission: $111.68
Previous Week: $112.87
Check out the individual show grosses for the week ending in May 7, 2023.
NOTES:
- GREY HOUSE is in previews at the Lyceum and opens on 5/30.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 5/7/2023] first appeared on Ken Davenport.
Congrats to all the Tony Awards nominees!
The top 10 grossing shows from the week ending in 4/30/2023 include The Lion King, Hamilton, Sweeney Todd: The Demon Barber of Fleet Street, Wicked, MJ The Musical, Funny Girl, Aladdin, Moulin Rouge! The Musical, Harry Potter And The Cursed Child, and Parade.
See some quick data points below.
Number of Shows on Broadway: 35Previous Week: 33
Total Gross: $31,930,896.44
Previous Week: $31,558,171.45
Total Attendance: 271,062
Previous Week: 262,032
Average Capacity: 8,847 (87.35%)
Previous Week: 9,078 (87.12%)
Average Paid Admission: $112.87
Previous Week: $114.71
Check out the individual show grosses for the week ending in April 30, 2023.
NOTES:
GOOD NIGHT, OSCAR opened at the Belasco on 4/24.
SUMMER, 1976 opened at the Friedman on 4/25.
NEW YORK, NEW YORK opened at the St. James on 4/26.
THE SIGN IN SIDNEY BRUSTEIN’S WINDOW began previews and opened at the Jones on 4/27.
PICTURES FROM HOME closed on 4/30.
GREY HOUSE began previews at the Lyceum and opens on 5/30.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 4/30/2023] first appeared on Ken Davenport.
If this is the first time you’re hearing about this musical coming to Broadway, then start following me here . . . because this is where the breaking news hits first.
But let me recap . . .
The dream of Harmony on Broadway started a long time ago with its creators, Barry Manilow and Bruce Sussman. I heard about the show from time to time as I was coming up. Incredible story, incredible score. A few people even said I should try to get involved. (You know who you are, Patrick Vacariello!)
Years later, I’m producing Gettin’ The Band Back Together on Broadway, and, well, if you saw it, then you may remember the bit where I showed how much of a massive Manilow fan I am.
And from that little moment . . . yes, from THAT moment in Gettin’ The Band Back Together, I was introduced to Bruce Sussman and then Barry Manilow. (You know who you are, Rob Shuter!)
Side note: This is one of the greatest life lessons I’ve ever received. See, Gettin’ The Band Back Together might not have “worked” – but it led to so many other wonderful things – including Harmony. Because if I had never done Band on Broadway, I NEVER would have met Bruce and Barry and I wouldn’t be writing this blog today and I wouldn’t have the honor of producing Harmony on Broadway.
Back to the story . . .
So, thanks to that moment in Gettin’ The Band Back Together, I met Bruce and Barry and finally got a chance to read and listen to Harmony.
And at that moment I was so thankful that it had NOT yet reached Broadway yet. Because I wanted to do it. I just knew we needed to find the right director.
So I signed on . . . and then, I did a podcast with Warren Carlyle.
And when it was finished, we gave each other the usual, “We gotta find something to do together,” but the thing is . . . we really meant it. And as he was about to walk out of the door of my office . . . I literally remember where he was standing when this happened . . . I blurted out, “What do you know about Harmony?”
“Yes,” he said.
“Yes, what? You know it?”
“No, Ken. Yes. YES. I’ll do it.”
And he was in.
This was in 2019, and shortly thereafter Barry Manilow announced from the stage of his Broadway residency that Harmony would make its New York debut at the famed NYTF (the same theater that birthed the magnificent Fiddler revival) in 2020. (You know who you are, Zalmen Mlotek!)
And that didn’t happen.
But in 2022, as we were still emerging from the pandemic . . . it did.
It got reviews like, “in case you were wondering what it feels like to cry under a mask, there is a good chance you will find out” (NY Times, Elisabeth Vincentelli) and “every element of Harmony clicks in place like a gorgeous puzzle” (Variety, A.D. Amorosi).
It was nominated and won a slew of awards, including . . .
Lucille Lortel Award for Outstanding Musical (Nomination)
Lucille Lortel Award for Outstanding Choreographer – Warren Carlyle (Nomination)
Off-Broadway League Awards for Outstanding Off-Broadway Musical (Winner)
Drama Desk Awards for Outstanding Book of a Musical – Bruce Sussman (Winner)
Drama Desk Awards for Outstanding Musical (Nomination)
Drama Desk Awards for Outstanding Actor in a Musical – Chip Zien (Nomination)
It was even a New York Times Critic’s Pick!
And now, as Barry Manilow and Bruce Sussman announced live THIS MORNING on The Today Show . . . Harmony is opening on Broadway this fall! (You can get tickets here.)
So what got me “singing” Harmony? I’ll tell you, as I always do when I sign on to a show . . .
First, as I already told you . . . I’m a fanilow. Period. I feel like I’ve known Bruce and Barry forever . . . because “Copacabana” was one of the first songs I ever learned by heart. That album was my FIRST album I owned all to myself as a kid. (Side note: if you ever wondered if Barry and Bruce were musical theater writers – listen to ”Copacabana” again – it’s a STORY song, with characters and even a three act structure!)
Second, I am a fan of all-guy harmony groups. Having been a performer in the musical Forever Plaid four times (I was a Sparky) and having seen the success of my own show, Altar Boyz, as well as Jersey Boys (and the boy-band/harmony genre in general), I’ve always known that audiences have a thing for seeing groups of guys sing and dance in groups.
Third, the score to Harmony is outstanding. But it’s Barry Manilow and Bruce Sussman . . . are you surprised? They write the songs. Literally. So when you come to Harmony, one of the things I will guarantee are some melodies and rich lyrics that will crawl into your ear and never come out (like that thing in Wrath of Khan, for you Trekkies out there).
Lastly, I signed on to this show because of the story. A story I did not know, but when I did, I couldn’t believe it. (And we learn in focus groups over and over again that while music may sell a musical, it’s the story that makes shows a hit.)
So what’s Harmony about?
It’s about The Comedian Harmonists . . . a group that was bigger than the Beatles in the 1920s and 1930s. They sold millions of records, made dozens of films and sold out venues all over the world.
So why don’t we know about them?
They were from Germany. And they were Gentile and Jewish.
And you can imagine what happened next.
It’s a musical that tells the story of the rise of a guy group from a street corner to big stages all over the world, performing their big ol’ comedic production numbers with a sound you’ve gotta hear to believe – only to be broken apart in one of the most horrific times in the world’s history.
It had me laughing, singing along, and yeah, shedding more than a few tears . . . just after reading it.
And honestly? It’s a story about a time and a place and a group of people that a guy with the last name of Davenport (who is half Indian and raised Catholic) isn’t as familiar with as he should be. But I want to be. And sometimes, I believe it’s important to work on things that we do NOT know anything about, so we can learn, and also hopefully educate others through entertainment. Because tragically, this story is more timely now than ever. And maybe, we can change a few hearts and minds with this piece of art.
So, thanks to the never-give-up attitude of Bruce and Barry, as well as my supportive producers including Sandi Moran, Hunter Arnold, Garry Kief, Marco Santarelli, Jonathan and Rae Corr, Adam Riemer, Scott Abrams, Amuse, Inc., Patty Baker, Tom and Michael D’Angora, Susan DuBow, Michelle Kaplan, Steve Kyriakis & Matt Donaldson, Harold Matzner, and Neil Gooding Productions, Harmony will finally . . . FINALLY be on Broadway at the famed Ethel Barrymore Theatre.
Previews begin October 18th. We open on November 13th. And after Barry and I missed the opening of Harmony at NYTF because of Covid (!), you can bet we are looking forward to it.
I hope you are too.
You can get tickets here.
And come during previews. I look forward to saying hello.
Get tickets now: www.harmonyanewmusical.com
The post Why I’m producing Harmony by Barry Manilow and Bruce Sussman first appeared on Ken Davenport.
Congrats to all the Drama League Award nominees (with a special shout out to Will Swenson and A Beautiful Noise: The Neil Diamond Musical for their nominations!)
The top 10 grossing shows from the week ending in 4/23/2023 include The Lion King, Hamilton, Sweeney Todd: The Demon Barber of Fleet Street, Wicked, MJ The Musical, Funny Girl, Aladdin, Moulin Rouge! The Musical, Harry Potter And The Cursed Child, and & Juliet.
See some quick data points below.
Number of Shows on Broadway: 33Previous Week: 34
Total Gross: $31,558,171.45
Previous Week: $38,484,982.40
Total Attendance: 262,032
Previous Week: 282,895
Average Capacity: 9,078 (87.12%)
Previous Week: 9,243 (88.82%)
Average Paid Admission: $114.71
Previous Week: $125.62
Check out the individual show grosses for the week ending in April 23, 2023.
NOTES:
- PETER PAN GOES WRONG opened at the Barrymore on 4/19.
- THE THANKSGIVING PLAY opened at the Hayes on 4/20.
- PRIMA FACIE opened at the Golden on 4/23.
- GOOD NIGHT, OSCAR is in previews at the Belasco and opens on 4/24.
- SUMMER, 1976 is in previews at the Friedman and opens on 4/25.
- NEW YORK, NEW YORK is in previews at the St. James and opens on 4/26.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 4/23/2023] first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 4/16/2023 include The Phantom of the Opera, The Lion King, Wicked, Hamilton, Sweeney Todd: The Demon Barber of Fleet Street, Funny Girl, Aladdin, MJ The Musical, Harry Potter and Cursed Child, and Moulin Rouge! The Musical.
See some quick data points below.
Number of Shows on Broadway: 34Previous Week: 33
Total Gross: $38,484,982.40
Previous Week: $38,594,053.57
Total Attendance: 282,895
Previous Week: 280,760
Average Capacity: 9,243 (88.82%)
Previous Week: 9,145 (91.21%)
Average Paid Admission: $125.62
Previous Week: $125.66
Check out the individual show grosses for the week ending in April 16, 2023.
