Industry Pro Newsletter: 96% of US Counties Received Pandemic Arts Funds, Broadway Audiences Getting More Diverse

Before we dive in, a quick programming note - this will be our last Industry newsletter of the year. Cheers to all of you for reading along with us this year, and we look forward to continuing to support the best practices of the wider industry in 2024! A few exciting data points to close out the year - the first being that Broadway audiences this past season were younger and more diverse than in seasons past. This is a bright spot in a season that saw a bumpy box office. A new study from SMU DataArts also looked at the amount of funding that went out to arts and culture organizations during the pandemic and the impact of the unprecedented governmental support.

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Employment Opportunity

Finance Manager - Brooklyn Academy of Music

Reporting to the Assistant Controller, this position supervises a staff of four and plays a key role in managing accounting functions for the organization. The responsible areas include but are not limited to: accounts payable, accounts receivable, banking, cash management, investment accounting, fixed asset accounting and insurance. Ensuring accuracy and integrity of timely financial accounting and reporting in the managing areas in compliance with Generally Accepted Accounting Principles throughout the accounting calendar.

Industry Trends

NPR: Broadway Audiences Are Getting a Little Bit Younger and More Diverse

Broadway is experiencing a positive shift in demographics, with a younger and more diverse audience attending shows. This change is attributed to efforts in creating inclusive and accessible productions, potentially influencing the types of stories that gain popularity on Broadway.

Broadway/New York

Industry Trends Weekly: SHUCKED Producer Mike Bosner on Saying Goodbye to Broadway by Cara Joy David

Late last season a musical came to Broadway from an unusual tryout city with a marketing campaign tied to a fruit. That same musical will leave Broadway in a month, though seemingly not because of either of the oddities I just mentioned.

“I don't question Salt Lake City for a second, I don't question our marketing for a second,” said Shucked lead producer Mike Bosner. “I’ve tried to unlock the reason why the show hasn't taken off and I don't know what that is. If I knew, I would have fixed it. No matter how many people are seeing the show and loving it, the fact that they can't really describe it to other people when they ask what it is, that feels like the sticking point. The latitude for audience members to just take a leap and go on ‘my friend says it's good, I'll go see it’ isn't quite good enough.”

When Bosner says the show “hasn’t taken off,” he means it hasn’t become a giant hit, grossing close to or over $1 million a week. But Shucked doesn’t have super high running costs and has made some money many of its weeks on Broadway—in the last ten weeks its average gross was $746,812—which is more than a lot of shows can say. And more than I necessarily would have predicted of this show before it started.

For industry insiders, Shucked came to Broadway with some baggage. Librettist Robert Horn and songwriters Shane McAnally and Brandy Clark first worked together on a Hee Haw-inspired musical, Moonshine, which flopped when it had its world premiere in 2015. Shucked was billed as a new musical, unaffiliated with the last one—and Bosner stands by that—but a few songs are the same and there are other similarities (character names, a similar setting, etc.). That means some were wary.

Then the show chose to tryout at the Pioneer Theatre Company in Salt Lake City, away from high-profile critics. The venue seemed ideal to the team—it cost a lot less than a tryout at a major regional and let them develop the work in a quieter setting. The industry had doubts about a musical from Utah. The majority of these naysayers were quited when the show opened in New York. Shucked came to Broadway with a mystery component that a tryout at La Jolla would not have allowed it. And, additionally, it received mostly positive reviews on Broadway, so it isn’t the type of show you can look at and say “if only they had changed the show in X way” about.

Most of the public of course knew none of this—they knew corn (classified by botanists as a fruit). The entire show was staked on the appeal of corn. For months, even I had no idea what the show was about beyond corn. People saw corn on posters, on TV, on social media. Shucked began to have name recognition, something virtually unheard of for an original musical without stars.

Potential audience members also saw ads promoting low-cost previews, an old Broadway favorite that had fallen out of vogue in recent decades because of high weekly running costs. Shucked's utilization of them helped the Nederlander Theatre be packed all during previews. (Full houses benefit all shows, but are especially advantageous to comedies.)

