Industry Pro Newsletter: Public Declines to Recognize Union

As the unionization wave continues to move through theatrical workers across the country, two developments last week highlighted the movement: The Public Theatre declined to voluntarily recognize the unionization effort of their workers, and workers at The Goodman Theatre sought their own union affiliation. The decision at the Public sets up a formal vote of the workers. Elsewhere, The National Theatre is planning a major renovation, the Shaw Festival announced that they had a very down year, and Lookingglass will resume production activities this fall.

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Industry Trends

The Public Theater Declines to Recognize Workers' Petition to Unionize

The Public Theater has declined to recognize a petition from its workers seeking union representation. Despite efforts from employees to unionize, The Public Theater has opted not to acknowledge their request, citing a desire to maintain its current labor structure. The decision has sparked disappointment and frustration among workers, who continue to advocate for their rights and fair treatment.

After this newsletter went to press, a statement was provided by The Public: "The Public has been working with theatrical unions for decades, including IATSE in our production department, and we are currently engaged in robust conversations with IATSE representatives."

Chicago's Goodman Theatre Workers Seek Union Representation with IATSE Local 2

Workers at Chicago's Goodman Theatre are seeking union representation with IATSE Local 2 to address labor issues and improve working conditions. Employees express concerns about job security, wages, and benefits, prompting them to pursue unionization as a means of advocating for their rights. The decision to seek union representation reflects a broader trend of labor organizing within the theater industry, as workers across the country mobilize to address systemic issues and secure better protections.

Broadway/New York

Industry Trends Weekly: Lola Tung Leads to Standing-Room-Only Crowds at HADESTOWN by Cara Joy David

In 2001, I read a New York Post review of Seussical in which longtime critic Clive Barnes expressed shock at the cost of a ticket. I found it outrageous that someone writing about theater would have lost such sight of the industry landscape. Throughout my career, I’ve tried to stay attuned to the ticket-buying experience. I walk through the process online at the major ticket sources. I’ll stop by rush lines or in-person lotteries to talk to folks. And, last week, I woke up early a few days to talk to people on/participate in the standing-room-only line for Hadestown.

Hadestown, which welcomed Lola Tung and Ani DiFranco to the cast on February 9, has been a huge success story this winter. Hadestown was certainly a hit already—it recouped all the way back in 2019, its capacity figure is never low even in poorer grossing weeks, showing that it is consistently a solid last-minute seller. But something remarkable happened last month: a show that hasn’t hit over $1 million in a non-holiday week since mid-2022, hit that mark. Every full week for which grosses have been reported since Tung started, has been over $1 million. The few weeks prior the reported grosses had consistently been below $800,000. With the new cast members, the average ticket price shot up; the capacity number has been over 100%.

Now I am not going to give all credit for the boost to Tung, who departed yesterday. I know people who attended because of DiFranco. I know people who attended to catch Lillias White in her final week. But I spoke to people outside of the theater a few nights, and during intermission of the performance I saw, and I know she was a prime draw for a lot of people. That is pretty remarkable for a person who is not a household name in the key Broadway age demographic. I watched The Summer I Turned Pretty and knew her name, but most of my friends, even those who watched the show, did not recognize her name. So, while I assumed she would sell some tickets, I was not expecting the final weeks of her run to sell out quite so early. Once they did, I decided to try to get a standing-room ticket.

I am always curious about the experience of sitting in partial view seats or standing in the back—because I don’t like to encourage people to do things that I have not done—but I don’t like to take those slots away from someone who cannot see the show another way. In other words, there are generally people who need a lottery ticket more than me. (I last stood in 2017 for Bette Midler in Hello, Dolly!, when I was having a tough day and walked up to the theater last minute and happened to get the last space.) But, in this case, I waited too long, there were no seated tickets other than at insane resale prices, I had always wanted to do a piece on standing room, and so I decided to be a normal person.

