Ken Davenport - Opinions from a Broadway Producer

What I learned from last week's American Idol finals.

Last week's American Idol finals put two singers chosen by the "American people" downfront and center.

And both of them were country singers.

And if you think that's some strange coincidence, you better saddle up, cowboy, because you're about to get ridden out of town with a brand on your butt that says, "I (heart) Country!"

Some surveys state that 60% of the US population listens to country music, and another whopping 24% listens exclusively to country music.

So why haven't we seen a country music hit?  Well, for one, the ideas for our shows usually originate with the authors, and I'd bet that if you did a demographic study of musical writers . . . you'd find that most would not be fans of country music.  Sondheim, yes.  Hank Williams?  Not so much.  I'd also bet that most grew up in the Northeast, far from the steel guitar-filled South.

Still, I couldn't help but find last week's premature closing of the Off-Broadway country musical Lucky Guy ironic, as America was crowning a country idol in Scotty McCreery.

There's gold in them thar hills.  We just haven't found it yet.  

We had Whorehouse years ago (revival anyone?).  And there was the flop Ring of Fire.  But I don't know of any pure country musical that has taken advantage of the incredible popularity of this musical genre.  (There's actually a musical called Pure Country that has been kicking around for awhile, and their domain name is PureCountryOnBroadway.com so they obviously have hopes, but I haven't heard any news, have you?).

I tried to get Garth Brooks to write a musical years ago, but his reps said "he wasn't there yet."  Huh, maybe that's it too.  If one of the reasons that we don't have a country musical is that our writers didn't grow up on country, of course the opposite is probably true.  I'd bet that most country musicians didn't grow up with a Broadway influence.

But it's a shame.  Because country songs are known for being story songs, filled with drama, emotion, and great hooks.

A great country musical would seem to be a marriage made in Texas.

 

(Got a comment?  I love 'em, so comment below!  Email subscribers, click here, then scroll down, to say what's on your mind!) 

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- Enter to win 2 tickets to see Lysistrata Jones Off Broadway!  Click here.

 

Broadway Grosses* w/e 5/29/2011

The following are the Broadway Grosses from the week ending May 29, 2011:

Show Name	GrossGross	TotalAttn	%Cap	AvgPdAdm
ANYTHING GOES	$837,223	8,213	100.06%	$101.94
ARCADIA	$203,543	4,601	55.57%	$44.24
BABY IT'S YOU!	$476,071	7,557	82.79%	$63.00
BENGAL TIGER AT THE BAGDHAD ZOO	$430,122	5,559	51.24%	$77.37
BILLY ELLIOT: THE MUSICAL	$943,216	10,790	94.92%	$87.42
BORN YESTERDAY	$266,711	4,953	57.38%	$53.85
CATCH ME IF YOU CAN	$674,258	9,903	87.05%	$68.09
CHICAGO	$654,479	8,000	92.59%	$81.81
GHETTO KLOWN	$253,846	3,817	69.00%	$66.50
GOOD PEOPLE	$441,849	5,187	99.75%	$85.18
HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING	$1,066,648	11,271	98.94%	$94.64
JERSEY BOYS	$1,033,254	9,530	97.01%	$108.42
JERUSALEM	$516,564	6,511	81.63%	$79.34
MAMMA MIA!	$813,461	9,930	82.86%	$81.92
MARY POPPINS	$954,127	12,786	88.94%	$74.62
MEMPHIS	$801,343	10,489	89.19%	$76.40
MILLION DOLLAR QUARTET	$278,860	3,841	39.55%	$72.60
PRISCILLA QUEEN OF THE DESERT	$920,741	10,507	77.76%	$87.63
RAIN: A TRIBUTE TO THE BEATLES ON BROADWAY	$322,995	5,962	70.44%	$54.18
ROCK OF AGES	$318,994	4,098	87.86%	$77.84
SISTER ACT	$859,804	11,446	81.80%	$75.12
SPIDER-MAN TURN OFF THE DARK	$1,323,651	14,662	94.96%	$90.28
THAT CHAMPIONSHIP SEASON	$460,225	6,571	76.69%	$70.04
THE ADDAMS FAMILY	$582,994	7,951	65.43%	$73.32
THE BOOK OF MORMON	$1,168,812	8,736	102.44%	$133.79
THE HOUSE OF BLUE LEAVES	$462,195	5,908	78.48%	$78.23
THE IMPORTANCE OF BEING EARNEST	$220,592	3,784	63.92%	$58.30
THE LION KING	$1,652,879	13,419	100.02%	$123.17
THE MOTHERF**KER WITH THE HAT	$687,155	7,766	90.64%	$88.48
THE NORMAL HEART	$302,624	5,339	83.01%	$56.68
THE PEOPLE IN THE PICTURE	$221,916	4,303	53.95%	$51.57
THE PHANTOM OF THE OPERA	$944,855	11,926	92.31%	$79.23
WAR HORSE	$910,170	8,552	100.00%	$106.43
WICKED	$1,732,752	14,472	100.00%	$119.73
TOTAL	$23,738,927	278,340	82.01%	$80.63

