PRODUCER’S PERSPECTIVE Ken Davenport, Broadway Producer, Off-Broadway, Theater

The "Will It Recoup" winner announced! Did you win a Kindle?

Last Sunday saw the closing of Lend Me A Tenor, our last hold-out of the limited-run plays from this Spring season.  

Sadly, my sources tell me that Tenor didn't manage to turn to profit.

The only good news is now that we know, we can finally crown the winner of this year's Will It Recoup!  (If you're new to the blog and don't know what-the-fiduciary-responsibility we're talking about, click here for the original post.)

Someone is taking home a Kindle.  Is it you?

Here's how the final profitability tally looks:

A View from the Bridge: RECOUPED!
The Miracle Worker: Did NOT recoup.
A Behanding in Spokane: Did NOT recoup.
Next Fall: Did NOT recoup.
Looped: Did NOT recoup.
Red: RECOUPED!
Lend Me A Tenor: Did NOT recoup.
Fences: RECOUPED!
Enron:  Did NOT recoup.  

THREE winners in the bunch out of nine entries!  A 33% success rate this Spring!  

Who says Broadway is a risky place?  You just gotta know how to pick 'em right?

And you certainly do.

A total of NINE of you scored a 100% in this year's contest (boy, would you made some bank if this wasn't a virtual-investment game).

The winner of the Kindle can down to the tiebreaker question:  Which of these shows would win the most Tony Awards?  (Answer:  Red)  After adding that criteria, the nine were cut down to a field of TWO.

So, we're going to pull a Solomon and cut the Kindle in half to see who really wants it.

Naaaaah.  We're going to give away TWO!

Congrats to Howard and Zach on their play-pickin' prowess!  You've both won a Kindle!

Look for an email from me with details.  

And for the rest of you . . . well, there's always next year.  Picking winners isn't a one season game.  There's always another year . . . whether you're playing a game, or producing for reals, yo.

I said, "To go!"

I'm a fan of the Classic Italian sandwich from Europa Cafe. Expensive, but tasty.  I usually grab one every Saturday on my way to the office.

Here's what usually happens when I step to the counter:

Ken:  "I'll have a Classic Italian to go, please."

Sandwich Guy:  "Is that for here or to go?"

Ken:  "Uhhh . . . to go, please."

Sandwich Guy:  "Ok, thanks."

This happens, oh, at least three times out of four.  And it's not only at Europa. When I grab a fountain coke from McDonalds (why does their fountain coke taste so dang good?), the cashiers usually ask the same repetitive question, even when I've already indicated what my plans are.

Why? 

The cashiers are on customer service autopilot.  And that autopilot, which was designed to speed things up, actually slows things down.  

You've got to tune in to your customer.  You've got to listen closely to everything they are saying and everything they are not saying.  

So when you're selling tickets, or selling your script, or selling your show to try and get investors, make sure you listen to every word your potential buyer says. 

Because if you're not listening, they aren't going to listen to you when you need them to.  

Look Ma! We made an iPhone app called "At The Booth!"

I feel like a proud papa sending out a birth announcement.  And while the gestation of this offspring didn't take nine months, at times it sure felt like it!  (Then again, I'm about as patient as a kid on Christmas Eve.)

On January 26th, I wrote a blog about the Top 10 Broadway and Theater iPhone apps, only to find out that there weren't even 10 to choose from.

So, my staff and I hit the whiteboard and came up with some ideas, and I also put a call out to all of you for your ideas, and said that if I found one that we liked, we'd make it . . . and share the profits.

Well, lo and behold, my staff . . . and several of you (you know who you are) . . . expressed interest in an iPhone app that tells you what's available at the TKTS® booth, and at what price, etc.  

So, we made it!

Introducing . . . The At The Booth™app, your guide to what's half-price on Broadway today!  Download it now! 

At The Booth™includes:

• A list of all the shows available at the TKTS® booth and at what price (both in dollars and percent off - 50%, 40%, etc) updated throughout the day!
• A "line indicator" that tells you how long the line is!
• A full directory of all the shows on Broadway and Off-Broadway, whether they are at The Booth or not, including cast lists, photos, videos, and more!
• A full directory of all of the theaters in NYC, including maps!
• Links to reviews of all the shows!
• Links to full price tickets and discount tickets, just in case your show isn't at the booth!
• And more!