NOTES:
- THE PHANTOM OF THE OPERA closed on 4/16. The final performance was a primarily invited/comped performance. The performance on Fri. 4/14 was a charity performance.
- FAT HAM opened at the American Airlines on 4/12.
- CAMELOT opened at the Beaumont on 4/13.
- PETER PAN GOES WRONG is in previews at the Barrymore and opens on 4/19.
- THE THANKSGIVING PLAY is in previews at the Hayes and opens on 4/20.
- PRIMA FACIE began previews at the Golden and opens on 4/23.
- GOOD NIGHT, OSCAR is in previews at the Belasco and opens on 4/24.
- SUMMER, 1976 is in previews at the Friedman and opens on 4/25.
- NEW YORK, NEW YORK is in previews at the St. James and opens on 4/26.
- THE LION KING had a 9-performance week.
- Easter and the beginning of Passover fell within the prior week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 4/16/2023] Raising our glass to the angel of music first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 4/9/2023 include The Phantom of the Opera, The Lion King, Wicked, Aladdin, Hamilton, Funny Girl, MJ The Musical, Funny Girl, Harry Potter and the Cursed Child, Moulin Rouge! The Musical, and Sweeney Todd: The Demon Barber of Fleet Street.
See some quick data points below.
Number of Shows on Broadway: 33Previous Week: 31
Total Gross: $38,594,053.57
Previous Week: $34,410,203.04
Total Attendance: 280,760
Previous Week: 270,934
Average Capacity: 9,145 (91.21%)
Previous Week: 9,511 (91.03%)
Average Paid Admission: $125.66
Previous Week: $118.95
Check out the individual show grosses for the week ending in April 9, 2023.
NOTES:
- SHUCKED opened at the Nederlander on 4/4.
- FAT HAM is in previews at the American Airlines and opens on 4/12.
- CAMELOT is in previews at the Beaumont and opens on 4/13.
- PETER PAN GOES WRONG is in previews at the Barrymore and opens on 4/19.
- THE THANKSGIVING PLAY is in previews at the Hayes and opens on 4/20.
- GOOD NIGHT, OSCAR began previews at the Belasco and opens on 4/24.
- SUMMER, 1976 began previews at the Friedman and opens on 4/25.
- NEW YORK, NEW YORK is in previews at the St. James and opens on 4/26.
- Both ALADDIN and WICKED had 9 performances.
- PICTURES FROM HOME canceled 1 performance (Fri. 4/7).
- Good Friday and Easter fell within this week, and Passover began.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 4/9/2023] Everything’s coming up grosses. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 4/2/2023 include The Phantom of the Opera, The Lion King, Wicked, Hamilton, Funny Girl, MJ The Musical, Sweeney Todd: The Demon Barber of Fleet Street, Moulin Rouge! The Musical, Aladdin, and Harry Potter and the Cursed Child.
See some quick data points below.
Number of Shows on Broadway: 31Previous Week: 31
Total Gross: $34,410,203.04
Previous Week: $32,656,199.84
Total Attendance: 270,934
Previous Week: 259,758
Average Capacity: 9,511 (91.03%)
Previous Week: 9,004 (92.69%)
Average Paid Admission: $118..95
Previous Week: $118.04
Check out the individual show grosses for the week ending in April 2, 2023.
NOTES:
- LIFE OF PI opened at the Schoenfeld on 3/30.
- SHUCKED is in previews at the Nederlander and opens on 4/4.
- FAT HAM is in previews at the American Airlines and opens on 4/12.
- CAMELOT is in previews at the Beaumont and opens on 4/13.
- PETER PAN GOES WRONG is in previews at the Barrymore and opens on 4/19.
- THE THANKSGIVING PLAY is in previews at the Hayes and opens on 4/20.
- NEW YORK, NEW YORK is in previews at the St. James and opens on 4/26.
- SIX had a 9th performance (Thurs. 3/30 mat.), which was a TDF buyout.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post Broadway Grosses w/ 4/2/2023: An uprise on Fleet Street. first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 3/26/2023 include The Phantom of the Opera, The Lion King, Hamilton, Wicked, MJ The Musical, Funny Girl, Moulin Rouge! The Musical, Harry Potter and the Cursed Child, Sweeney Todd: The Demon Barber of Fleet Street, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 31Previous Week: 29
Total Gross: $32,656,199.84
Previous Week: $34,124,422.28
Total Attendance: 259,758
Previous Week: 259,832
Average Capacity: 9,004 (92.69%)
Previous Week: 9,420 (94.46%)
Average Paid Admission: $118.04
Previous Week: $124.86
Check out the individual show grosses for the week ending in March 26, 2023.
NOTES:
- BAD CINDERELLA opened at the Imperial on 3/23.
- SWEENEY TODD: THE DEMON BARBER OF FLEET STREET opened at the Lunt-Fontanne on 3/26.
- LIFE OF PI is in previews at the Schoenfeld and opens on 3/30.
- SHUCKED is in previews at the Nederlander and opens on 4/4.
- FAT HAM began previews at the American Airlines and opens on 4/12.
- CAMELOT is in previews at the Beaumont and opens on 4/13.
- PETER PAN GOES WRONG is in previews at the Barrymore and opens on 4/19.
- THE THANKSGIVING PLAY began previews at the Hayes and opens on 4/20.
- NEW YORK, NEW YORK began previews at the St. James and opens on 4/26.
- PICTURES FROM HOME now has a 7-performance/week schedule.
- There were two capacities for WICKED at the Gershwin Theatre this week. Four performances had 1,807 seats and four performances had 1,926 seats, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- Kids’ Night on Broadway took place, with 21 participating shows.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 3/26/2023] Spring has sprung on Broadway first appeared on Ken Davenport.
SUBJ: [Broadway Grosses w/ 3/19/2023]
The top 10 grossing shows from the week ending in 3/19/2023 include The Phantom of the Opera, The Lion King, Hamilton, Wicked, MJ The Musical, Sweeney Todd: The Demon Barber of Fleet Street, Harry Potter and the Cursed Child, Moulin Rouge! The Musical, Jonas Brothers on Broadway, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 29Previous Week: 27
Total Gross: $34,124,422.28
Previous Week: $28,638,820.97
Total Attendance: 259,832
Previous Week: 229,771
Average Capacity: 9,420 (94.46%)
Previous Week: 9,218 (91.95%)
Average Paid Admission: $124.86
Previous Week: $118.64
Check out the individual show grosses for the week ending in March 19, 2023.
NOTES:
- JONAS BROTHERS ON BROADWAY played a 5-performance engagement at the Marquis that opened on 3/14 and closed on 3/18.
- PARADE opened at the Jacobs on 3/16.
- BOB FOSSE’S DANCIN’ opened at the Music Box on 3/19.
- BAD CINDERELLA is in previews at the Imperial and opens on 3/23.
- SWEENEY TODD: THE DEMON BARBER OF FLEET STREET is in previews at the Lunt-Fontanne and opens on 3/26.
- LIFE OF PI is in previews at the Schoenfeld and opens on 3/30.
- SHUCKED is in previews at the Nederlander and opens on 4/4.
- CAMELOT is in previews at the Beaumont and opens on 4/13.
- PETER PAN GOES WRONG began previews at the Barrymore and opens on 4/19.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 3/19/2023] Did the Jonas Brothers help Broadway? first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 3/12/2023 include The Phantom of the Opera, Hamilton, Funny Girl, Sweeney Todd: The Demon Barber of Fleet Street, Wicked, The Lion King, MJ The Musical, Moulin Rouge! The Musical, Harry Potter and the Cursed Child, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 27Previous Week: 24
Total Gross: $28,638,820.97
Previous Week: $25,163,053.76
Total Attendance: 229,771
Previous Week: 202,944
Average Capacity: 9,218 (91.95%)
Previous Week: 9,581 (87.75%)
Average Paid Admission: $118.64
Previous Week: $120.36
Check out the individual show grosses for the week ending in March 12, 2023.
NOTES:
- A DOLL’S HOUSE opened at the Hudson on 3/9.
- PARADE is in previews at the Jacobs and opens on 3/16. One performance (Sat. 3/11 eve.) was cancelled.
- BOB FOSSE’S DANCIN’ is in previews at the Music Box and opens on 3/19.
- BAD CINDERELLA is in previews at the Imperial and opens on 3/23.
- SWEENEY TODD: THE DEMON BARBER OF FLEET STREET is in previews at the Lunt-Fontanne and opens on 3/26.
- LIFE OF PI began previews at the Schoenfeld and opens on 3/30.
- SHUCKED began previews at the Nederlander and opens on 4/4.
- CAMELOT began previews at the Beaumont and opens on 4/13.
- There were two capacities for WICKED at the Gershwin Theatre this week. Four performances had 1,807 seats and four performances had 1,926 seats, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 3/12/2023] Springtime on Broadway first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 3/5/2023 include The Phantom of the Opera, Funny Girl, The Lion King, Hamilton, Sweeney Todd: The Demon Barber Of Fleet Street, MJ The Musical, Wicked, Moulin Rouge! The Musical, Harry Potter and the Cursed Child, and & Juliet.
See some quick data points below.
Number of Shows on Broadway: 24Previous Week: 23
Total Gross: $25,163,053.76
Previous Week: $25,832,460.31
Total Attendance: 202,944
Previous Week: 201,951
Average Capacity: 9,581 (87.75%)
Previous Week: 9,387 (93.7%)
Average Paid Admission: $120.36
Previous Week: $126.37
Check out the individual show grosses for the week ending in March 5, 2023.
NOTES:
- A DOLL’S HOUSE is in previews at the Hudson and opens on 3/9.
- PARADE is in previews at the Jacobs and opens on 3/16.
- BOB FOSSE’S DANCIN’ began previews at the Music Box and opens on 3/19.
- BAD CINDERELLA is in previews at the Imperial and opens on 3/23.
- SWEENEY TODD: THE DEMON BARBER OF FLEET STREET is in previews at the Lunt-Fontanne and opens on 3/26.