*Broadway Grosses provided courtesy of The Broadway League.

Favorite Quotes Vol. XXXI: Let Shakespeare entertain you. Let him make you smile.

I talked to an angry author a couple of weeks ago, who was irritated that his “important” play had not attracted a wider audience.  I tried to explain in the nicest of all possible ways, but like his play, I also failed.  Then I stumbled upon this quote from Robert Greene's book that summed it up so much better than I ever could.

"Shakespeare is the most famous writer in history because, as a dramatist for the popular stage, he opened himself up to the masses, making his work accessible to people no matter what their education and taste."

It’s like a comedy of errors that Shakespeare is considered one of the great geniuses in the history of the written word, when his primary objective was to entertain. Obviously his work went way beyond making people laugh, cry and get angry, but he never let any message get in the way of the entertainment.  His plays are like a perfect cake – with delicious and beautiful frosting on the outside, but underneath is where the real buttery goodness begins. 

Writers today who forget why people go to the theater in the first place and put message first run the risk of having less people hear their voice.  There’s nothing wrong with that style, of course.  It’s the choice of the artist.  But you can’t complain when no one comes. 

The quote also made me wonder . . . 500 years from now, who will be considered a Shakespeare?  Stoppard?  Sorkin?  Stephen King? 

What writers today will be remembered tomorrow for their “baking” ability?

 

(Got a comment?  I love 'em, so comment below!  Email subscribers, click here, then scroll down, to say what's on your mind!) 

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The Sunday Giveaway: 2 Tickets to Lysistrata Jones Off Broadway

Every time I think today's society is too obsessed with sex, I pick up my old copy of Lysistrata.   They say this Aristophanes classic was first performed in about 417 B.C., yet it can still make a man blush 2500 years later.

Douglas Carter Beane (Sister Act, Xanadu, The Little Dog Laughed) and Lewis Flinn recognized its relevancy and created a brand new musical based on the ancient plot of women who withhold sex to get what they want (to stop a war, or in this case, to get their college basketball team to actually win a game).

And get this, Lysistrata Jones, which is directed and choreographed by Dan Knechtges, isn't performed in a theater.  It's performed on an actual basketball court.  That's right, people, we're talking site-specific-sex-related theater.  

Does the idea titilate you?

Well, you can go for free if you win this week's giveaway!  (Confetti falls!)

This week, I'm giving away two tickets to see LJ courtesy of The Transport Group.

Here's how you win:

I'm a fan of site-specific theater.  One of my first examples of it was Jonathan Larson's JP Morgan Saves The Nation which was staged on the steps of a bank right next to The New York Stock Exchange in the mid-90s.  I've heard of Little Shops in Flower Shops, Beehives in Beauty Shops, and yes, of course, Godspell in churches.  

So what site-specific theater would you do if there were no limitations whatsover.  Of Thee I Sing in the White House?  West Side Story on the West Side?  Les Miz on a barricade in the streets of Paris?

Tell me what show you'd do and where you'd do it by commenting below (email subscribers click here) and you are in!

Good luck!  

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- Come to our Tony Awards Party!  Click here for more info and to get your ticket now! 