“I will try to incorporate something similar on every show I do from here on out,” Bosner said. “Because again, it comes down to strategically betting on your show. You're betting on the word of mouth of the show. We wanted to make the show the star.”

That was the idea behind the corn—you get interest up, some people go, they don’t expect much because they have no idea what they are walking into, they are pleasantly surprised, they tell other people. Shucked changed advertising agencies during performances, but the corn remained.

“That low expectation when you come in and the show over delivers on what you think it’s going to be has helped our growth during our run,” Bosner said. Story continues, click here to read more.

Kristin Caskey Elected as Chair of the Board at The Broadway League

Renowned Broadway producer Kristin Caskey has been elected as the Chair of the Board at The Broadway League, a pivotal role in steering the direction of Broadway. With an impressive track record in theater production, Caskey's leadership is expected to bring fresh insights to the challenges and opportunities facing the Broadway industry.

The Broadway League Reveals Recipients For the 2023 League Leadership Awards

The Broadway League has unveiled the distinguished recipients of the 2023 League Leadership Awards. These awards commend individuals whose exceptional efforts have significantly impacted and enriched the landscape of Broadway. The recognition reflects their outstanding leadership, creativity, and dedication to advancing the vibrancy and success of Broadway.

Regional

NPR: During the Pandemic, $53 Billion Went to Arts Organizations

What does it mean for the future sustainability of the arts after an unparalleled increase in arts funding during the pandemic? According to SMU DataArts, the funds went to 96% of counties in the United States, and was equivalent to 24 years worth of funding. Now that these funds are no longer available, and the audience recovery is slower than hoped, what does this mean for companies who were able to keep their staff during the pandemic, but are struggling to make ends meet now?

International

The Stage: Dramaturgs Criminally Undervalued in Terms of Pay, Survey Reveals

A survey reveals that dramaturgs, crucial contributors to theater creativity, are significantly undervalued in terms of pay. The findings shed light on the need for recognizing the importance of dramaturgs and addressing the pay disparities within the theater industry.

The New York Times: Indhu Rubasingham Named National Theater’s New Artistic Director

Indhu Rubasingham has been appointed as the National Theater's new Artistic Director. A distinguished figure in the theater world, her leadership is anticipated to bring fresh perspectives to one of the UK's leading cultural institutions, shaping its artistic vision for the future.

Missed our last few newsletters?

December 11, 2023 - Lookingglass Alice Heads to PBS, Actors Seek Higher Pay in Australia

The transformation continues to be global - after US based writers and actors won concessions from the film industry, stage performers in Australia are looking to increase their own pay. In response to funding changes at the government level, the English National Opera is moving out of London and heading to Manchester. And PBS is bringing a regional production to national airwaves as they get set to premiere Lookingglass Alice. As 2023 comes to a close, it has been a year of transformation for the entertainment industry, but in a way that it feels like we are just on the precipice of the change that is coming - and we’ll be here in 2024 with all the industry coverage you’re looking for each Monday.

December 4, 2023 - More Unruly Audiences in London, TheatreWorks Silicon Valley Beats Their Emergency Funding Goal

This week, Cara Joy David dives into the eligibility decision surrounding Gutenberg!, and some good news on the regional front - success in one of the emergency fundraising campaigns at TheatreWorks Silicon Valley. Not only were they able to save their season, but exceeded their goal in a way that makes future planning possible and the full staff has been retained. And don’t forget - the BroadwayWorld Regional Awards are open for voting!

November 27, 2023 - Hal Luftig Company Reorg Plan Approved by Courts, Harry Potter Heads to High School

Happy Opening to everyone who opened a holiday show over the weekend! For those that open this week: break a leg! This week in the newsletter, we’ve got a look at how high schools can win a chance to be the first to produce Harry Potter and the Cursed Child, Cara Joy David takes us through the recent ruling in the Hal Luftig Company bankruptcy, and the Wall Street Journal takes a look at how some regional theatres are thriving in a challenging environment.

BroadwayWorld Resources

BroadwayWorld Stage Mag - A Fully Interactive Show Program

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As audiences get set to return to in-person performances, and as your company works to market your own return to the stage, make sure you've got your upcoming shows in our regional events calendars. Listings are free of charge, with boosting options available. Get your show listed now

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