- The matinee of HAMILTON on Weds. 3/1 was an education matinee.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 3/5/2023] first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 2/26/2023 include The Phantom of the Opera, Hamilton, The Lion King, Wicked, MJ The Musical, Harry Potter and the Cursed Child, Moulin Rouge! The Musical, Aladdin, & Juliet, and SIX.
See some quick data points below.
Number of Shows on Broadway: 23Previous Week: 22
Total Gross: $25,832,460.31
Previous Week: $26,853,297.52
Total Attendance: 201,951
Previous Week: 194,575
Average Capacity: 9,387 (93.7%)
Previous Week: 9,389 (94.07%)
Average Paid Admission: $126.37
Previous Week: $132.91
Check out the individual show grosses for the week ending in February 26, 2023.
NOTES:
- A DOLL’S HOUSE is in previews at the Hudson and opens on 3/9.
- PARADE began previews at the Jacobs and opens on 3/16.
- BAD CINDERELLA is in previews at the Imperial and opens on 3/23.
- SWEENEY TODD: THE DEMON BARBER OF FLEET STREET began previews at the Lunt-Fontanne and opens on 3/26.
- There were two capacities for WICKED at the Gershwin Theatre this week. Four performances had 1,807 seats and four performances had 1,926 seats, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- Presidents’ Day weekend fell within the prior week (week ending 2/19).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 2/26/2023] first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 2/19/2023 include The Phantom of the Opera, Hamilton, The Lion King, Funny Girl, MJ The Musical, Wicked, Moulin Rouge! The Musical, Harry Potter and the Cursed Child, Aladdin, and & Juliet.
See some quick data points below.
Number of Shows on Broadway: 22Previous Week: 21
Total Gross: $26,853,297.52
Previous Week: $23,064,392.99
Total Attendance: 194,575
Previous Week: 192,323
Average Capacity: 9,389 (94.07%)
Previous Week: 9,622 (94.76%)
Average Paid Admission: $132.91
Previous Week: $115.46
Check out the individual show grosses for the week ending in February 19, 2023.
NOTES:
- BETWEEN RIVERSIDE AND CRAZY closed on 2/19. Performances from 2/17 through 2/19 were simulcast; the simulcasts are not included in the figures in this report.
- A DOLL’S HOUSE began previews at the Hudson and opens on 3/9.
- BAD CINDERELLA began previews at the Imperial and opens on 3/23.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 2/19/2023] first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 2/12/2023 include The Phantom of the Opera, Funny Girl, Hamilton, The Lion King, MJ The Musical, Wicked, Moulin Rouge! The Musical, Harry Potter and the Cursed Child, Aladdin, and & Juliet.
See some quick data points below.
Number of Shows on Broadway: 21Previous Week: 22
Total Gross: $23,064,392.99
Previous Week: $23,518,702.33
Total Attendance: 192,323
Previous Week: 195,520
Average Capacity: 9,622 (94.76%)
Previous Week: 9,578 (92.47%)
Average Paid Admission: $115.46
Previous Week: $115.66
Check out the individual show grosses for the week ending in February 12, 2023.
NOTES:
- PICTURES FROM HOME opened at Studio 54 on 2/9.
- THE COLLABORATION closed on 2/11.
- BETWEEN RIVERSIDE AND CRAZY is simulcasting performances from 1/31–2/12 and from 2/17–2/19. The simulcasts are not included in the figures in this report.
- The matinee of HAMILTON on Weds. 2/8 was an education matinee.
- There were two capacities for WICKED at the Gershwin Theatre this week. Four performances had 1,807 seats and four performances had 1,926 seats, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- NYC Broadway Week began on 1/17 and ended on 2/12.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 2/12/2023] first appeared on Ken Davenport.
SUBJ: [Broadway Grosses w/ 2/5/2023]
The top 10 grossing shows from the week ending in 2/5/2023 include The Phantom of the Opera, Funny Girl, Hamilton, The Lion King, MJ The Musical, Wicked, Moulin Rouge! The Musical, Harry Potter and the Cursed Child, Aladdin, and & Juliet.
See some quick data points below.
Number of Shows on Broadway: 22Previous Week: 23
Total Gross: $23,518,702.33
Previous Week: $25,705,039.38
Total Attendance: 195,520
Previous Week: 205,578
Average Capacity: 9,578 (92.47%)
Previous Week: 9,525 (94.04%)
Average Paid Admission: $115.66
Previous Week: $119.96
Check out the individual show grosses for the week ending in February 5, 2023.
NOTES:
- TAKE ME OUT closed on 2/5.
- PICTURES FROM HOME is in previews at Studio 54 and opens on 2/9.
- BETWEEN RIVERSIDE AND CRAZY is simulcasting performances from 1/31 through 2/12. The simulcasts are not included in the figures in this report.
- The matinee of HAMILTON on Weds. 2/1 was an education matinee.
- Teachers Night on Broadway was held at CHICAGO on Thurs. 2/2.
- NYC Broadway Week began on 1/17 and continues through 2/12.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 2/5/2023] first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 1/29/2023 include The Phantom of the Opera, Funny Girl, Hamilton, The Lion King, MJ The Musical, Wicked, Moulin Rouge! The Musical, The Piano Lesson, Harry Potter and the Cursed Child, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 23Previous Week: 23
Total Gross: $25,705,039.38
Previous Week: $25,835,362.28
Total Attendance: 205,578
Previous Week: 204,847
Average Capacity: 9,525 (94.04%)
Previous Week: 9,510 (93.47%)
Average Paid Admission: $119.96
Previous Week: $121.31
Check out the individual show grosses for the week ending in January 29, 2023.
NOTES:
- THE PIANO LESSON closed on 1/29.
- PICTURES FROM HOME is in previews at Studio 54 and opens on 2/9.
- NYC Broadway Week began on 1/17 and continues through 2/12.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 1/29/2023] first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 1/22/2023 include The Phantom of the Opera, Hamilton, Funny Girl, The Lion King, Wicked, MJ The Musical, Moulin Rouge! The Musical, Harry Potter and the Cursed Child, Aladdin, and A Beautiful Noise: The Neil Diamond Musical.
See some quick data points below.
Number of Shows on Broadway: 23Previous Week: 29
Total Gross: $25,835,362.28
Previous Week: $33,859,987.75
Total Attendance: 204,847
Previous Week: 247,667
Average Capacity: 9,510 (93.47%)
Previous Week: 9,161 (92.78%)
Average Paid Admission: $121.31
Previous Week: $129.20
Check out the individual show grosses for the week ending in January 22, 2023.
NOTES:
- PICTURES FROM HOME is in previews at Studio 54 and opens on 2/9.
- There were two capacities for WICKED at the Gershwin Theatre this week. Four performances had 1,807 seats and four performances had 1,926 seats, for a total capacity of 14,932. As this report cannot accommodate both capacities, the figure 1,867 was used.
- NYC Broadway Week began on 1/17 and continues through 2/12.
- Martin Luther King, Jr. Day weekend fell within the prior week (week ending 1/15/2023).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 1/22/2023] first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 1/15/2023 include The Music Man, The Phantom of the Opera, Hamilton, Funny Girl, The Lion King, MJ The Musical, Wicked, Harry Potter and the Cursed Child, Moulin Rouge! The Musical, and Aladdin.
See some quick data points below.
Number of Shows on Broadway: 29Previous Week: 32
Total Gross: $33,859,987.75
Previous Week: $37,394,930.57
Total Attendance: 247,667
Previous Week: 275,834
Average Capacity: 9,161 (92.78%)
Previous Week: 9,364 (90.94%)
Average Paid Admission: $129.20
Previous Week: $125.93
Check out the individual show grosses for the week ending in January 15, 2023.
NOTES:
A STRANGE LOOP, DEATH OF A SALESMAN, MIKE BIRBIGLIA: THE OLD MAN & THE POOL, OHIO STATE MURDERS, THE MUSIC MAN, and TOPDOG/UNDERDOG closed on 1/15.
PICTURES FROM HOME began previews at Studio 54 and opens on 2/9.
CHICAGO had a planned 7-performance week.
Martin Luther King, Jr. Day weekend fell within this week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 1/15/2023] first appeared on Ken Davenport.
We said Happy Trails to 4 musicals last week: 1776, Almost Famous, Beetlejuice, and Into the Woods.
The top 10 grossing shows from the week ending in 1/8/2023 include The Music Man, The Phantom of the Opera, Beetlejuice, Hamilton, Funny Girl, The Lion King, Wicked, MJ The Musical, Harry Potter and the Cursed Child, and Into the Woods.
See some quick data points below.
Number of Shows on Broadway: 32Previous Week: 33
Total Gross: $37,394,930.57
Previous Week: $51,912,226.29
Total Attendance: 275,834
Previous Week: 311,447
Average Capacity: 9,364 (90.94%)
Previous Week: 10,272 (90.16%)
Average Paid Admission: $125.93
Previous Week: $149.16
Check out the individual show grosses for the week ending in January 8, 2023.
NOTES:
1776, ALMOST FAMOUS, BEETLEJUICE, and INTO THE WOODS closed on 1/8.
A STRANGE LOOP canceled 3 performances (Thurs. 1/5, Fri. 1/6, and Sun. 1/8 eve).
BETWEEN RIVERSIDE AND CRAZY canceled 4 performances (Weds. 1/4 mat. and eve., Thurs. 1/5, and Sun. 1/8 mat.).
Please note that New Year’s Eve and New Year’s Day fell within the prior week (week ending 1/1/2023) and multiple shows held an extra performance during that week.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 1/8/2023] Happy Trails first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 1/1/2023 include The Lion King, The Music Man, Wicked, Aladdin, The Phantom of the Opera, Hamilton, Harry Potter and the Cursed Child, Beetlejuice, Funny Girl, and MJ The Musical.
See some quick data points below.
Number of Shows on Broadway: 33Previous Week: 33
Total Gross: $51,912,226.29
Previous Week: $34,827,192.87
Total Attendance: 311,447
Previous Week: 238,502
Average Capacity: 10,272 (90.16%)
Previous Week: 8,632 (81.08%)
Average Paid Admission: $149.16
Previous Week: $128.72
Check out the individual show grosses for the week ending in January 1, 2023.