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Who won the tickets to The Shaggs Off Broadway?

Trumpets sound, and . . .

The winner of The Shaggs tix is Ms. Danielle Mohlman!  

Congrats, Danielle.  Get a bus ticket because you're leaving Boston and coming to the Broadway!  Email me to arrange your tickets.

A great giveaway tomorrow to another new Off Broadway musical that's getting a lot of buzz . . . 

 

(Got a comment?  I love 'em, so comment below!  Email subscribers, click here, then scroll down, to say what's on your mind!) 

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- Come to our Tony Awards Party!  Click here for more info and to get your ticket now! 

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Is social networking hurting sales?

I got an email blast for a Broadway show the other day that made me wonder whether or not we're putting too much emphasis on the "like" or the "follow" call to action that is appearing on every piece of marketing material known to man these days.

Here's what concerns me:

In direct response advertising, what we want the person to do is buy a ticket. Period.  And any great salesperson will tell you that when you make the "ask," you offer your customers only what you want them to buy.  If you offer something else to them at the same time, they just may take it.  And then you lose, or diminish your returns.  Make the ask, and if your customer rejects your first and best option, then you can reduce your ask.  

By pushing the "Like us on Facebook" or "Follow us on Twitter" we're actually giving our customers a free way to show their support and love for a product without spending any money.   

Yes, obviously there is a big difference between seeing a show and liking it, and the customer is missing a big part of the experience . . . so let me give you another example.

I got an email asking for a Kickstarter donation yesterday. I signed on and was ready to make my pledge when I noticed something.  The project had only raised money from 5 people.  But the project had almost 40 "likes."

Obviously those 35 other people didn't "like" the project that much, right?

Could it be that some of those 35 people were on the fence about giving and then clicked the like button and said, "Ok, now I don't have to feel so guilty for not doing anything"?  They had an out that could show their support, albeit in a small way, without buying.

Now, you could argue that these people are warmer leads for conversion later on down the road (as long as a good social media strategy backed it up), but we could be letting some people off the hook by pushing liking and following too much.  (Hopefully someone will do a study to see whether this theory bears fruit or not.)

But whatever the answer to the question is . . . the message is the same.

Be careful what you ask for . . . because you just might get it . . . or worse, you might not get it.

 

(Got a comment?  I love 'em, so comment below!  Email subscribers, click here, then scroll down, to say what's on your mind!) 

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FUN STUFF

- Come to our Tony Awards Party!  Click here for more info and to get your ticket now! 

- Enter my Tony Pool!  You can win an iPad!  Enter today!

- Come to the Broadway Investing Seminar on May 31st.  RSVP here.

- Enter to win 2 tickets to see The Shaggs!  Click here.

Prepare Ye. Godspell is coming back to Broadway this Fall.

I am thrilled . . . overjoyed . . . pumped . . . so excited that there are no words . . .  to announce that my production of Godspell by Stephen Schwartz and John-Michael Tebelak, directed by Danny Goldstein and choreographed by Christopher Gattelli, will begin performances on October 13, 2011 at Broadway's Circle in the Square Theatre.

For more info, including a message from Stephen Schwartz himself, visit www.Godspell.com.

Godspell on Broadway
Previews begin October 13th
Opens on November 7th

Group discount tickets on sale now by calling 1-855-DAY-BY-DAY or by clicking here.
Single tickets on sale July 11th. 

See you at the theater.  

 

(Got a comment?  I love 'em, so comment below!  Email subscribers, click here, then scroll down, to say what's on your mind!) 

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FUN STUFF

- Come to our Tony Awards Party!  Click here for more info and to get your ticket now! 

- Enter my Tony Pool!  You can win an iPad!  Enter today!

- Come to the Broadway Investing Seminar on May 31st.  RSVP here.

- Enter to win 2 tickets to see The Shaggs!  Click here.

Did the fat lady sing for New York City Opera? And is this an operatic omen?

In a dramatic move that deserves its own aria, New York City Opera, the very first tenant of the center known as Lincoln, announced that it was up and moving.

Where?

No one, including NYCO, knows.

