Earlier this month, the Box Office of the Philadelphia Orchestra and the Kimmel Center became tied up in a cyber attack - not unlike the attack that tied up the Met’s box office for weeks - offering everyone a reminder that cyber security vulnerabilities should be examined by institutions of all s
Recent reporting from the UK has many, anecdotally at least, convinced that post-pandemic shutdown audiences are significantly worse behaved than they were before the pandemic.
In both the US and the UK government funding decisions have shifted the way that many companies are able to go about their business - in England, the massive shift in Arts Council England funding has left many major stages looking to fill huge gaps in their books.
Audiences are buying tickets closer to the actual show date - but that doesn’t necessarily mean they’re making the decision to see the show late.
With more frequency, we are starting to see alliances of theaters come together across different regions to create a stronger entity.
A new labor agreement in the UK, multiple high profile departures, and the end of the streaming truce between AEA and SAG-AFTRA are the highlights of this week’s Industry Pro newsletter, which indicates an industry that is in the midst of roaring back and finding its footing.
how are things going regionally? This week, Cara Joy David takes a look at what bumpy waters might be ahead for these large regional companies.
Early reports indicate that last week was a good one for Box Offices, and here’s a reminder that you can get up to date gross information on BroadwayWorld when the League releases their data.
As the year draws to a close, Cara Joy David offers us a preview of some of the decisions facing the Administration Committee of the Tony Awards.
Amid continued economic uncertainty, a wave of closing notices have hit Broadway - but why aren’t audiences coming? In London, in response to the rising cost of living, the government has announced a plan for the cultural equivalent of a food bank - providing free tickets to cultural institutions
New research from IMPACTS highlights the importance of mission in soliciting both donations and membership renewals, the Met works to recover from a cyber attack, and as Cara Joy David reports, Roundabout will be dark on Broadway this Spring.
Nothing has been more exciting than our announcement last week of our 20th Anniversary Celebration set to take place on May 21, 2023 at Sony Hall in the theatre district.
With many theatres getting into the swing of things with their holiday offerings, the end of 2022 is now in sight for many companies.
As many theatres get into the swing of their holiday shows and end of year giving campaigns, some good signs for the New York theater industry as tourism continues to rebound from the pandemic.
In the US, programs designed to help businesses and producers make it through the pandemic have been winding down or coming to an end over the last fiscal year - but audiences and funding aren’t yet back to their pre-pandemic levels, leaving leaders in a tough position to figure out how to get the
Ask anyone working in arts administration right now, and they’ll tell you that the challenges they are facing are numerous and unprecedented.
For many working in the entertainment industry, it can often feel like we’re living in a different economy than everyone else - the hours maintained have long been different from the rest of the working world, the day to day tasks, the workplace cultures.
AEA featured prominently in industry news last week - voicing support for a casino project in Times Square, as the subject of a defamation suit from producer Garth Drabinsky, and their efforts to organize the dancers at Star Garden.
Questions of access continue to be discussed after an incident at Hadestown last week, ultimately highlighting that there is a deep need for more education around the topic for everyone involved.
As theatres work to return to the new normal, we continue to find new ways in which the industry needs to find improvements on the way that they treat those that are creating the art - we have arrived at the “rubber meets the road” moment for every theatre that issued statements about their idea