The app has been on soft-launch for a couple of weeks, and we've gotten great feedback already.  We gave a few away to some folks in Times Square and here's what they had to say . . .

"This is exactly what I was looking for.  It helped me plan my day better and I knew I was going to save money." - Karen, Texas

"If I can find out in advance that a show is available, I'll come to TKTS® more often, because I know my trip down won't be wasted." - Tom, NYC

So, if you've ever wanted to know what was up at the booth before you got in line (or even while you're in line), download the app today.  It's a must-have for any savvy Broadway and Off-Broadway theatergoer.

Get it here.

Special thanks to my staff, especially Melissa and Blair, who supervised the development, and special thanks to all of you who submitted your fantastic ideas for all different types of apps.  You helped inspire us to make something where there was nothing before.  Now, if you've got another idea for an app (or a dog food, a book, and hey, even a musical), go make it.  It ain't brain surgery.   

(And while you're downloading apps, don't forget you can get my blog in app form as well.  Get The Producer's Perspective blog app here.  I'm funnier on an iPhone. Really.  It's true.  If you were reading this on your phone, you would have laughed . . . a lot.)

Theater things that don't make sense: Vol. 8

I was recently at a big ol' touring house outside of NYC.  You know, one of those theaters in major metro areas all over the country that presents big national tours like Billy Elliot and Mary Poppins as well as concerts, lectures, local dance recitals and more.

I was talking to the TD of this theater, and he was telling me about his house plot.  You know, the bank of lighting instruments owned by the theater that can be used for small shows, or used to augment big shows, etc. (which allows touring shows to travel with less, saving them money in rentals and trucking and load-in time).  A house plot is one of the reasons that Altar Boyz was able to tour all over the country.

So I started thinking . . .

Why don't Broadway houses have house plots?

If there were a string of basic instruments in each house, we could save time, money, and I'd bet a lot of those dark weeks that some theaters face could be filled by smaller shows or special events that wouldn't normally be able to get their shows up without this savings . . . which would provide more jobs for everyone.  (The owners of New World Stages recently added a house plot to one of their small theaters, and it's been booked more often because of it).

The theater owners could even charge a few more bucks for use of the package, paying for (and profiting from) their initial purchase of the equipment.  

It's my understanding that the current stagehand contract prevents leaving elements from one show to be used for another show without payment (since the guys are losing hours of work). While that argument seems to be another 'theater thing that doesn't make sense,' I would think that a compromise could be had, since this "house plot" idea is in use all over the country, and since the existence of the plot could generate more gigs for the stagehands in the future.  

With our costs escalating just about everywhere, we've got to look at ways to become more efficient . . . which means looking at things in ways we've never looked at them before.

How a bite-size Kit Kat can make you more productive.

Someone was nice enough to drop a bag of those bite-size Kit Kats on my desk the other day.  Since it was the time of day I like to call "Sugar Time" (which is the same as Tea Time, but without the fanciness), I ripped open the bag and popped one into my mouth.

Mmmm.  Chocolatey wafery goodness.

Pop goes another.  

And one more.

Then I went back to what I was doing (which was writing a blog).  And then I popped another.

15 minutes later, I was staring at a giant mound of bite-size wrappers.  I mean, it was like there had been a mini Les Miz-like French revolution on my desk, but instead of furniture and wagons, the students used Kit Kat wrappers to make their barricade.

I looked at the wrapper carnage and had a thought.  I pulled out one of the wrappers and looked at the number of ounces of wafery goodness.  Then I multiplied it by the number of bite-size bars that I ate.  Then I compared that total to the number of ounces in one regular size Kit Kat.

Surprise, surprise . . . I had eaten exactly the equivalent of one-and-a-half regular size bars in one sitting.

Why?

It was so much easier to devour more of those little buggers when they were bite-size.  Breaking the bars into little pieces not only made them easier to manage, but it also made each piece like no big deal.  Unwrap, chomp, done.  Next?

Little packaged portions made them easier to eat.  And I ended up eating more.

Wouldn't it be great if we could all devour our work in the same way?

We can.

Take whatever project you're working on, and break it down into the little bites. Don't try and digest the whole bar all at once.  Go piece by piece by piece . . . and "put it together."  (Another one for all you Sondheimites).