The question on everybody's mind . . . is this the end of New York City Opera?  And, gulp, is this the beginning of the end for opera???

It's a challenged art form, no doubt.  As less and and less people are brought up on it, less and less people are supporting it (either through ticket sales or donations).  

Unfortunately, I think that in 10 years, the end of NYCO's reign at Lincoln Center will be remembered as the closing that was heard around the world.  More closings will follow.  The audiences are shrinking, which means the business model will have to correct itself by decreasing supply.  Ironically, competitors, like The Met (who has done a kick ass job of making opera relevant), will benefit.

What does this mean for our closely-related industry?

We've seen our audience contract in recent years.  We've seen our ticket prices increase in recent years.  And we've seen a billion other entertainment options pop up in your pocket!

It's essential that we get out ahead of the opera so we're not faced with a similar breaking news item in 10 years.

But I'm not sure we can.  

In fact, I'll predict right now that one of the major non-profit theaters in this city will go out of business in the next decade.  Which one?  Simple - whichever company chooses to produce shows that no longer feel relevant to today's theatergoer.  

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FUN STUFF

- Come to our Tony Awards Party!  Click here for more info and to get your ticket now! 

- Enter my Tony Pool!  You can win an iPad!  Enter today!

- Come to the Broadway Investing Seminar on May 31st.  RSVP here.

- Enter to win 2 tickets to see The Shaggs!  Click here.

 

Believe it or not, The Rapture worked. Here's why.

At 6:01 PM this past Saturday, something incredible happened.

Nothing.

Despite the certantity of the, ahem, "prophet" Harold Camping, that the world was going to end on date-night, it just didn't.  (If you were in NYC in the '90s, then you know--this was not the first time Camping and his minions believed that their days were numbered.  The world was supposed to end in September of '94 as well.  Breaking News:  it didn't.)

So for Camping, epic fail right?

Well, maybe.  Unless . . .

Let's look at it from a marketing perspective.

First, the idea spread like wildfire under a gasoline sprinkler.

But going deeper . . . what if Camping wasn't just selling crazy?  What if his goal was to encourage his followers (and any new followers) to get closer to God?  Well, if you believed in rapture . . . and if you believed in Camping's ranting . . . uh, I mean, rapture . . . what have you spent the last several months doing?

My bet is that you amped up the volume of your conversations with the Big Guy.  Maybe you even tried to lead a better life.  After all, you were facing judgement, right?

So could he actually have been successful in achieving his goals?  (I mean, this is the 2nd time he's done this - maybe he's just recycling a strategy - and since he convinced people to believe him again, maybe he thinks he can do it over and over and over.)

Let me make something so clear it's like those windows that people walk into because they don't see the glass:  I think Camping was a looney-bird that had eaten a worm full of crazy.  And I actually don't think he was smart enough to consider the strategy above.  

But, there is a lesson here.  

Sometimes getting a consumer to do what you want them to do means talking about something else entirely.  The rapture was pure pain vs. pleasure marketing, taking advantage of the two forces that drive all of human behavior. 

Just be careful how you employ these strategies, because if you fail like Camping, you're going to be faced with quite a customer service problem.

Can you imagine what his followers were saying at 6:02?  I'd be demanding a refund, that's for sure.

 

(Got a comment?  I love 'em, so comment below!  Email subscribers, click here, then scroll down, to say what's on your mind!) 

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FUN STUFF

- Come to our Tony Awards Party!  Click here for more info and to get your ticket now! 

- Enter my Tony Pool!  You can win an iPad!  Enter today!

- Come to the Broadway Investing Seminar on May 31st.  RSVP here.

- Enter to win 2 tickets to see The Shaggs!  Click here.

 

The 2011 Drama Desk Award winners are . . .

