Ken Davenport - Opinions from a Broadway Producer

I Have To Pee.

And I know exactly where I want to "go".

For the past two years, Charmin has set up public restrooms in the middle of Times Square for anyone and everyone to use.

For those of you who have seen the restrooms, but have never gone inside, you missed out on a true marketing trifecta.

Let's count the many reasons why this is one of the most genius non-stunts I have seen:

• They made restrooms remarkable. 
  
  • Can you think of any other subject that is more delicate than the human elimination system?  Well, Charmin celebrated it.  They had cheerleaders.  They had music.  They cleaned each stall after each use. And my personal favorite?  They had the softest carpet you've ever felt.
• They were guaranteed people's "business" (I'll stop with the puns now).
  
  • Restrooms are a necessary commodity. We all have to eat.  And we all have to go.  There will always be a market for restrooms at the one of the busiest intersections in the world.
• They had no competition.
  • Before the Charmin restrooms, there were no public restrooms in Times Square.  They were the only supplier, and we're practically drowning in demand!  It's like putting a water fountain in the middle of the Sahara.
• They incorporated trackable direct response.
  • They gave away coupons, which will help drive sales and provide some sense of a R.O.I.  Music to any marketers ears.
    
• They surveyed.
  
  • On your way out, they asked everyone where they were from and whether or not they preferred soft or strong.  They learned about their customers, and then for fun they published the results on their website. 

Why is this a trifecta?  Because it contains the three Rs:  It feels Required.  You get quantifiable Results.  And it is soooo very Remarkable.

They'll even get a bonus R:  Return customers.  I know I'll be back next year.  How many bathrooms get repeaters?  (If that sounded like a pun, it wasn't meant to be.  It was an accident.  Hehe.)

"How Do I Get The Stage Rights To A Book/Movie/Play, etc.?"

When I was a Company Manager, I used to tell my assistants that if we ever got the same question from more than two company members, we hadn't done our job.  If more than two people asked what time our flight was to the next city, or asked us to explain their paychecks to them, then we hadn't anticipated the needs of our company or communicated information that was important to them fast enough.

I believe this is a great way to measure your success as a manager.  No questions?  Nice job.

Using that definition of my job as a blogger, I have failed you.

I have been asked a few times recently how to go about obtaining the rights to a book or movie or play, etc. in order to turn that property into a Broadway show.

The good news?  It's easy to ask for the rights.  The bad news is that it's harder to get an answer.

Sometimes it's hard just figuring out where to start.  Here are a few tips, classified by the type of property you are going after.

• BOOK
  • Find the Publisher of the book (look at the first few inside pages) and call them.  Most publishing companies will have entire departments dedicated to rights.  I find that I get the quickest answers on the availability of rights from publishers (probably because disposition of rights is such a large source of their revenue).  If they can't give you a straight answer, they should be able to tell you the agent for the author and you can contact the agent directly.  They may ask for something in writing (see below).
    
• MOVIE
  • The first question is to find out if the movie is an original or if it was based on earlier work.  If it was based on a book or short story or a note jotted on a napkin, go after the original author first before approaching the movie company.  Odds are that you are going to have to go to the movie company anyway, but you're much more likely to get a response (and a positive one) from the person who has the most invested in the project (the original author), rather than someone in the legal department of a billion dollar conglomerate.  You can get the original author on your side, find out more info about what rights the movie company actually owns, and develop a strategy from there.
  • If it's an original screenplay, then you are definitely going to have to approach the movie company.  You can also approach the author of the screenplay at the same time, using the same theory as the above, but if the script was written for MGM, then expect MGM to hold most of the cards.  Movie companies get a ton of rights requests (for clips, etc.) so they will always want something in writing.  Call the company and find out to whom to send the request.  Send it, and then follow up with a phone call.  Then wait and wait.  And keep following up.  I once got a response months later via the mail.  I mean, they couldn't just send an email? 
• PLAY
  • Theater writers always own their material, as opposed to screenwriters who have to sell their soul to the mighty movie companies.  Therefore, seek out the author directly, through the Dramatists Guild (if they are a member) or their agent, or by visiting Angus.
• OTHER MEDIUMS
  • All of the above principles can be applied to other mediums as well, from optioning websites to television shows to clothing lines.  Most people have agents or lawyers or production companies that you can track down through Google.  If at all possible, get to the person, not the agent.

Another related question I get is "Should I have a lawyer make this inquiry for me?"  Lawyers can make you seem more "serious" or "official", especially if you lack credits.  Lawyers can also get you a speedier response if you hire a firm that does business with these agents or movie companies all the time.  The downside is that lawyers cost bucks.  Beacoup de bucks.  So, I often advise people on limited budgets to make the request yourself first (do yourself a favor and make up some good looking fax stationery with a logo and a production company name).  If you don't get a response, you can always go the lawyer route later.

This process is really easier than it seems.  The key to it is to just start.  Summon up some Oliver-like courage and just ask for what you want.  Always thought your favorite book would make a great movie?  Musical?  Greeting card?  Ask.  It literally can take as little as 15 minutes to get the request off.  Just by asking the question, you've started the ball rolling down the hill of getting your show done.