You'll end up doing more before you know it.

And unlike eating Kit Kats, you'll probably end up burning calories in the process.

If everyone is going one way, sometimes it's smarter to go the other.

The July 4th holiday week on Broadway is always a nail-biter. While there is usually an infusion of show-seeing tourists at the last minute, advance sales for this week are always in the crapper (which is why you probably noticed a bunch of July 4th emails in your inbox promoting several shows for this one week only).  

Since the majority of people in the US are interested in fireworks on the night of the 4th, most shows cancel evening performances that fall on that date, and schedule a replacement matinee on a Thursday or Friday or some other odd time.

This year, the 4th fell on a Sunday, which made for an easy decision for all of those shows that didn't have a performance on Sunday night to begin with.  They just proceeded with their usual schedule.

All the other shows with Sunday evenings cancelled.

Except for one.

Next to Normal did their Sunday night show . . . and they ended up being the only Broadway show with a performance on Sunday evening.

While I have no idea how they grossed, I'd bet that they did better on Sunday night than they would have if they replaced that performance with an odd matinee, wouldn't you agree?  

I know when I plan a performance schedule, I look at exactly what the rest of the field is doing . . . and then sometimes, I do the opposite.  I don't care what day it is, there are always people who want to see shows, just maybe not enough to fill every theater.  So whether it's Flag Day or World Naked Bike Ride Day, if you can end up being one of the only shows available, well, then, you may end up raising the curtain without a single ticket available.

They didn't have these awards when I was in high school!

For those of you on the new social networking site, Four Square (I know, I know...another social networking site), you'll notice that I checked in to the Marquis Theater last Monday for the second annual National High School Musical Theater Awards.

What are they?  Take the Tonys, shrink 'em, add a little Miss America and a dash of American Idol and you've got . . . The Jimmies! 

What else do you have?

One thrilling night of incredible entertainment that made every single person in that audience believe in the power of the theater.

Over 50,000 students at almost 1,000 high schools across the country compete for the Jimmies.  Just like the aforementioned beauty pageant, there are regional awards that qualify performers to move on to the finals here in New York City.  

And that's where the real fun stuff happens.  

Those 44 finalists spend a week in the city studying with vocal coaches, learning an opening and closing number, and hearing from Broadway professionals about what it's like working in our biz.  

The week ends with a performance . . . on the stage of The Marquis Theater, in front of some of the biggest names on Broadway.  And yes, these are teenagers. It's like Broadway Fantasy Camp!

The show itself featured a medley of solos by each of the contestants. (Highlights for me were:  Matt Hill's 'Great Big Stuff' from Dirty Rotten Scoundrels, Andrea Weinzierl's Mame and Elise Vannerson belting out 'Nobody's Side' from Chess). The judges (including Memphis star Montego Glover, Casting Directors Bernie Telsey and Rachel Hoffman, Exec. Producer of Chicago Alecia Parker, Director Scott Ellis, Nick Scandalios (aka #8), and Kent Gash from my alma mater's new musical theater program) narrowed the field down to 3 female and 4 male finalists (there was a tie for the guys).

We got to see each finalist perform a complete number, and then the judges chose the winners!

This year's Jimmies (which were named for the patriarch of the Nederlander family and the patriarch of this program, James M. Nederlander) were awarded to . . . Alexandria Payne from Atlanta and Kyle Selig of California.

In addition to a fine looking trophy and a shot at a 4-year NYU scholarship, the winners were each surprised with a $10,000 check towards their tuition.

Congratulations to the winners, and congratulations to the Nederlander Organization and Van Kaplan's Pittsburgh CLO (where this idea began) for providing these kids, and all of us, with an opportunity of a lifetime.

They got to see New York City.  We got to see the future.

And it looks awesome.

For more info on The Jimmies, including how you can get involved, click here. For photos from BroadwayStars.com, click here.

And mark my blog, in less than five years, this thing is going to be huge . . . and so is the impact it will have on developing new audiences for the future.

And that's even more awesome.

(Oh, and yes, it's true, they certainly didn't have these awards when I was in high school.  But that's just fine with me, because this talented crop would have kicked my Billy Crocker-ed butt!)

A Will It Recoup Update. How is Broadway doing this Spring?