Here are the winners of this year's 2011 Drama Desk Awards:

Outstanding Play

Jon Robin Baitz, Other Desert Cities
Adam Bock, A Small Fire
Stephen Adly Guirgis, The Motherf**ker With the Hat
Samuel D. Hunter, A Bright New Boise
Rajiv Joseph, Bengal Tiger at the Baghdad Zoo
David Lindsay-Abaire, Good People
*Nick Stafford, War Horse

Outstanding Musical 

In Transit
Priscilla Queen of the Desert: The Musical
See Rock City & Other Destinations
Sister Act
*The Book of Mormon
The Kid 

Outstanding Revival of a Play 

Born Yesterday
The House of Blue Leaves
The Importance of Being Earnest
The Merchant of Venice
*The Normal Heart
Three Sisters 

Outstanding Revival of a Musical 

*Anything Goes
Hello Again
How to Succeed in Business Without Really Trying 


Outstanding Actor in a Play 

Charles Busch, The Divine Sister
*Bobby Cannavale, The Motherf**ker With the Hat
Al Pacino, The Merchant of Venice
Geoffrey Rush, The Diary of a Madman
Mark Rylance, Jerusalem
Michael Shannon, Mistakes Were Made
Paul Sparks, Dusk Rings a Bell

Outstanding Actress in a Play 

Nina Arianda, Born Yesterday
Stockard Channing, Other Desert Cities
*Frances McDormand, Good People
Laurie Metcalf, The Other Place
Michele Pawk, A Small Fire
Lily Rabe, The Merchant of Venice

Outstanding Actor in a Musical 

*Norbert Leo Butz, Catch Me if You Can
Colin Donnell, Anything Goes
Daniel Radcliffe, How to Succeed in Business Without Really Trying
Andrew Rannells, The Book of Mormon
Tony Sheldon, Priscilla Queen of the Desert:The Musical
Christopher Sieber, The Kid

Outstanding Actress in a Musical 

*Sutton Foster, Anything Goes
Beth Leavel, Baby It's You!
Patina Miller, Sister Act
Donna Murphy, The People in the Picture
Sherie Rene Scott, Women on the Verge of a Nervous Breakdown

Outstanding Featured Actor in a Play 

*Brian Bedford, The Importance of Being Earnest
Christian Borle, Peter and the Starcatcher
Boyd Gaines, The Grand Manner
Logan Marshall-Green, The Hallway Trilogy
Zachary Quinto, Angels in America
Tom Riley, Arcadia
Yul Vázquez, The Motherf**ker With the Hat

Outstanding Featured Actress in a Play 

Lisa Emery, The Collection & A Kind of Alaska
*Edie Falco, The House of Blue Leaves
Julie Halston, The Divine Sister
Sarah Nina Hayon, A Bright New Boise
Celia Keenan-Bolger, Peter and the Starcatcher
Linda Lavin, Other Desert Cities
Judith Light, Lombardi

Outstanding Featured Actor in a Musical 

Adam Godley, Anything Goes
*John Larroquette, How to Succeed in Business Without Really Trying
Brian Stokes Mitchell, Women on the Verge of a Nervous Breakdown
Rory O'Malley, The Book of Mormon
Bob Stillman, Hello Again
Tom Wopat, Catch Me if You Can

Outstanding Featured Actress in a Musical 

*Laura Benanti, Women on the Verge of a Nervous Breakdown
Kerry Butler, Catch Me if You Can
Victoria Clark, Sister Act
Jill Eikenberry, The Kid
Nikki M. James, The Book of Mormon
Patti LuPone, Women on the Verge of a Nervous Breakdown
Laura Osnes, Anything Goes

Outstanding Director of a Play 

Trip Cullman, A Small Fire
*Joel Grey and George C. Wolfe, The Normal Heart
Moisés Kaufman, Bengal Tiger at the Baghdad Zoo
Davis McCallum, A Bright New Boise
Daniel Sullivan, The Merchant of Venice
Kirjan Waage and Gwendolyn Warnock, Baby Universe

Outstanding Director of a Musical 

Rob Ashford, How to Succeed in Business Without Really Trying
Joe Calarco, In Transit
Jack Cummings III, Hello Again
Jack Cummings III, See Rock City & Other Destinations
Kathleen Marshall, Anything Goes
*Casey Nicholaw and Trey Parker, The Book of Mormon


