The Most Popular Posts of the Month: August

Time for that monthly summary of what got your attention last month here at The Producer’s Perspective:

And . . .

I think another solution is one that I’ve seen work in London. The West End and Off-West End theaters there accept returns on tickets. As a ticket buyer, if I’ve purchased a ticket and can’t use it, I can return it to the box office for anywhere from a 50% to a full refund (minus a handling fee.) What that trains buyers to do is to return unused tickets to the theater instead of putting them onto the secondary market. What it trains buyers to do, also, is not buy tickets on the secondary market because a sold out show is rarely TRULY sold out. As long as they keep checking the official website each day, they can get the returned tickets at face value. And theaters benefit because, as they say, an empty seat doesn’t do a darned thing for word of mouth. Plus they get the extra handling fee and whatever percentage they hold back. Also, my experience at West End theaters is that they all ask for ID. It’s no big deal and totally acceptable. But additionally, they make it so easy to return tickets and buy return tickets that there is absolutely no reason to purchase or sell on the secondary market.

 

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The Most Popular Posts of the Month: July

Time for that monthly summary of what got your attention last month here at The Producer’s Perspective:

And . . .

Impressive. It just goes to show you that if people love the brand, they will experience it multiple ways. The Phantom movie likely re-ignited the love for the Phantom brand and has been driving ticket sales.

Its the reverse of Shrek. The Broadway show likely drove more interest in the movie property and even better, local theaters can perform the show—you can’t perform the movie (without lawsuits).

Ultimately, Broadway plays a key role in entertainment brands. I hope Phantom hits 30+ years.

 

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The Most Popular Posts of the Month: June

Time for that monthly summary of what got your attention last month here at The Producer’s Perspective:

And . . .
I’m curious about the logistics of this in Broadway houses. It always feels like such a rushed, chaotic time – entering the theatre with crowds of people, trying to get to the bathroom/bar before the show starts, finding your seat. And then the mad rush to get out once the show is over.
I think it could work well in smaller, more intimate settings. But for Broadway houses, you’d almost need a team of greeters, equally distributed throughout the theatre, yet not in the way.
It’s a good idea! (And it’s nice to see that regional theatres are already doing this.) It would add a great personal touch to the theatre going experience, and could be very successful – especially at getting patrons to come back, if they feel personally welcomed and attended to.

 

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The Most Popular Posts of the Month: May

Time for that monthly summary of what got your attention last month here at The Producer’s Perspective:

And . . .

This is the counter argument to the “we need more broadway theaters” that gets raised every time someone looks at all the shows struggling to get a theater.

When the Hudson Theatre returns to being a broadway house, will we see an uptick in overall grosses or will we just dilute the existing audience dollars further?

 

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The Most Popular Posts of the Month: April

Time for that monthly summary of what got your attention last month here at The Producer’s Perspective:

And . . .

Wouldn’t it be a funny irony if Broadway houses became just presenting houses in future? In past, new shows would originate in NY then tour presenting houses around the country. As a strong advocate for the regional theatre movement, I see much of the vitality, innovation and creatvity of our industry emanating from regional theatres in recent years. Perhaps the future will see much more of a two way street?

 

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