You forgot about this contest, didn't you?

Back in February, we launched our second 'Will It Recoup' fantasy Broadway investment game and put a Kindle on the line.

The name of the game says it all (just like the name of your show should reflect exactly what your show is about).  It's your job to pick the winners from the floppers in the Spring season.

So how are you (and the Broadway Producers) doing so far?

Here's what we know and what we don't:

A View from the Bridge: RECOUPED!
The Miracle Worker: Did NOT recoup.
A Behanding in Spokane: Did NOT recoup.
Next Fall: Did NOT recoup.
Looped: Did NOT recoup.
Red: RECOUPED!
Lend Me A Tenor: Too soon to tell.
Fences: RECOUPED!
Enron:  Did NOT recoup.   

So that makes a total of 3 Broadway shows out of 9 that have recouped already. That's a pretty bountiful Spring, considering the statistical average is 1 out of 5 (although it is certainly not a coinky-dink that two of the three shows that have recouped featured Hollywood mega-stars Denzel Washington and Scarlett Johansson).  

Still, the game is not over.  We've still got one show on the fence.  We could have quite a good year if it falls into the win column.

How are you doing? 

Well, there are 27 of you who picked those three shows to recoup, and the five shows that did not.  27 of you are still in the money!  

So...it all comes down to Lend Me a Tenor.

See you in August! 

5 MORE Takeaways from the Get Your Show Off The Ground Seminar.

Last Saturday, another great group of super passionate producers, writers, artists and more woke up early and spent the day with me and the other entrepreneurial artists who signed up for my Get Your Show Off The Ground Seminar. 

We had a blast.

We heard about all sorts of projects at various stages of development.  We talked about finding and signing collaborators, how to wear multiple hats on multiple projects, and yes, you guessed it, we talked about how to raise all those important funds.  And everyone walked away with a to-do list that they were psyched to check off.  

While it's impossible to recreate the energy of the room in a blog, I thought I'd do what I did after the last seminar, and post five simple takeaways that resonated with the group, that will hopefully resonate with you.

• Creating experiential entertainment has never been more important than it is today.
• The nicer the theater you put your show in, the higher the expectations from your audience and the press, will be.
• Your agents and your lawyers work for you.  You do not work for them.
• Developing scripts can be like sick children.  And if your kid isn't getting better, don't stick with your one doctor.  Take him/her to the best doctor you can afford.
• Just because your show doesn't belong on Broadway, doesn't mean it doesn't belong.

There was a ton of other great stuff that came out of the seminar, and so much of it came from the participants themselves!  These seminars have turned into great collaborative think tanks of some of the most exciting and emerging theatrical minds I've seen.  Thanks for being so awesome, guys.

If you'd like to participate in one of my seminars, sign up today by clicking here. The next seminar will be on Saturday, November 13th. (The timing is ideal for all of you post-festival peeps curious about what to do AFTER the festival.)  FYI, I've modified the structure a bit to make the seminar more efficient, but that also means that there are only 12 spots available.  These spots will go fast, so register today.  

Click here for more info and we'll see you there!

The next play in the reading series is . . .

We're halfway through the first year of the Davenport Developmental Reading Series, and we've had two great dramas so far.  

So what do you do after you've been through the Civil War and a violent psychological thriller?

You play Bingo!

Next up on September 13th is a new comedy from the midwest's Ian Kennedy about that famed form of legalized church gambling known as Bingo (not to be confused with the Off-Broadway musical of the same name from several years ago).

Now I'll admit . . . I got semi-obsessed with bingo on a cruise several years back. It rained 5 out of the 7 days, so Bingo was about all that we could do (except watch the movie version of Titanic which they played in the lounge - no lie - they played Titanic - on a cruise ship). 

Here's what this Bingo is about . . .

"There is nothing fiercer than a game of Bingo. Tensions are high and competition FIERCE. In Mr. Kennedy’s new play BINGO!, amidst the competition, gossip flourishes and secrets are revealed. Who knew a Bingo game could contain hidden sexualities, illicit affairs, matching heart-shaped tattoos, AND good luck dollies?"

I even hear there is a touch o' interactivity involved.

Sounds fun to me.  I'll be there.  Will you?  

For more about the reading series, including how to submit, click here or visit www.DavenportTheatrical.com.