NOTES:
Please note that New Year’s Eve and New Year’s Day fell within this week.
Please note that multiple shows held 9 performances this week.
1776 canceled 1 of 8 scheduled performances (Mon. 12/26).
THE COLLABORATION had a planned 7-performance week.
A CHRISTMAS CAROL closed on 1/1.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post SUBJ: [Broadway Grosses w/ 1/1/2023] New Year, New Grosses first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 12/18/22 include The Music Man, The Lion King, Hamilton, Wicked, The Phantom of the Opera, Funny Girl, MJ The Musical, Aladdin, Harry Potter and the Cursed Child, and Beetlejuice.
See some quick data points below.
Number of Shows on Broadway: 34Previous Week: 35
Total Gross: $37,287,623.46
Previous Week: $37,217,000.73
Total Attendance: 275,724
Previous Week: 283,548
Average Capacity: 9,392 (84.57%)
Previous Week: 9,272 (85.47%)
Average Paid Admission: $122.53
Previous Week: $118.75
Check out the individual show grosses for the week ending in December 18, 2022.
NOTES:
BETWEEN RIVERSIDE AND CRAZY is in previews at the Hayes and opens on 12/19.
THE COLLABORATION is in previews at the Friedman and opens on 12/20.
1776 canceled 1 performance (Tues. 12/13).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 12/18/2022] Settling into the holiday season first appeared on Ken Davenport.
The top 10 grossing shows from the week ending in 12/11/22 include The Music Man, The Lion King, Wicked, Hamilton, The Phantom of the Opera, Funny Girl, MJ The Musical, Aladdin, Harry Potter and the Cursed Child, and Moulin Rouge! The Musical.
See some quick data points below.
Number of Shows on Broadway: 35Previous Week: 35
Total Gross: $37,217,000.73
Previous Week: $33,891,293.11
Total Attendance: 283,548
Previous Week: 246,069
Average Capacity: 9,272 (85.47%)
Previous Week: 9,096 (80.93%)
Average Paid Admission: $118.75
Previous Week: $114.47
Check out the individual show grosses for the week ending in December 11, 2022.
NOTES:
OHIO STATE MURDERS opened at the Jones on 12/8.
SOME LIKE IT HOT opened at the Shubert on 12/11.
KPOP closed on 12/11.
BETWEEN RIVERSIDE AND CRAZY is in previews at the Hayes and opens on 12/19.
THE COLLABORATION is in previews at the Friedman and opens on 12/20.
A STRANGE LOOP canceled 1 performance (Sun. 12/11 matinee).
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/ 12/11/2022] A Boost in NY Tourism? first appeared on Ken Davenport.
On Sunday, December 4th, the 3 remaining original queens in SIX took their final royal bow. Three blocks away, Neil Diamond walked the red carpet and surprised the opening night audience with a performance of his hit song ‘Sweet Caroline’.
The top 10 grossing shows from the week ending in 12/4/22 include The Music Man, The Lion King, Hamilton, The Phantom of the Opera, Wicked, MJ The Musical, Funny Girl, Aladdin, Moulin Rouge! The Musical, SIX, and Harry Potter and the Cursed Child..
See some quick data points below.
Number of Shows on Broadway: 35Previous Week: 33
Total Gross: $33,891,293.11
Previous Week: $37,475,773.29
Total Attendance: 246,069
Previous Week: 259,298
Average Capacity: 9,096 (80.93%)
Previous Week: 9,597 (80.07%)
Average Paid Admission: $114.47
Previous Week: $129.42
Check out the individual show grosses for the week ending in December 4, 2022.
NOTES:
Please note that Thanksgiving fell within the prior week (week ending 11/27/2022).
AIN’T NO MO’ opened at the Belasco on 12/1.
A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL opened at the Broadhurst on 12/4.
OHIO STATE MURDERS is in previews at the Jones and opens on 12/8.
SOME LIKE IT HOT is in previews at the Shubert and opens on 12/11. One performance (Mon. 11/28) was cancelled.
BETWEEN RIVERSIDE AND CRAZY began previews at the Hayes and opens on 12/19.
THE COLLABORATION began previews at the Friedman and opens on 12/20.
Thanks to the Broadway League for sharing this data.
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
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With two weeks left in the 2021-2022 season, Spring has most definitely sprung on Broadway. And the countdown to the Tony Awards has begun!
Last week Take Me Out and Birthday Candles officially opened and we welcomed Beetlejuice back on Broadway.
Also, last week, Broadway grossed $28.3mm and averaged 86.24% capacity.
If we look at past seasons’ trends, could we be just a few days away from a spike in gross ticket sales?
Check out the grosses for the week ending in April 10, 2022.
| Show Name | GrossGross | TotalAttn | Capacity | %Capacity | Avg. Paid Admission | | ALADDIN | $1,062,406.42 | 11,572 | 12,089 | 95.72% | $91.81 | | AMERICAN BUFFALO | $587,527.40 | 5,272 | 6,008 | 87.75% | $111.44 | | BEETLEJUICE | $395,704.00 | 3,204 | 3,204 | 100.00% | $123.50 | | BIRTHDAY CANDLES | $290,566.00 | 5,477 | 5,816 | 94.17% | $53.05 | | CHICAGO | $543,119.25 | 6,150 | 8,640 | 71.18% | $88.31 | | COME FROM AWAY | $601,722.48 | 6,545 | 8,368 | 78.21% | $91.94 | | COMPANY | $808,938.18 | 7,225 | 8,368 | 86.34% | $111.96 | | DEAR EVAN HANSEN | $748,421.52 | 6,637 | 7,872 | 84.31% | $112.77 | | FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE / WHEN THE RAINBOW IS ENUF | $166,646.52 | 3,610 | 5,411 | 66.72% | $46.16 | | FUNNY GIRL | $1,262,827.50 | 8,564 | 8,533 | 100.36% | $147.46 | | HADESTOWN | $1,054,286.80 | 7,347 | 7,344 | 100.04% | $143.50 | | HAMILTON | $2,224,849.00 | 10,623 | 10,592 | 100.29% | $209.44 | | HANGMEN | $88,845.20 | 1,276 | 1,604 | 79.55% | $69.63 | | HARRY POTTER AND THE CURSED CHILD | $1,615,921.60 | 11,817 | 12,976 | 91.07% | $136.75 | | HOW I LEARNED TO DRIVE | $261,624.00 | 3,533 | 4,459 | 79.23% | $74.05 | | MJ THE MUSICAL | $1,323,773.00 | 9,946 | 11,096 | 89.64% | $133.10 | | MOULIN ROUGE! THE MUSICAL | $1,418,525.00 | 9,631 | 10,400 | 92.61% | $147.29 | | MR. SATURDAY NIGHT | $884,706.50 | 7,306 | 8,337 | 87.63% | $121.09 | | PARADISE SQUARE | $80,612.00 | 2,185 | 2,943 | 74.24% | $36.89 | | PLAZA SUITE | $547,536.45 | 2,680 | 2,925 | 91.62% | $204.30 | | SIX | $1,343,506.00 | 8,248 | 8,248 | 100.00% | $162.89 | | TAKE ME OUT | $369,003.40 | 4,534 | 4,680 | 96.88% | $81.39 | | THE BOOK OF MORMON | $1,031,176.01 | 8,321 | 8,528 | 97.57% | $123.92 | | THE LION KING | $1,874,337.00 | 13,491 | 13,568 | 99.43% | $138.93 | | THE LITTLE PRINCE | $311,133.00 | 9,870 | 13,872 | 71.15% | $31.52 | | THE MINUTES | $393,473.00 | 4,247 | 5,336 | 79.59% | $92.65 | | THE MUSIC MAN | $3,324,370.88 | 12,108 | 12,200 | 99.25% | $274.56 | | THE PHANTOM OF THE OPERA | $830,865.86 | 8,707 | 12,840 | 67.81% | $95.43 | | THE SKIN OF OUR TEETH | $158,782.00 | 4,032 | 7,406 | 54.44% | $39.38 | | TINA – THE TINA TURNER MUSICAL | $858,472.50 | 6,868 | 11,824 | 58.09% | $125.00 | | WICKED | $1,866,191.00 | 14,230 | 14,456 | 98.44% | $131.14 |
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/e 4/10/2022] It’s the final countdown! first appeared on Ken Davenport.
Dear “Kenny” . . . as you asked me to call you since I could speak. Not dad, no. Because you wanted me to know you were as much a friend as a father.
That’s one of the reasons that today, the two-year anniversary of your passing, is harder than I ever thought it would be. Because for the last 24 months, it felt like two of the closest people in my life were gone.
I know, I know. You’re not gone. And you never will be. I’ll never forget when you and my mother divorced and you told me we would always be together. Always. “We might not be in the same house or in the same state or even on the same continent, Kenneth, but anywhere we go in our lives, we are connected. Always.” And that we are. Because I can hear your support and encouragement with everything I do.
I do want to say I’m sorry. I’m sorry that we never got to go to The Met. I’m sorry that this damn pandemic didn’t allow me to hold your hand when you finally left us on that Easter morning. I’m sorry that it has not been safe for me to travel to your childhood home in India and to spread your ashes in the Ganges as you told me you wanted. I know you understand. You always did. But know that as soon as I can, I will lay your spirit to rest in those waters, so that you may join your mother, and your young brother, and be at peace in the land you left so long ago.
And yes, yes, I know what you’re going to ask. And I will. I promise. I said, I promise! (Now, I know where I get my stubborn side.) And when I do it, I will owe it ALL to you.
Rest, my father and my friend. Thank you for what you did for me while you were here, and what I know you are doing for me, for your granddaughter (your “genetic code” as you said), and for my whole family, from high above us all.
Love,
Kenneth Anjum Hasija
In remembrance of Dr. Kenny Dipchand Hasija 10/13/29 – 4/12/20
The post On The Anniversary first appeared on Ken Davenport.