If they aren't available, you can move on to the next project, and stop saying, "The Alienist would make such a good film!" (I just found out that Scott Rudin has been sitting on the rights.  Scott, if you are reading (or if your assistant is reading this for you), I'll take those rights - name your price.)

And, you can keep asking for them.  I sent one request per year for five years before I got the rights to Somewhere In Time.  Put a reminder in your Outlook to ask every year at the same time.  Don't give up until you get the rights or they take out a restraining order against you.

And then form a dummy corporation under another name and ask again.

Sniff, Sniff. I Smell Press.

Anyone else out there think this is a faux story with the sole intention of getting press and getting mentioned on blogs like this?  (note - you have to register to read the article)

It smells funny to me.

If it is real, I guess the funny smell is just the lawyer for the plaintiff.

If it isn't real, the Bald and the Blue have done it again.

Remember, these are the boys that held a funeral for the 80s. 

These are also the ear-less wonders who put out a velvet rope and stantions and stood guard at a door that looked like it could lead to the hottest club in town . . . but actually went to nowhere.

Brilliant.  Why?  Because each "stunt" (I hate that word) was so in the style of the show, that they didn't seem like stunts. 

Having Maria from The Sound of Music stand guard at a fake nightclub in Soho wouldn't make sense.  Asking the cast of August: Osage County to hold a funeral for the 80s?   Stunty McStunterson.

But having the Altar Boyz challenge the Backstreet Boys to a boy band battle and then sending them a rubber chicken when they don't show up?  Or having a promotion where virgins got in free to the first performance of a show about virginity?  I took classes at the Blue School of Press (when you graduate, you get a mention on Extra).

My favorite press event of all time isn't even mine.  The producers of Matt and Ben started a rumor that Matt Damon and Ben Affleck were suing them.  They got two major press hits:  first when the story broke and then, when it was debunked.  But they didn't stop.  They posted "documents" and "voice mails" on their website that backed up their story.  Yes!  The event and show fit together - like a B-rate star and the revival of Chicago.

When you look at creative ways to get press for your shows (and you should) look at the show you're promoting first.  Don't just come up with the kookiest idea known to man.  Come up with an idea that makes so much sense for your show, it would be kooky NOT to do it. 

That's the difference between a stunt and an event.

(The Backstreet Boys never responded, by the way.  And then Kevin Richardson left the group and did Chicago.  Coincidence?)

We're In The News Twice In One Day!

In addition to the NY Times article today, we also got some coverage in this article in Crain's magazine about short shows. 

You'll recognize some of my quotes from this blog entry.

A follow up . . . I just saw Young Frankenstein.  I thought it could have been shorter.

Piggybacking Featured In The New York Times

As you know, I'm not a believer in the archaic 8 show a week model, especially for Off-Broadway shows.  The New York Times did a story on the current trend of sharing spaces Off-Broadway to relieve some of this burden and I was fortunate enough to be interviewed for the article.

The Times calls sharing spaces piggy-backing.  My press agent calls it bunk beds.

I call it Blind Windows. 

That's a reference to the fictional screenplay in Sunset Boulevard.  In Blind Windows, two people share the same apartment.  One works during the day, one during the night and they never meet . . . even though they share the same bed.

You know what's better than being quoted in this article?  The two pictures of my shows! 

It Happens To The Stock Market And It Happens To Broadway.

We had our own version of a "market correction" 2 days ago when Color Purple announced that it is closing.

Although everyone knew that Purple was showing signs of weakness post-Fantastia, the announcement, leaving the Broadway Theater empty during the Spring, was a bit of a shock, just like the Dow dropping a few hundred points in one day.

I should have predicted this one.  I picked up on a sign that we were due for a correction a few weeks ago when Variety reported that Broadway grossed 15 million on 30 shows. 

But what did it gross during the same week last year?  17 million.  On 28 shows. 

2 more million.  2 LESS shows.  With last year's prices. 

Something had to give.  And it was Oprah. 

While the closing of Purple is unfortunate, let's hope that it helps stabilize the street and sends us (and the Dow) back up. 

This brings up an interesting point.  Too often we worry about watching our grosses from week to week.  We celebrate being "up from last week", or lament being down.  For those of you who have never seen a box office statement, look at this . . . you'll see that the weekly comparison is part of the automatic reporting.

What's the problem with obsessing over week to week comparisons?  Too many factors that affect sales change from week to week:  holidays, Super Bowls, weather, etc.  What we really should study is the gross changes from year to year. 

Unfortunately, since the average run of a new musical on Broadway is only 52.67 weeks, most people don't bother to look at yearly trends.

Here's a graph of three years of data for one my shows.  Look at how closely the weeks line up from year to year.  Cool, huh?

Your sales trends emerge naturally.  When you discover them, that's when you can really put your producing skills to work.  Discounts (or cutting discounts during busier weeks), expense cutting, etc.