My first and only real normal person tip is: make sure you know the time standing room is available. The Hadestown website just says “day of,” other websites had said 5pm, so the first day I showed up at 4pm, was curious why I was first in line at 4pm, until I went into the box office and was told that the tickets went on sale when the box office opened at 10am. Hadestown has standing-room spaces at the back of the theater that are available if the show is sold out—though I’ve heard tales of them selling standing room when a few seats are still available. But, while they have 14 numbered standing-room spaces in the theater, they don’t sell all 14 slots every day. Story continues, click here to read more…

American Theatre: Signature Theatre Artistic Director Paige Evans to Step Down

Paige Evans, the Artistic Director of Signature Theatre, has announced her decision to step down from her position. During her tenure, Evans played a pivotal role in shaping the artistic vision and programming of Signature Theatre, known for its commitment to producing contemporary plays and musicals. The search for Evans's successor is underway, as Signature Theatre prepares for its next chapter under new leadership.

NYC Students Granted Behind-the-Scenes Access to Careers on Broadway

The 12th iteration of the Broadway League’s shadowing program came to an end last week as a group of 18 students completed their shadowing assignments earlier this month. The program is designed to connect students from racially diverse and underrepresented backgrounds with professionals working across the Broadway industry.

Regional

American Theatre: Emily Jackson Named Kitchen Theatre Company Artistic Director

Emily Jackson has been appointed as the new Artistic Director of Kitchen Theatre Company, bringing her extensive experience in theater production and artistic leadership to the Ithaca-based theater. Jackson's appointment comes as Kitchen Theatre Company seeks to expand its programming and engage with diverse audiences. With a commitment to fostering artistic excellence and inclusivity, Jackson is poised to lead Kitchen Theatre Company into a new era of growth and creativity.

Chicago Sun Times: Lookingglass Announces New Artistic Director, Business Model

After calling a temporary halt earlier this season, Lookingglass Theatre Company has announced Kasey Foster as their new Artistic Director, taking over for Heidi Stillman, who will remain an ensemble member. The company’s new business model also involves producing two productions a year, and building out co-production relationships with theatre companies that complement the theatres vision.

International

The Toronto Star: Shaw Festival Reports Largest Single-Year Operating Deficit in Its History, Leading to Significant Cuts

The Shaw Festival has reported its largest single-year operating deficit in history, resulting in significant cuts to its programming and operations. The financial challenges faced by the festival have prompted the organization to implement cost-saving measures and reduce its budget for the upcoming season. The deficit underscores the impact of external factors such as the COVID-19 pandemic and economic uncertainty on the performing arts sector. Despite these challenges, the Shaw Festival remains committed to its mission of producing high-quality theater and serving its audiences, albeit with adjustments to its offerings and resources.

Timeout London: National Theatre Plans £125 Million Upgrade

The bulk of the money for the project is designated for infrastructure updates to The National Theatre building, with the idea that the infrastructure upgrades will free up their own technical staff to make art instead of patching up the theatre to get through a production. This will also allow them to create a new National Theatre Skills Centre to train technicians.

Missed our last few newsletters?

March 11, 2024 - In the UK, First Time Theatregoers Half of Ticket Buyers

After what has felt like weeks of covering cuts in funding to UK Arts budgets, some great news on two fronts from across the pond - a recent study of 2023 ticket buyers in the UK found that more than half of them were first time theatregoers. Additionally, the UK government has included tax subsidies and other rules to benefit the creative industries in their latest budget proposal.

March 4, 2024 - Do 'Influencers' Bring in An Audience?

As theatre marketers continue to try and find new ways to market their shows - and in a very crowded Broadway season new ways to break through the noise - there is a strong trend to chase the next shiny thing. One of those elements of marketing that is newer to the marketplace is the use of influencers - but Cara Joy David got out and did some on the ground reporting to uncover whether or not the influencers are actually being influential. Elsewhere, we have some more job shifts, including the departure of Patsy Rodenburg from Guildhall school, a signal of a major shift in the way UK actors are being trained.

February 26, 2024 - North Carolina Theater Files for Chapter 11, Second Stage Gives Up the Kiser

The restructuring of the industry continues - in North Carolina, Raleigh has lost one of its major institutions (for the time being) as North Carolina Theater suspends their 2024 season and files for bankruptcy. The labor movement continues to notch wins in New York, as the Atlantic Theater workers have voted to join IATSE. All of this, as Cara Joy David explores, as the contraction continues in the field of arts criticism.

BroadwayWorld Resources

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