I get asked a lot of questions. But there’s one question I get asked All. Of. The. Time.
“What does a Producer actually do?”
And although I do a lot of different things, I’ve narrowed it down to one simple answer.
I get people in a room. No matter what that room looks like.
And for me, there is nothing more exciting than putting passionate people in a room to see what happens next. Because something awesome always does.
That’s why I started a FREE Facebook group for TheaterMakers.
Writers, Directors, Actors, Designers, and more . . . if you want to make theater, on Broadway, Off Broadway, in your hometown or at your high school, this Facebook group is for you.
You can meet future collaborators, get best practices on marketing your shows, and lots more.
And over 2000 TheaterMakers have already joined!
And boy oh boy are they a lively bunch. Here’s what’s happening in there RIGHT NOW. . .
If you’re a TheaterMaker or TheaterFan, join. Meet future collaborators. Get advice from peers on how to create a demo for cheap. Find out the best practices for streaming readings.
But join . . . and watch how it helps you do whatever you want to do in the theater.
I’ll see you in the group.
The post The one place that answers all of your questions. first appeared on Ken Davenport.
The theater has a significant disadvantage compared to other businesses out there.
Ok, ok, it has more than one. But this one is a big one.
People don’t come back to our shows.
Unless you’re a mega musical . . . most of your ticket buyers won’t come see you again. That doesn’t mean they don’t love your show or recommend your show. But the bulk of your audience will move on to the next show on their list.
How come? A few reasons.
- Our product is expensive.
- Our product doesn’t change much (except for a cast replacement)
- Our product isn’t necessary for survival (like food or clothes)
- Our product has tons of NEW competition every season, if not every few months.
This is the OPPOSITE of most other businesses out there. From ice cream shoppes to frozen veggie burgers to clothing brands . . . those “producers” are all about the repeat customer. Get ’em once, and they could get them for months, weeks, or even a lifetime!
This is why those brands can spend more on their advertising. Because the profits can keep coming and coming and coming. (In business terms, this means their CPA or Cost Per Acquisition can be higher than Broadway.)
In our case, most likely we’re going to get all that we can get from our customers on that first purchase.
So what’s the takeaway?
You should NOT spend a lot of time and effort trying to get your email list or social media following to come back to your show. Because most of them won’t! (Many won’t even be close enough to see your show in the first place!)
What should you do instead?
Spend even MORE time and effort trying to get your email list or social media following to RECOMMEND your show to people who have NOT yet seen it for the first time.
Word of mouth is the #1 driver of ticket sales (and Ice Cream Shoppes, etc. too!). Focus on that, instead of return visitors and you’ll see a much faster and bigger box office return.
(ADVANCED TIP: For those of you with shows that do have a passionate fan base that returns? Don’t ignore them by any means – find them – put them in a separate “club,” list, etc. – and give them offers that NO ONE ELSE gets. Then they’ll come back even MORE often.)
– – – – –
If you’re looking for a marketing strategy on how to get butts in the seats, whether that’s for a reading or a production, we can help. Apply here to see if you’re qualified for our NextStage mastermind.
The post Why U Shouldn’t Waste Your Time Trying To Get Your Audience To Do This first appeared on Ken Davenport.
There are three main components to a Broadway Budget:
- Production Budget
- Operating Budget
- Recoupment Schedule
They work like a math problem.
1 + #2 = #3
They aren’t added together exactly. But the Production Budget and the Operating Budget are used to spit out a Recoupment Schedule.
The Recoupment Schedule tells you how long it will take your investors to get their money back at various capacities of your theater (e.g. sold out, 90%, 80%, etc.), at certain ticket prices.
My goal?
To show a path to recoupment in one year, at a reasonable capacity.
Why a year?
It has nothing to do with my shows.
And all to do with OTHER shows.
See, Broadway is already a competitive industry compared to so many others. You’re competing against all the other shows that have opened before you . . . from last year’s hits to Phantom of the Opera!
But here’s what makes our industry more unique and more competitive.
We have a whole bunch of new shows every single year too.
And that’s why I shoot for a recoupment model of one year or less. Because my show is “new” for 12 months, and then, the new crop of shows come in. And most likely my show will get less press. It won’t be featured in the Tonys. It won’t be talked about as much.
Your show gets a spotlight in its first year. And you need to make sure you can recover your investment before a bright new shinier show comes along.
– – – – – –
Want more information about budgets and recoupment schedules? And want to see an ACTUAL Broadway budget?
We have a course called Breaking Down A Budget along with dozens more in The TheaterMakers Studio. Click here to get access now to learn about how to budget, and strategies on how to make your budget work.
The post Why Your Show Should Shoot For Recouping in 1 Year Or Less. first appeared on Ken Davenport.
With warmer weather coming, shall we continue to see an increase in Grosses?
With only one show added to the Broadway line up this week (and 4 additional performances as compared to last week), our industry is seeing an additional $2.6M in revenue and an additional 15.7k butts in seats!
Check out the grosses for the week ending in March 13, 2022.
| w/e 3/13/22 | Season-To-Date | | Gross | $22,376,006 | $541,893,614 | | Attendance | 168,999 | 4,359,153 | | % Capacity | 84.94% | 81.13% | | Performances | 153 | 4,428 | | # Shows | 20 | n/a | | # Playing Weeks* | n/a | 627 |
*Includes previews
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/e 3/13/2022] The Cold Never Bothered Us Anyway first appeared on Ken Davenport.
My usual MO is to talk about things that aren’t talked about in the TheaterMaking sphere.
Today, I’m widening that sphere to talk about something that not a lot of people are talking about in another sphere.
But they should be.
It’s NOT a strategy to make more theater and better theater . . . but it IS a simple hack on how to do something that is almost as hard.
What is that thing?
Pay for a college education for your kid.
Yep, if you’re a parent or KNOW a parent, then you must read on.
You’ll hear how an investor tipped me on to a program that put almost $2k into my daughter’s 529. And a billion bucks into the plans of other kids. For reals. No catch.
It’s called Upromise.
Founded 20 years ago (and poorly marketed in my opinion), it deposits a % of your purchases when you shop their partners . . . from Uber to Chipotle to Expedia . . . straight into your kids 529.
And, oh, and a ton of local restaurants too.
There’s even a way to register your credit card . . . AND THE CREDIT CARDS OF FRIENDS, GRANDPARENTS AND MORE . . . and the savings just show up. You don’t even have to do anything. That’s right, you can have an army of people shopping their way to your kids’ tuition.
I’ve been averaging a grand a year into my kid’s account since I registered McKenna. Which means I’ll have close to $20k by the time she’s ready to go to school. (That’ll probably be only enough for a textbook, but hey.)
If you’re a parent, or know one, check it out here.
Sign up. Shop like you normally do and save.
They even give you $5.29 (get it) for signing up and another $25 for free when you link your 529.
Check it out and start saving for your kids college for free here. And I’m sorry for the divergence from my usual blog fare, but when I find something that can help other people . . . whether in theater or in parenting or ANYTHING for that matter . . . I can’t help but e-yell out loud about it. I hope you don’t mind.
And, well, since Congress doesn’t look like they are going to do anything about making college more affordable, then it’s our responsibility to share stuff like this.
Check out UPromise here. More strategies for your TheaterMaking and everyday life coming soon.
The post Warning. This blog is NOT about TheaterMaking. Unless . . . first appeared on Ken Davenport.
Broadway saw a dip in gross revenue with 24k less attendance compared to the previous week.
But as we look ahead to spring and summer, we’re bound to see the pent up demand blast us into the Roarin’ 20s we’ve all been waiting for!
Check out the grosses for the week ending in March 6, 2022.
| w/e 3/6/22 | Season-To-Date | | Gross | $19,746,606 | $519,521,959 | | Attendance | 153,269 | 4,190,154 | | % Capacity | 78.18% | 80.98% | | Performances | 149 | 4,305 | | # Shows | 19 | n/a | | # Playing Weeks* | n/a | 614 |
*Includes previews
For more behind-the-scenes of the industry, follow me on Instagram: @kendavenportbway
The post [Broadway Grosses w/e 3/6/2022] Can’t Keep Us Down For Long first appeared on Ken Davenport.
Load up the family car! The Griswolds are heading out on their next big vacation!
My new musical, The Griswolds’ Broadway Vacation (yep, it’s the next chapter in the Vacation movie franchise – but as a musical) will make its debut this fall at Seattle’s 5th Avenue Theatre starting September 10, 2022.
You may remember that we were scheduled to do this way back in 2020, but then, you know, a pandemic happens.
What we ADDED during the last couple years was a second stop . . . at Houston’s Theatre Under The Stars starting October 25, 2022.
Oh, we also added new songs, new jokes, more fun and more creative team members!
The comedic duo that brought you The Other Josh Cohen, David Rossmer and Steve Rosen, have written the book, music, and lyrics for this new musical comedy. Jason Sherwood is the Scenic Designer, with costumes by Tina McCartney, lighting by Jeff Croiter, and sound by Kai Harada. The music arrangements are by Glen Kelly with music supervision and additional arrangements by Greg Anthony Rassen.
And Canadian wonder-woman, Donna Feore, is our Director and Choreographer.
I can’t wait for you to see it.
Yes, the show will come to Broadway . . . but until then, come out to Seattle or Houston and get a glimpse of it before it comes here. Because I want to hear what you think!
To stay up-to-date with Clark, Ellen, Rusty, and Audrey sign up here: broadwayvacationthemusical.com.
Click here to be the first to get tickets in Seattle or Houston.The post The Griswolds take . . . Seattle AND Houston! first appeared on Ken Davenport.
One thing I did A LOT of during the pandemic? Read! (Or “Listen” – since I’m a big audible guy).
I didn’t just limit myself to the fun theatermaking books either. Because I believe we should be looking outside of our bubble to learn how to make this industry stronger and better.
And when a TheaterMaker in my NextStage mastermind asked me what books I’ve read recently, I decided to put the list together and share it with you too!