When I look at a graph like this, I think of the low points like enemy targets, and my initiatives are my missiles.  By analyzing the trends over several years, I've isolated by targets.  And when you isolate your targets, your missiles are much more effective.

Don't have a show that has run years?  Graph overall Broadway/Off-Broadway trends from year to year.  It is better than nothing.

(Anyone have any ideas what the giant spike is on that graph?)

Three, Three, Three Posts in One!

Three quickies for you:

• A reminder that I'll be at the Entertainment Industry Expo this Sunday.  If you go, please make sure you say hello.  And no tough questions.  It is Sunday morning.  ;-)  Here's the Playbill article about the panel.


• I found this great article about investing in the theater online.  It's from 2001, but it's a very realistic analysis of the pros and cons of rolling the dice on Broadway.


• You heard it here first.  20at20, the Off-Broadway promotion from The Off-Broadway Brainstormers that gets you $20 tickets, 20 minutes before curtain for more than 20 Off-Broadway shows (including mine), returns at the end of February.  It hasn't been officially announced yet, but since I'm the head of the committee, I thought I'd leak it to you first. Shhhh . . .

This qualifies as a short blog. 

Show Boat Wasn't Slow Boat.

Here's some interesting trivia:

Edna Ferber's novel, Show Boat, was first published in 1926.

The musical version of Show Boat opened on Broadway in December, 1927.

Ahhh, come again?  From the published novel to a fully produced musical in how long?  When was the last time this happened in the modern theater? 

It hasn't.  Books go to movie companies first now.  I can't tell you how many times I've tried to option a book and found that the rights have been wrapped up with the movie deal, or that the agent is afraid to release the stage rights because they are "holding out" for a film option.

This is another reason for the recent surge in the adaptation of movies into musicals.  The movie companies are sitting on all the cards, sometimes not even wanting to play the game.

Another interesting tidbit . . . while doing some research on Show Boat, I was reminded that there were a few songs that were not written specifically for it, but were popular tunes interpolated into the score. 

Does that mean it's a jukebox musical?  ;-)

Double Or Nothing!

You all remember my infamous bet from last fall when I incorrectly predicted that the Producers and the Stagehands "would be friends". 

Well, let's get ready to rumble!

Or not.

The Actors' Equity Production (Broadway) Contract expires at the end of June.  While emotions are still high from the fall fireworks, there will be no strike.

Why not?  I don't see an issue that could escalate to that kind of action.  Even if there isn't agreement right away on raises, the hiring of aliens from overseas, etc., I'm sure talks will continue until they hammer out a deal.  There may be a few threats (and expect Local 1 to express their unwavering support), but the marquees will stay lit. 

Who wants a piece of this action?  2:1 odds in your favor.

One issue both sides should discuss?  Health insurance.  There will no doubt be an increase to the already high weekly cost of a producer's required weekly contribution to the co-administered League-Equity health fund - currently $153/week or $612/month or $7,956/year per actor! 

It would be cheaper for the Producer to purchase their own insurance just like any other new company, and cover each actor from day 1 of employment, rather than make the actor qualify for insurance (the current plan requires that an actor work for 12 weeks to earn only 6 months of coverage, and 20 weeks for a full year).

Actors would get their insurance faster and producers would save money.

I realize that this idea is in exact opposition to the idea of union provided benefits.

But sometimes, when you're lost, you have to think about turning around and going the opposite direction to get you back on track again.

Are The Two Cardinal Rules Of Producing Right?

Max Bialystock:  The two cardinal rules of producing. One: Never put your own money in the show.

Leo Bloom:  And two?

Max Bialystock:  [yelling] Never put your own money in the show!

- - - - -

This line, obviously from The Producers, got one of the biggest laughs on opening night, when the audience was filled with actual Bialystocks and Frankels and Weinsteins, oh my!

But is it true?

Sure, Producers understand that the chances for actually recouping your investment in a Broadway or Off-Broadway show are like winning the lottery . . . on your birthday . . . while pigs are flying (by Foy). 

But is it a sin to open up your own wallet?

The answer is no.

You might be able to avoid putting your own money in the show, but you better be willing to.  Because if you're not willing to put your money where your mouth is, then you're not passionate enough to produce.  And maybe you should look at the project a little closer.

I always put a little something in all of my shows, for two reasons:

1. I wouldn't want an investor of mine in any show that I didn't believe in myself.
2. It helps when you're raising money to be able to say to a potential investor, "I already wrote my check."

How would you feel if a producer was giving you the hard sell to invest in their show and then they told you that they didn't invest a penny?  Insider activity is a very commonly watched stat when playing the stock market, so shouldn't we watch it when investing in shows?

By the way, for those looking for the response to an investor asking if you invested, and you haven't, it's this:  "I had so much interest, I wanted to make room for as many investors as possible, so I backed out."  A piece of advice:  only use this if it is true.  Don't treat your investors like they are one-time investors.  Treat them like they are with you for your lifetime . . . and they will be.  Even if you produce Springtime for Hitler.