Producers Incentivize Buying Tickets Late, Despite Desiring Early Purchases

This week, I’m going to answer questions I received in the past few weeks.

Late Ticket Buyers

My column a couple of weeks ago mentioned a change in ticket-buying habits. Post-reopening Broadway producers have said people buying tickets later. The question posed to me was: "Why?"

Part of it is related to post-reopening buying habits more generally. Studies in 2020 showed people planned to buy airline tickets later, for example. But, as airline prices skyrocketed, experts emphasized that buying early was wise. Broadway producers cannot state the same. In fact, Broadway producers have disincentivized early buying. And I’m not just talking about TKTS existing—it’s way more than that. There are certainly instances when, after exciting casting is announced or rave reviews come out, show prices increase. But we also see how premium seat prices drop right before performance dates. So, as long as you think there will be tickets in the orchestra available close to the performance date, it doesn’t pay to buy early. People can spend hundreds of dollars less per ticket if they buy last minute. Airfare is typically the opposite. Producers also run ads that say: “Additional tickets now on sale!” No one knows what this means when it’s not accompanied by a limited run extension, but again, it seems to indicate to the buying public that instead of needing to buy early, if you just wait, better tickets might become available.

Interestingly, early studies of regional theater buying habits do not show a move to later single-ticket purchases. This could of course be because regional theater is not as dependent on travel as Broadway is. If you’re planning trips later, you’re buying tickets later. But it could also be because, aside from rush tickets, buying tickets late to a regional theater does not mean you pay less.

Producers want people to buy earlier, so they can plan and budget better. They also want to sell tickets for the maximum amount. There is a tension there. 

Halloween Spectaculars

We’ve all seen the Halloween-related show roundups this month. And I had someone ask me if New York has an annual Halloween show. Like A Christmas Carol but for the candy holiday.

The answer is that I don’t think so. The Bowery Boys do a spooky tales show at Joe’s Pub annually. There are some other one-offs. Outside of NYC, there are amazing annual jack-o’-lantern events. (More have sprung up in recent years. I’m taking my nephews to one in Pomona, NY called Pumpkin World. Can’t miss with live pumpkin carvings and music.) However, we don’t have an annual theater show in NYC that is a mainstream attraction.

When Hell House—directed by now-Tony winner Alex Timbers with dramaturgy by one of my favorite Times arts writers, Alexis Soloski—was produced at St. Ann’s Warehouse in 2006, it seemed like that might be the one to come back. It got a ton of press. It had a built-in hook, as it was from Pastor Keenan Roberts' Hell House kits. People liked it. But alas. It closed its very limited engagement right before Halloween and did not return in 2007. I suspect the cost-benefit analysis didn't warrant it being annual.  

Addendum

With everything going on, I thought of writing a more serious column. I got quotes from actors with the aim of doing just that. Then I sat down to write it and I couldn’t do it. Too little sleep, too much emotion. I do want to say though—almost nothing makes me happier than the theater. It’s an impossibly horrible time. If you can escape it, even for a couple of hours in the dark with strangers, it might be good for your mental health.   

Industry Trends Weekly is a short column that runs in the weekly Industry Pro Newsletter. To read past columns and subscribe https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2263077&regid=&articlelink=https%3A%2F%2Fwww.broadwayworld.com%2Ftopic%2FIndustry-Pro?utm_source=BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1. If you have an idea for the column, you can reach the author at cara@broadwayworld.com.

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