Outstanding Choreography 

Rob Ashford, How to Succeed in Business Without Really Trying
Scott Graham and Steven Hoggett, Beautiful Burnout
Steven Hoggett, Peter and the Starcatcher
*Kathleen Marshall, Anything Goes
Casey Nicholaw, The Book of Mormon
Siudy, Between Worlds

Outstanding Music 

Brad Alexander, See Rock City & Other Destinations
Alan Menken, Sister Act
*Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon
Marc Shaiman, Catch Me if You Can
Mike Stoller and Artie Butler, The People in the Picture
David Yazbek, Women on the Verge of a Nervous Breakdown

Outstanding Lyrics 

Rick Crom, Newsical The Musical — Full Spin Ahead
Jack Lechner, The Kid
Adam Mathias, See Rock City & Other Destinations
*Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon
Glenn Slater, Sister Act
Scott Wittman and Marc Shaiman, Catch Me if You Can

Outstanding Book of a Musical 

Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth, In
Transit
Iris Rainer Dart, The People in the Picture
Stephan Elliott and Allan Scott, Priscilla Queen of the Desert: The Musical
*Adam Mathias, See Rock City & Other Destinations
Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon
Michael Zam, The Kid

Outstanding Orchestrations 

Mary-Mitchell Campbell, Hello Again
Bruce Coughlin, The Burnt Part Boys
Simon Hale, Jim Abbott and David Yazbek, Women on the Verge of a Nervous
Breakdown
*Larry Hochman and Stephen Oremus, The Book of Mormon
Marc Shaiman and Larry Blank, Catch Me if You Can
Lynne Shankel, The Extraordinary Ordinary

Outstanding Music in a Play 

*Wayne Barker, Peter and the Starcatcher
Kathryn Bostic, Bengal Tiger at the Baghdad Zoo
Lars Petter Hagen, Baby Universe
Alan John, The Diary of a Madman
Tom Kitt, The Winter's Tale
Dan Moses Schreier, The Merchant of Venice

Outstanding Revue 

Fyvush Finkel Live!
Newsical The Musical — Full Spin Ahead
*Rain: A Tribute to the Beatles on Broadway 

Outstanding Set Design 

Rachel Hauck, Orange, Hat & Grace
David Korins and Zachary Borovay (projection design), Lombardi
Derek McLane, Bengal Tiger at the Baghdad Zoo
*Derek McLane, Anything Goes
Tony Straiges, Treasure Island
Mark Wendland, The Merchant of Venice

Outstanding Costume Design 

*Tim Chappel and Lizzy Gardiner, Priscilla Queen of the Desert: The Musical
Desmond Heeley, The Importance of Being Earnest
Ann Hould-Ward, A Free Man of Color
Martin Pakledinaz, Anything Goes
Ann Roth, The Book of Mormon
Paloma Young, Peter and the Starcatcher

Outstanding Lighting Design 

Jean Kalman, John Gabriel Borkman
R. Lee Kennedy, See Rock City & Other Destinations
*David Lander, Bengal Tiger at the Baghdad Zoo
Laura Mroczkowski, Spy Garbo
Ben Stanton, The Whipping Man
David Weiner, A Small Fire 

Outstanding Sound Design in a Musical 

Lindsay Jones, The Burnt Part Boys
Michael Rasbury, Hello Again
*Brian Ronan, Anything Goes
Brian Ronan, The Book of Mormon
Jon Weston, In Transit

Outstanding Sound Design in a Play 

Acme Sound Partners, The Merchant of Venice
*Acme Sound Partners and Cricket S. Myers, Bengal Tiger at the Baghdad Zoo
Ian Dickinson, John Gabriel Borkman
Brett Jarvis, Baby Universe
Bray Poor, Wings
Eric Shimelonis, The Hallway Trilogy

Outstanding Solo Performance 

Daniel Beaty, Through the Night
Mike Birbiglia, Mike Birbiglia's My Girlfriend's Boyfriend
Juliette Jeffers, Batman and Robin in the Boogie Down
*John Leguizamo, Ghetto Klown
Colin Quinn, Colin Quinn Long Story Short
Joanna Tope, The Promise

Unique Theatrical Experience 

Being Harold Pinter
Circus Incognitus
Gatz
Play Dead
Room 17B
*Sleep No More