There are books on writing, producing, marketing, and just plain ol’ kick-you-in-the-butt inspiration.
So here’s my 2022 TheaterMaking Reading List:
On Producing
- The Commercial Theater Institute’s Guide to Producing Plays and Musicals
- The Business of Broadway: An Insider’s Guide to Working, Producing, and Investing in the World’s Greatest Theatre Community
- From Option to Opening: A Guide to Producing Plays Off-Broadway
- The Palgrave Handbook of Musical Theatre Producers
- I Wanna Be a Producer: How to Make a Killing on Broadway … or Get Killed
- Theatre Management: Producing and Managing in the Performing Arts
- So You Want to Be a Theatre Producer
- The Stage Producer’s Business and Legal Guide
- Self-Disciplined Producer: Develop a Powerful Work Ethic, Improve Your Focus, and Produce Better Results
- Producers on Producing
- Stage Money
- A Technique for Producing Ideas: A Simple Five-Step Formula for Producing Ideas
On Writing
- The Nutshell Technique
- Beating Broadway: How to Create Stories for Musicals That Get Standing Ovations
- The Art of Dramatic Writing
- The Secret Life of the American Musical
- Writing Tools: 55 Essential Strategies for Every Writer
- Writing Down the Bones: Freeing the Writer Within
- How to Write a Sentence: And How to Read One
- On Writing
- Writing in Restaurants
- Mastering the Craft of Writing: How to Write With Clarity, Emphasis, and Style
- Sensory Writing for Stage and Screen
- Writing Dialogue for Scripts (Writing Handbooks)
- The Writer’s Journey
- On Writing: A Memoir of the Craft
- What Playwrights Talk about When They Talk About Writing
- Writing in Collaborative Theatre-Making
- Writing the Award-Winning Play
- How to Write Everything
- You Can Write a Play!
On Marketing
- Purple Cow: Transform your Business by Being Remarkable
- Influence: The Psychology of Persuasion
- Building a Story Brand: Clarify Your Message So Customers Will Listen
- Giftology: The Art and Science of Using Gifts to Cut Through The Noise, Increase Referrals, and Strengthen Retention
- The Tipping Point: How Little Things Can Make a Big Difference
- Pre-suasion: A Revolutionary Way To Influence and Persuade
- Contagious: Why Things Catch On
- Buyology: Truth and Lies About Why We Buy
- Made to Stick: Why Some Ideas Survive And Others Die
- The 22 Immutable Laws of Marketing: Violate Them At Your Own Risk!
- Permission Marketing: Turning Strangers into Friends and Friends Into Customers
On Motivation
- How To Be a No Limit Person
- You are a Badass
- The 5 Second Rule
- Failing Up: How To Take Risk, Aim Higher, and Never Stop Learning
- Influence: The Psychology of Persuasion
- Mindset
- War of Art
- White Fragility
- Daring Greatly
For Fun
- Broadway General Manager: Demystifying the Most Important and Least Understood Role in Show Business
- Untold Stories of Broadway (Volume I)
- Finishing the Hat
- Sense of Occasion
- Not My Father’s Son: A Memoir
The post Every book I read during the pandemic. first appeared on Ken Davenport.
Will Swenson is Neil Diamond.
I’ve been a fan of Tony-nominated Will Swenson’s since forever . . . and I’m thrilled he will be forever in blue jeans for us as Neil Diamond.
Tickets are NOW ON SALE to see him in the limited run of A Beautiful Noise: The Neil Diamond Musical at Boston’s Emerson Colonial Theater this summer.
Get your tickets today: abeautifulnoisethemusical.comThe post Will Swenson is Neil Diamond. first appeared on Ken Davenport.
Spoiler alert:
The Sex and The City Sequel was pretty mediocre. And it got bad reviews.
And I watched every single episode.
After the first episode my wife and I were pretty sure it wasn’t for us. We talked about how disappointed we were. Was it just dated? Was it because we were older?
Who knows, but it wasn’t our favorite.
Yet every Thursday, we watched . . . and watched . . . along with millions more . . . commenting each time how we still didn’t think it was for us . . . but we kept on watching.
Why? And what does that have to do with the theater?
We watched for one reason. ONE. And it’s the most important characteristic of all dramas.
We LOVED those characters.
We loved them so much. We couldn’t get enough of them. So, we’d even wade through stuff we didn’t enjoy just to feel closer to them.
Sequels always have that benefit. Prequels too. (Wicked, anyone?) The characters are like your friends from high school who you haven’t seen in years, but can’t wait to have the same fun you had with them years ago.
What’s the takeaway here?
Well, prequels and sequels and spin-offs are still in, by the way. So, if you’re looking for a new idea . . . think about an old idea first. (Look at A Doll’s House Part II or Clybourne Park for some great examples etc.)
Second, if you have an original idea with characters your audience does NOT know, you’ve got to work extra hard to get your audience to fall in love with them and fast. You don’t get a season of episodes. You get about 20 pages. Maybe.
But when you get your audience to love and root for your hero, they’ll stay with you to the very end . . . and even to a mediocre sequel.
If you want great dramaturgical advice on how to get your protagonist loved by your audience, click here to check out the master classes by Jack Viertel and Ken Cerniglia on TheaterMakersStudio.com. These two geniuses will make your script better on one listen. And when your script is better, there’s a better chance it’ll get produced. Check the master classes out here.
The post Why No One Could Stop Watching The Sex and The City Sequel first appeared on Ken Davenport.
The Broadway League has started sharing the Broadway Grosses again.
I’ve had a few requests to bring back the weekly Grosses blog post so here we go with the stats for the 2021-2022 Broadway Season.
Check out the grosses for the week ending in February 27, 2022.
| w/e 2/27/22 | Season-To-Date | | Gross | $23,004,259 | $499,775,353 | | Attendance | 177,701 | 4,026,885 | | % Capacity | 92.08% | 81.09% | | Performances | 145 | 4,156 | | # Shows | 19 | n/a | | # Playing Weeks* | n/a | 595 |
*Includes previews
The post [Broadway Grosses w/e 2/27/2022] Grosses Have Made Their Act II Debut first appeared on Ken Davenport.
Quick reminder!
Today is the day that our fan presale for The Neil Diamond Musical, A Beautiful Noise, begins!
Click here, sign up, and you can get tickets to the world premiere of this new musical when it opens in Boston this summer.
Performances start on June 21st, and you can be one of the first to be there when you click here.
Oh, and when you come see the show, make sure you say hello. I’ll be the guy standing in the back singing along to “Sweet Caroline”.
Get your tickets now.
P.S. Know someone who would want early access to tickets too? Send them HERE to “get on board” now!
The post It’s a Beautiful Presale. first appeared on Ken Davenport.
Over 90% of new musicals have a tryout before Broadway.
And most are out-of-town.
So if you’ve got a new musical, prepare to pack a bag.
There are two primary forms of out-of-town tryouts.
- The Non-Profit Out-Of-Town-Tryout This non-profit “enhancement” tryout was a model born in the 80s. A Producer asked a regional theater to produce a show. That regional said, “Sure, but it’ll cost more money for us to do it.” And the Producer says, “I’ll pay the difference.”
The Regional Theater also asked for ongoing participation in the show in the form of a ongoing royalty.
The Non-Profit route is how Jersey Boys, The Prom and so many other shows came to Broadway.
- The Commercial Tryout These occur in big cities like Boston, DC, Chicago or San Fran. The Producer presents the show at one of the big touring houses and takes all the risk.
These are more expensive.
But are they?
You take more risk with a Commercial Tryout. The costs can be double a Non-Profit tryout.
BUT, when you take all the risk, you can see some profit. That’s right, at Commercial Tryouts, you keep the ticket sales. (If there are ticket sales, that is – and there’s that risk!)
See, you’re not getting a percentage of ticket sales at Non-Profits around the country. (Although I’d always ask for some share of the money above their breakeven projections.)
And, here’s the big one . . . at a Commercial Tryout, you are NOT paying that royalty.
So you pay more up front . . . like a lot more . . . but less in the long term . . . a lot less.
That’s why the biggest question you should ask yourself when going out of town is . . . do I want to pay more up front or more over the long haul.
Most shows choose the Non-Profit route. It’s less risky, less in the spotlight, has the air of importance because it’s a big regional theater, etc.
But I’m predicting this is going to change in the future. Because Non-Profits tryout have gotten more expensive in the last several years, more Producers are starting to ask themselves, “Am I better off spending more now to save more later?”
It’s a question I ask myself all the time. Especially since I have both types of tryouts coming THIS year.
I’ll let you know how they all go twelve months from now. Just keep reading.
So now . . . here’s the question . . . If you have a musical, and you want to try it out, what would you do?
And if you want to learn more about enhancement deals, what they are, how to find them and how to negotiate them, we have a webinar explaining it all in The TheaterMakers Studio, along with webinars and courses on all TheaterMaking subjects from social media marketing to raising money.
If you need more info on what The TheaterMakers Studio is and how it can help you, click here and set up a chat with a member of my team. They can explain how it works and how it can help you make more theater. Click here.
Happy packing.
The post Which would you do? A Commercial Out Of Town or a Non-Profit? first appeared on Ken Davenport.
The goal of a lot of members of The TheaterMakers Studio and our NextStage program is to quit their day job and spend ALL their time making theater.
Because if you had more time, you’d make more theater, and you’d make better theater.
And the more theater you make, the higher the chance that you’ll break through and earn your living full time from the theater.
In the meantime, we have to find ways to make a living AND make theater. And that’s not easy in a traditional way.
Since so many people have asked for help in figuring out how to find more time but still pay their bills while pursuing their theatermakin’ dreams, I thought I’d let you know about something coming up from my former Marketing Director, Monica Hammond. (You may know her from The TheaterMakers Studio.)
Monica, built not one but TWO six-figure side businesses in her basement, WHILE she was working for me.
And then . . . she quit.
Well, technically, she formed her own company, and I hired that company!
