Broadway Grosses w/e 2/11/2018: Ok, now that THAT’s over.

The following are the Broadway grosses for the week ending February 11, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:

Broadway Grosses w/e 2/4/2018: The Patriots aren’t the only ones who lost last week

The following are the Broadway grosses for the week ending February 4, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:

STATS REVEALED: Fewer shows close this January than in the last 10 years.

On Tuesday, I posted a theory in my weekly Broadway gross wrap up.

Ok, it wasn’t really a theory.  It was more like a feeling in my gut.  And frankly, I couldn’t tell if that feeling in my gut was the pizza I ate at midnight, or if I was really on to something.

So, I had my crackerjack research team (including our new intern Liana) do a bit of data digging to see if this theory was the result of some greasy pepperoni or an actual thing.

And this AM, they spit out some stats and voilà . . . it looks like, as a therapist would say, my feelings were valid.

What I hypothesized was that this year had the fewest closings in January we’ve had in a long time.  See, normally shows seem to shutter quickly after the holidays.  But this year it seemed like more shows were sticking it out . . . stretching to MLK Day and Broadway Week, and now beyond.

And, as you’ll see in the blog below, that’s exactly what happened!

This January, we only saw 3 shows close, which is the LOWEST number of shows we’ve had in the last ten years.

In fact, an average of 8 shows closed in January over the last decade.  And this year, it wasn’t even half that.  (Non Profit closings weren’t included, by the way).  This past year was 62.5% less than the average.

Take a look . . .

Interesting trend, no?

But it doesn’t stop there.

I turned the time machine back another ten years to see how we stacked up against a longer era, and wouldn’t you know it, we’re way under that average of 6 shows closing in January over the last twenty years.

See for yourself.

 

What does all this mean?

It means that Broadway Week has helped.  It means more tourists are sticking around after Xmas (and tourism is up in general).  It also means that shows are getting smarter about pricing during this period to attract more buyers.

Oh, and it means even fewer theaters will be available to new spring shows.

(Do you like charts and graphs about the business of Broadway?  Check out The Recoupment Report, my quarterly newsletter dedicated to the art and commerce of investing on Broadway.  Click here for more info and to sign up.)

P.S. Want to learn how to produce a musical? Click here for all the tips, tools and training you need.

Free Webinar Alert: The Ins-and-Outs of Co-Producing on Broadway.

There are two kinds of Producers on Broadway:  Lead Producers and Co-Producers.

Do you know the difference?  (This is a quiz.)

A simple analogy might be that the Lead Producer is like the Chairman/woman of the Board of a Non Profit . . . and a Co-Producer is like the Board Members.

But it ain’t so simple.

Co-Producing on Broadway has become an important niche in our industry.  It’s where most Broadway Investors graduate to, and it’s where most Lead Producers come from.

The Lead Producing Path often looks something like this:

Broadway Investor -> Broadway Co-Producer -> Broadway Lead Producer

Since Broadway shows have become more expensive over the years, Lead Producers have “sub-contracted” out the financing to more “Board Members” than in previous decades.  That’s why I get so many questions from readers and podcast listeners like, “How do Broadway Co-Producer deals work,” or “Who are the other names above a show’s title,” and “How do I become a Broadway Co-Producer?”

And, as I said on a recent “Office Hours” call for my PROs, if I get the same three questions on the same subject from three different people, then I know I haven’t done my job in getting people the info they want.

That’s why, next Wednesday, February 7th at 7 PM EST, I’m teaching a FREE webinar entitled . . . “Co-Producing on Broadway:  So You Wanna Be a Broadway Bundler.”

During the webinar, I’ll break down . . .

  • Strategies for choosing the right show to Co-Pro.
  • How to negotiate the best deal (and what those deals are anyway).
  • How to be a Co-Pro without having to invest your own $.
  • The risks and the rewards (and we’re not talking just cash).
  • A Co-Producer’s role in the production before and after it opens.

And, of course, I’ll take all your questions at the end of the session.

To join me and learn more about Co-Producing on Broadway, just click here to sign up for this one hour webinar, next Wednesday night at 7 PM.  It’s free.

See you there.

WEBINAR:  Co-Producing on Broadway:  So You Wanna Be a Broadway Bundler.
DATE:  Wednesday, 2/7/18
TIME: 7 PM – 8 PM
COST:  FREE

To register, click here.

Podcast Episode 146 – Tony Nominated Director, Sheryl Kaller.

In 2010, the beautiful little play entitled Next Fall came out of nowhere, earned a rave from Ben Brantley, signed Elton John as a Producer and opened on Broadway where it was nominated for Best Play.

It was one of those great surprises that happen every few years in the theater.

And one of the best results from Next Fall‘s rise to the top was that people started to take notice of one of the top female Directors we have in our ranks, Ms. Sheryl Kaller.

Sheryl has become known for directing intimate dramas like Next Fall (she helmed Mothers and Sons on Broadway with Tyne Daly, which I co-produced), but can handle anything you throw at her (a stage version of Frozen has been on cruise ships for the last year or so . . . guess who put that sucker up?).

That’s why I was eager to talk to her, and as usual, Sher didn’t disappoint, and told me her story and gave me her perspective on all things including:

  • What Bob Fosse “fought for” in his direction, and how that inspired her.
  • How she never felt like a female Director while she was in school . . . but only when she got into the business, and how that has changed (or not) since then.
  • The day she got scolded by an Actor for being too prepared.  And how that has affected her style since.
  • How she got back into the business after deciding to take time off to raise her family (and how that made her a better and more successful Director).
  • The process of pitching herself for a job . . . what she says to playwrights and Producers in order to earn their trust.

If there’s one thing I’ve learned from the 146 podcasts we’ve done here is that there is no one way to do anything in the theater.  There is only your way.

Listen to how Sheryl reached her goals and how she’s working her butt off to reach her new ones by clicking below.

Click here for the link to my podcast with Sheryl!

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

Download it here.

 

 

Ken Davenport
Ken Davenport

Tony Award-Winning Broadway Producer

I'm on a mission to help 5000 shows get produced by 2025.

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