Broadway Grosses w/e 5/13/2018: Let’s Hear it for the Plays!

The following are the Broadway grosses for the week ending May 13, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:

Broadway Grosses w/e 4/29/2018: We’re down but does anyone care today?

The following are the Broadway grosses for the week ending April 29, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:

Broadway Grosses w/e 4/22/2018: It’s coming down to the wire.

The following are the Broadway grosses for the week ending April 22, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:

Podcast Episode 154 – Tony Award Winning Writer, Lisa Kron

When Tony Award Winner Lisa Kron was a theater major in college, she was told she wouldn’t succeed . . . because she wasn’t “thin, pretty, or straight enough.”

Thankfully, Lisa didn’t let that stop her, and she went on to write and star in (!) Well, and write the Tony Award-winning lyrics and book to Fun Home on Broadway, one of the most unexpected hits Broadway has seen . . . ever.

Her passion and determination helped prove to this business and the world, that being unique conquers the status quo, every effin’ time.

Lisa and I talked about her entrepreneurial and unexpected journey in the theater including . . .

  • Her #1 rule to success:  if a door opened, and she was scared, she forced herself to step through it. (Words to live by.)
  • Why her early writing horrified her.  And how she got better.
  • How performing stand-up helped hone her stage writing.
  • Being mistaken for a seat-filler at the Tony Awards . . . the year she was nominated!
  • Who young writers should be trying to connect to in order to have a successful career (hint: it’s NOT who you think).
  • Why trying to increase diversity in terms of gender and race is like looking for your keys. (This is such a brilliant analogy – only a Tony Award-winning writer could come up with it, so make sure you listen.)
Lisa’s success story is the stuff that musicals are made of . . . an underdog is kept down by society, so she finds her own path, and proves them all wrong.

Aren’t we all so lucky that she persevered, so she can make more musicals!

Click here for the link to my podcast with Lisa!

Listen to it on iTunes here. (And if you like the podcast, give it a great review, while you’re there!)

Download it here.

Is Long The New Short on Broadway?

“Do you know the four best words in the English Language?” said one Tony Voter to another.

“No, what are the four best words in the English Language?” asked the second.

“90 minutes.  No intermission.”

Ba-dum-dum.

This is a real joke I’ve heard over a dozen times over the last few years, from industry and non-industry folks alike.  And there’s no question that shorter shows have been “in” as the attention span of our consumers has shrunk since the days of the three-act play.

In fact, we proved that shows have been getting shorter in this post (complete with graphs and everything!).

And then there’s this season.

We’ve got a two-part, over seven-hour Angels in America that’s doing heavenly numbers.  Then there’s the two-part, over two-and-half-hours each Harry Potter that’s working its box office magic.  Not to mention the nearly three-hour musical revival up at the Lincoln Center and another ol‘ classic carouseling in at a similar time down here, plus that almost 4 hour Iceman has cometh again.

And they’re all doing just fine.

It would be a common sense thought for a writer or producer in 2018 to think, “My show has to be short.” But this season is a perfect reminder that there are no hard and steadfast rules in the theater, or in any business, for that matter.  The moment you think one way, here comes a disruptor to make you think another.

So if your show is in 16 parts and runs 13 and a half weeks, that’s fine.

It just means that your show has to be that much better, and your word of mouth that much stronger, in order for you to overcome this pain point for a potential customer.

 

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