She’s doing a webinar this WEDNESDAY, 2/9 at 7:30 PM to teach her method for how TheaterMakers with a skill can help others, and make money doing it.
Click here to learn more and register for it.
And I hope it gets you the time you need to make more theater!
And tell Monica I said hi.
The post How to create a side-hustle to get you more time for TheaterMaking. first appeared on Ken Davenport.
It happened.
We have the first NFT musical.
Last week, The Wrong Man, a show on its way to Broadway, announced that it was for sale via NFT. You can read about it here.
It was bound to happen. In fact, when NFTs first hit the scene, I got about a gazillion emails asking me when my first NFT was going to be released.
My answer was simple.
I will have an NFT.
But not for a while.
To answer the question in the subject line of this blog? Yes, NFTs WILL be a thing on Broadway. No question.
Just not now.
In case you don’t know what an NFT is, don’t be embarrassed. Most people don’t. And most Broadway audience members REALLY don’t.
Which is why NFT adoption on Broadway isn’t going to happen overnight.
(It stands for non-fungible token – and you can read what that is here.
Remember, the average age of a Broadway ticket buyer is 45 years old. They don’t have NFT wallets. Most don’t have the crypto to buy them. Or even know where to get the dang things.
Because our audience is older, it takes about 5 years for the latest tech to trickle down. That’s why the #1 social media platform for the theater audience is NOT TikTok . . . but Facebook. (I know, many of you are saying, “Facebook? Oh that is so 2015.” Well, not for our audience it isn’t!
So why is Wrong Man making a musical NFT?
Remember – Wrong Man is written by a songwriter named Russ Golan. His audience is much younger. And, well, let’s admit it. Much cooler.
They get tech before we do.
Which is why they will get NFTs before we do.
And why I expect The Wrong Man will move some NFTs for sure.
Broadway will get there. Just give it some time, and don’t think you NEED to have an NFT for your show yesterday in order to keep up.. (And if you’re interested in the NFT space and theater, then you should follow Randi Zuckerberg on Instagram, because I believe she’s going to lead the movement for NFTs and tech on Broadway.)
To market your show successfully, keep up with what OUR audience wants, not what other audiences want.
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If you’re looking for more reliable ways to market your show or yourself, rather than the latest tech toy, click here to see if you are eligible for a mastermind we have to discuss this very subject every week.
The post Will NFTs be a Thing on Broadway? first appeared on Ken Davenport.
Sometimes you make something and people use it for something else.
Listerine, the mouthwash, was a surgical antiseptic, before you gargled with it.
Play-doh? That was a wallpaper cleaner before your toddler played with it.
And, I wrote my best-seller, Broadway Investing 101, for people curious about investing in Broadway shows. (And for those people who were doing it, but wanted to know a wee bit more about it!)
In the last month alone, I had three people tell me that the book not only told what they wanted to know about investing . . . but that it helped them raise money for their own shows!
It helped Producers, TheaterMakers and Investors! And you don’t have to gargle with surgical antiseptic to learn something!
It taught them understand how the process works, which made them more comfortable pitching their own shows.
As you know, I listen to my audience.
And if this was one of the benefits of the book then, I asked myself, what else can I do with this subject?
Then I remembered . . . back before the pandemic, I taught a very popular seminar called Broadway Investing 101 (NY Mag even did an article about it).
And I haven’t done it in years. Maybe . . . I should do it again.
So we’re doing it again.
But, yep, yep, it’s virtual this time.
On Wednesday, February 2nd at 7 PM, I’m leading a live workshop called Broadway Investing: Everything You Wanted To Know About Investing for Investors or Those Looking For Investors.
You’ll learn:
- The myths of Broadway Investing
- How to get started investing (who to talk to, how much you need, and more)
- How to mitigate the risks of investing for you (and your investors)
- The perks you should get for investing (and what you should offer to investors)
- The questions you should ask (that most investors don’t)
Click here to register. And just for showing up, all attendees will get a copy of my book, Broadway Investing 101. (Hard copy with a personal note from me or the e-version – up to you.)
Sign up here. And we’ll see you on the 2nd.
And here’s to making things that end up having multiple purposes!
The post Everything you wanted to know about Broadway Investing first appeared on Ken Davenport.
When I was twenty, I was afraid to meet new people.
When I was thirty, I realized meeting new people was the way to learn new things.
When I was forty, I finally got up the courage to make it a part of my daily practice.
And boy did my life change after that.
And now, my NEW daily practice is that when I meet someone new who inspires or educates me, I share it with you.
Enter Jessica Blank, Juilliard and NYU Tisch Grad Film professor, not to mention writer of TV, film, and the theater (she created The Exonerated, a docu-drama that still gives me chills to this day.)
After just a couple convos with Jessica, I interrupted her insights and asked, “Can you write something for my audience?”
Thankfully, her mission of educating and inspiring TheaterMakers is as strong of mine.
So, without further ado, please enjoy this guest article by Jessica Blank (and make sure you read to the end to hear how Jessica can help you specifically):
Art Vs Craft by Jessica Blank Let’s talk about this word: art. There’s a lot of mystery around it. A lot of romance. And a lot of stuff we project onto it:
That it’s only created by geniuses. That it’s dependent on another mysterious thing called ‘inspiration.’ That it requires “talent.” That it comes out fully formed, already brilliant. That it’s channeled from another plane, through processes we don’t have control over, that we’re either born with access to or not.
None of that is true.
As a creator, coach, and teacher, I deal in story. So when I talk about “art” that’s the pocket of artmaking that I’m talking about. Scripts, novels, movies, TV series, plays–where you suspend disbelief, go on a journey with a character and come out the other side moved, transformed and changed.
It turns out, when you’re working with story, there’s a tangible, concrete thing that causes the “moved, transformed and changed” part: universal story structure. Anyone out there working in story is working with this structure, whether intentionally or intuitively.
The components of it can be defined, they can be practiced, and they can be learned.
That’s craft.
The “art” part—your particular vision, passion, spirit, and emotional life, and how you translate it into your characters and their journey–that’s a different matter. That takes deep inner excavation, it takes heart, and it takes courage. The most impactful stories are the ones that unify art and craft.
But when we talk about creative work, we put the art part up on a pedestal, and we totally neglect the craft. We act like it’s this mysterious “inspiration” thing that makes the work powerful. When really, it’s the craft of storytelling itself that carries the magic.
Inspiration, passion, emotion, synchronicity, resonance–all of these SHOW UP when you create a container for them and work your butt off honing, refining and sculpting that container.
Think about nature: the structure of a cell isn’t life itself. But that structure has to exist for life to move through. All art forms have their own inherent structures–music has scales and chord patterns, visual art has composition, color, and geometry–and character-based story has universal story structure.
If you dedicate yourself to learning to work skillfully with these structures, the art will show up.
This is the reverse of what we’re usually taught. We’re taught that the inspiration, the ineffable magic, the genius, has to come first, and somehow that will create the conditions where structure will just naturally emerge.
And then we beat ourselves up wondering why we aren’t “talented” enough to just immediately and spontaneously create that structure.
We’ve got the whole thing backwards.
We invite the art by creating the craft.
As storytellers, our job is to look at the narrative structure that is already patterning itself in all the story, all around us–and learn to work with that. To trust that this pattern has shown up in all human cultures all over the world since the beginning of time for a reason. Because it supports life. Because it invites art. Because it works.
The invitation to magic is craft.
And it can be learned.
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I hope you enjoyed this guest article. I’ll bring you some others if you’d like?
And hey – if you want to learn more from Jessica? Check out her course on Story Structure: The Secret to Radically Impactful Storytelling. Entirely online. And entirely transformational. I should know. I took it.
She only opens it up a few times a year, and she JUST closed it last week. But because she’s a friend of our TheaterMakin’ court, I asked to reopen it JUST for my readers.
So, click here. FYI, this is only open until THIS SUNDAY, January, 23rd. And then, the offer goes away.
The post [GUEST BLOG] A Juilliard professor defines “Art” and NOT the way you think. first appeared on Ken Davenport.
Every January a handful of previously “hands-off” works become public domain.
For TheaterMakers, this means FREE ideas.
No hassle of finding out if you can get the rights. No fees. No agreements. No lawyers.
The whole purpose of copyright is to encourage creativity. Copyright (and it’s expiration) enables artists to build on the past through the re-imagining of old works.
Take it from the Supreme Court: “[Copyright] is intended to motivate the creative activity of authors and inventors by the provision of special reward, and to allow the public access to the products of their genius after the limited period of exclusive control has expired.”
There you have it. Public domain is practically an invitation to make more theater.
Last year several people took advantage of this genius when “The Great Gatsby” (1925) entered the public domain. There was a prequel called “Nick” and, of course, a Zombie version: The Great Gatsby Undead. Florence Welch from Florence and the Machine is writing a musical of the book.
Mining works that have stood the test of time is a great way to find inspiration for the works of tomorrow. What books, movies, or music make you want to make more theater?
Here is the public domain class of 2022:
BOOKS * A.A. Milne, Winnie-the-Pooh * Ernest Hemingway, The Sun Also Rises * Dorothy Parker, Enough Rope (her first collection of poems) * Langston Hughes, The Weary Blues * T. E. Lawrence, The Seven Pillars of Wisdom (later adapted into the film Lawrence of Arabia) * Felix Salten, Bambi, A Life in the Woods * Kahlil Gibran, Sand and Foam * Agatha Christie, The Murder of Roger Ackroyd * Edna Ferber, Show Boat * William Faulkner, Soldiers’ Pay (his first novel) * Willa Cather, My Mortal Enemy * D. H. Lawrence, The Plumed Serpent * H. L. Mencken, Notes on Democracy
MOVIES * For Heaven’s Sake * Battling Butler * The Son of the Sheik * The Temptress (starring Greta Garbo) * Moana (docufiction filmed in Samoa) * Faust * So This Is Paris (based on the play Le Réveillon) * Don Juan (first feature-length film to use the Vitaphone sound system) * The Cohens and Kellys * The Winning of Barbara Worth
MUSIC * “Bye Bye Black Bird” (Ray Henderson, Mort Dixon) * “Snag It” (Joseph ‘King’ Oliver) * “Gentlemen Prefer Blondes” (Irving Berlin) * “Black Bottom Stomp” (Ferd ‘Jelly Roll’ Morton) * “Someone To Watch Over Me” (George Gershwin, Ira Gershwin) * “Nessun Dorma” from Turandot (Giacomo Puccini, Franco Alfano, Giusseppe Adami, Renato Simoni) * “Are You Lonesome To-Night” (Roy Turk, Lou Handman) * “When the Red, Red Robin Comes Bob, Bob, Bobbin’ Along” * “Ke Kali Nei Au” (“Waiting For Thee”), in 1958 renamed Hawaiian Wedding Songwith new lyrics (English) by Hoffman & Manning * “Cossack Love Song” (Otto Harbach, Oscar Hammerstein II, George Gershwin, Herbert Stothart)
Over the next decade we will see more classics in the public domain, including Disney’s first Mickey Mouse short, Steamboat Willie (2024), Universal’s Dracula and Frankenstein (2027), and King Kong (2029). Here’s a list of what became public domain last year.
BOOKS * F. Scott Fitzgerald, The Great Gatsby * Virginia Woolf, Mrs. Dalloway * Ernest Hemingway, In Our Time * Franz Kafka, The Trial (in German) * Alain Locke, The New Negro * Agatha Christie, The Secret of Chimneys * Edith Wharton, The Writing of Fiction * Etsu Inagaki Sugimoto, A Daughter of the Samurai
MOVIES * Lovers in Quarantine * Go West * The Merry Widow * Harold Lloyd’s The Freshman * Stella Dallas * His People * Pretty Ladies * The Unholy Three
MUSIC * “Always,” by Irving Berlin * “Army Camp Harmony Blues,” by Gertrude “Ma” Rainey * “Jig Walk” and “With You,” by Duke Ellington * “Manhattan,” by Lorenz Hart and Richard Rodgers * Works by “Jelly Roll” Morton, including “Shreveport Stomp” and “Milenberg Joys” * Works by W.C. Handy, including “Friendless Blues”, “Bright Star of Hope” * Works by Duke Ellington, including “Jig Walk” and “With You” * Works by “Fats” Waller, including “Anybody Here Want To Try My Cabbage” (with Andy Razaf), “Ball and Chain Blues” and “Campmeetin’ Stomp”
Want to know how we got our current copyright terms? Or why the public domain matters?
The post What’s Entering The Public Domain in 2022? first appeared on Ken Davenport.
A week ago I got an email from Michael Brennan. He was asking me my opinion on a director for his show, Citizen Ruth. It was a show that he had been working on for years, and he was doing what passionate TheaterMakers like himself do . . . keep going and going and going.
And then, two days ago, at the age of 47, Michael died.
Michael and I have known each other a long time. From our touring days.
But we’d only recently reconnected through a friend and fellow TheaterMaker. (Don’t theater people make the best connectors?)
In fact, in February of 2020 (!), we all met in Las Vegas to mastermind on how we could make stuff together. And, we came this close to being in Saudi Arabia RIGHT NOW doing exactly that.
I was planning on working with Michael many times in the future.
And now he’s gone.
To say it was a shock is an understatement. He signed off his last email to me by saying, “See you soooooooooooooon!!!”
And I was like, “Of course you will!”
Michael’s passion for making theater was evident in every email, every conversation, and every NOTE that he composed or arranged.
What’s a tragedy, is that we will never have a chance to hear what he would have done.
Rest in peace, Michael.
And I vow, as I know every TheaterMaker reading this vows, to keep going and going and going, just like you were.
I also know that if he were here right now, he’d say, “Ken! Knock it off. Stop writing this blog. Get back to making theater. That’s what’s going to make me happiest. Go!”
So I will.
Rest in peace, Michael Brennan.
The post A TheaterMaker To The Very Unfortunate and Very Early End. first appeared on Ken Davenport.
In case you’ve been too busy playing “Red Light Green Light”, The Squid Game recently became the most-watched show on Netflix. It took over the top spot from Bridgerton and has now amassed over 140mm (!) views.
(Hmmm, Bridgerton inspired a TikTok musical – anyone working on a Squid Game tuner out there? Cuz that’d be creepy if you were.)
What made The Squid Game so popular? Why did I stay up until 3 AM binge-watching the last five episodes so I could see how it ends?
It’s a killer show (pun intended) with a whole lot that we can learn from as we create our own shows . . . even if ours are on a stage instead of a screen.
But there were three big takeaways for me that I’m going to keep in the front of my mind from now on, and you should too:
1. You don’t get stakes bigger than The Squid Game’s. Life or Death.
That’s what is at stake in the show. In every episode. Many, many, many times.
Your show may not have a character facing a game of marbles to the death. But whatever they are facing has to FEEL like life or death.
After I finish a first draft of a script I’m working on, I always re-read it with one intention. Raising the stakes. Do the same with your script and say to yourself, “What can I add to the hero to make their situation feel MORE dire?”
Or just add that game of marbles to the death.
2. The Squid Game has TWO Ticking Clocks. Having your hero face a “dead”-line (pun intended again) always amps up the excitement of the ride for the audience. When you know they have to solve their problem before a day or time or they “lose”, the pressure heats up big time.
Right at the top of The Squid Game’s series, you know how many games there are going to be. Six. And the countdown begins.
And on top of that countdown, each game in each episode . . . has a countdown clock in it.
Tick, tick, tick.
And no, that’s not the sound of the timer. That’s the sound of your audience’s heart beating faster and faster as they watch your hero try to achieve their objective before the time runs out! Ahhhh!!!!
3. The Hero’s want can’t be more clear. Even though it changes. Your hero has to want something. Period. If they don’t, your audience will want their money back.
In The Squid Game, the Hero (and ALL the contestants) want one thing . . . that big ball of money.
And then, very quickly, that want changes. They want to survive (see #1 on this list), which GETS them that money.
As an audience member, you know right away the journey they are on. And when you know where the hero’s finish line is, it’s much easier to follow them on their race. And root for them.
Those are just three of the brilliant elements of TSG that got so much of the world watching.
And I could go on.
It features a band of misfits, a game arc, a major twist you don’t see coming, and more that make it stand out from all those other Netflix shows that you’re not watching.
Oh, and you know my other favorite tidbit about The Squid Game? The multi-hyphenate Writer/Director, Hwang Dong-hyuk, wrote it way back in 2008. 13 years ago. And when he showed it to people? No one bought it. They didn’t get it.
It took him TEN years to sell it, and another two for it to become a sensation and change his life forever.
So if your show is taking a bit to get off the ground, don’t fret. It could still turn into the hottest show on the planet someday . . . if you keep at it.
Now, no one wants to wait that long. Do you?
So ask yourself, what can you do today to speed that up?
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If you want strategies on how to speed up your development, click here to see if you qualify for the unique group of TheaterMakers we’re putting together in 2022. Click here.
The post 3 Things To Learn From The Squid Game. first appeared on Ken Davenport.
I get asked a lot of questions. But there’s one question I get asked All. Of. The. Time.
“What does a Producer actually do?”
And although I do a lot of different things, I’ve narrowed it down to one simple answer.
I get people in a room. No matter what that room looks like.
And for me, there is nothing more exciting than putting passionate people in a room to see what happens next. Because something awesome always does.
That’s why I started a FREE Facebook group for TheaterMakers.
Writers, Directors, Actors, Designers, and more . . . if you want to make theater, on Broadway, Off Broadway, in your hometown or at your high school, this Facebook group is for you.
You can meet future collaborators, get best practices on marketing your shows, and lots more.
And over 1,900 TheaterMakers have already joined!
And boy oh boy are they a lively bunch. Here’s what’s happening in there RIGHT NOW. . .
If you’re a TheaterMaker or TheaterFan, join. Meet future collaborators. Get advice from peers on how to create a demo for cheap. Find out the best practices for streaming readings.
But join . . . and watch how it helps you do whatever you want to do in the theater.
I’ll see you in the group.
The post The one place that answers all of your questions. first appeared on Ken Davenport.
One year ago, Ryan Scott Oliver took us all to school.
In our “Take Charge of Your ’21” Challenge, the Award-winning and produced-everywhere Composer-Lyricist, taught us his formula for eliminating writer’s block.
His presentation was the most popular of the week.
This year, we’re not doing a challenge.
But because Ryan’s presentation helped so many of you, we asked him if he’d do something exclusive for us this year . . .
He did not say yes.
He said, “Hell, yes!”
See, Ryan shares our mission of helping TheaterMakers to more theater and better theater. That’s why he’s an adjunct faculty member at Pace University and the Artistic Director of The Pasadena Musical Theatre Program.
And that’s why he created a free, exclusive 3-part video series on writing musicals only for people on this list.
In this quick three-part series, Ryan addresses:
- The three most important things involved in writing a musical.
- Learn how to find solid collaborators, avoid conflict, and maximize your team’s success.
- Writing an interesting and hard-hitting score for your musical – and avoiding becoming just another tuneless flop.
- Giving your stories and book structures a solid “check-up,” and how to effectively develop your show toward production.
And he does it, in his usual, inspirational, “let’s kick butt” style. So be prepared to end this series ready to jump back into your writing, with better tools to create a better musical.
I’d bet money that if you watch these videos, you’ll finish your show (or that rewrite you know you need to do), faster than if you do NOT watch these videos.
Here’s the catch – I’m mindful of people’s inboxes in 2022. So, to get the videos, you have to raise your hand for them. We’re only going to send them to people who have said, “YES I WANT THEM.”
You do that, by clicking this link.
YES, SEND ME RSO IN MY INBOX!
And starting on Tuesday, January 11th, you’ll get three, quick, easy-to-digest and actionable ways on how to write a better musical.
Click here and prepare to get schooled by Ryan Scott Oliver. Again!
The post Get ready, he’s going to do it again. first appeared on Ken Davenport.