We wrote the book on Broadway Investing. Literally.

Let me take you back in time . . . to when I was a young pup, looking to get into the game of producing and investing in Broadway shows.

I looked everywhere for a guide on how to get involved only to find . . . there was jack @#$% available anywhere on how to do it.

I eventually figured stuff out on my own, through trial (and quite a few) errors, and I vowed that one day when I knew more, I’d go public with the info in the hopes to help of helping folks avoid the mistakes that I made.

In the midst of all this, I crowdfunded my Broadway revival of Godspell in 2011.  Thousands of people expressed interested in investing, which made me realize just how many people out there were interested but had previously been hesitant to start investing.  Not only did they not know the ins-and-outs, but they didn’t know how to get started investing in an industry that has such a high-risk reputation.

Flash forward to today, when Broadway investing has become more popular than ever, thanks to the booming Broadway box office and the lightning rod of press we’ve received from hits like Hamilton,  telecasts like Jesus Christ Superstar, and more.

More people are interested . . . but based on the questions people ask me, there still wasn’t much information to be found.

That made me nervous.

See, while I love that people are interested in investing in Broadway, I want to make sure that when they do invest, they do so with the information they need to invest (combined) with the right expectations and the right strategies to maximize their chance of a positive experience, financially, artistically and emotionally.  (I often say that investing in Broadway is the riskiest investment you’ll ever love to make.)

So I thought . . . there should be a book about Broadway Investing.  I know when I get involved in a new area in my life, be it golfing or parenthood, I read a book about it.

But there wasn’t one on Broadway Investing.

So I wrote one.

And I’m thrilled to say you can pre-order it right now on Amazon.com . . . for only $2.99.

The price will jump up to $19.99 when we’re officially on the “shelf,” on March 15th, but since I think the information in the book is important for anyone even remotely interested in investing in Broadway (and for those of you looking to raise money from investors as well), I wanted to offer a super low opportunity for you to get it now.  In fact, this is as low as Amazon will allow, actually.

So if you want to know . . .

  • What happens to your money after you invest.
  • How does money get returned to you?
  • What are the perks and benefits you MUST ask for when investing in order to maximize your returns?
  • The biggest mistakes first time Broadway Investors make
  • My strategies for picking shows that decrease your risk and increases your chance of finding a big hit.

. . . then click here and grab Broadway Investing 101 for only $2.99.

Oh, and as a bonus, each purchase includes a link to an online appendix that includes tons of free materials including sample documents, budgets, exclusive research from actual investors, and more.  It’s the only treasure chest of information available that is especially for the current or future Broadway Investor.

So grab the only book available all about Broadway Investing . . . and let me know what you think.

I hope it helps you find the next Hamilton.  🙂

Get it for only $2.99 until March 15th here.

UPDATE:  The book has already been put on Playbill.com’s list of books to read this Spring!

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

To register, click here.

Which Broadway show would you rather invest in?

“So . . . who’s in it?”

This is the most common question I get whenever I’m raising money for a Broadway show . . .  whether I’m talking to a new Broadway Investor or a seasoned angel.

And it’s a good question.

But it’s not a great question.

When I’m evaluating a Broadway Investment opportunity, I have a very specific due diligence process that I go through to rate the risk of the production.  Because all opportunities carry risk . . . including walking down the street.  The real question is how risky is each opportunity . . . and what’s the upside?   (Is there a Pinkberry across that street???)

And the “Who” in this moneyball-like equation is a factor, for sure, but it’s not the most important one.

So when I get this question these days, I usually return the question with a question.

“Let me ask you,” I say, “Which of these Broadway shows would you rather have invested in:  Hamilton, Dear Evan Hansen, Come From Away, Rent, Les Miserables, Phantom of the Opera, A Chorus Line, etc . . . or . . . INSERT NAME OF STAR-DRIVEN VEHICLE HERE.”

Who’s in a show may give an investor some comfort when a show is launched, but since all shows carry risk, and since the upside on star vehicles can be so limited thanks to the shorter runs and the higher salaries, the savvy investors go drilling for the real oil, which isn’t located in Star Town.

The gushers aren’t dependent on stars.  In those cases, which are the ones we all want, the ones that send out double-digit distribution checks every month, the show is the only star.

So the next time you’re raising money, remind your prospect that having Madonna in your show may make it easier for them to write a check, but it will mean they won’t get many back.

– – – – –

For more on raising money for Broadway shows, check out my course, Raise It . . . which is not FREE when you join TheProducersPerspectivePRO.com.



How my very first negotiation went wrong.

I was very excited when I started my very first big-time negotiation.  It was over twenty years ago now, and looking back, it wasn’t even that big of an issue.  Just a small contract with a vendor that my boss had tasked me with.  “Get a great deal,” he said.  He gave me a budget.  I wanted to come way under.

But this was my very first negotiation, so I treated it like I was arguing a case in front of the Supreme Court . . . with cameras watching.

And I thought I was ready.  I mean, I had watched enough LA Law as a kid (in fact, I wanted to be a lawyer at one point . . . so that’s all it takes to be a good negotiator, right?).


And at some point in the negotiation, it started to go a little sideways.  I thought I was being treated “unfairly” . . . so I did what I thought I was supposed to do.  I blew up.  And I said some things that I thought would make the vendor give in.

You know what happened?  Instead of giving in, they dug their heels in . . . and while I did come in a sliver under budget, I know I could have done much better with a different approach.  And instead, I walked away with an ok deal and a vendor who didn’t like me oh so much.

Is the takeaway of this blog not to blow up during negotiations?  Actually no.  (There is a time and place for the right amount of steam-blowing depending on the issues and parties involved.)

The biggest lesson that I learned from my very first negotiation happened after the negotiation was completed.

The very next day, my boss called me into his office and said, “We’re doing a reading of a new show.  There’s no budget.  We need a favor from VENDOR.  Call them and see if they’ll help us out on this one for next-to-nothing.”


Here’s the thing about this industry.  It’s about the size of a pin head on a pin head.  That means you have to be very careful with how you treat people during your negotiations, because odds are, you’re going to be in another negotiation with the same parties very soon (the very next day in my case!).  And one bad negotiation with another party, can lead to a lifetime of them.

I ate major crow that day with the vendor and managed to salvage the relationship (took me about three lunches, a Yankees game and a popcorn tin at Christmas to do it), and it’s a good thing I did, because I’m still negotiating with them TODAY.

Negotiating is one of the most important skills an individual can possess.  Everything in our business (and in our lives) is a negotiation.  Whether that’s a theater deal, a deal with a writer/actor or designer, or whether that’s negotiating with an employee to make sure they finish a project by a deadline, or negotiating with a spouse on where to go on vacation, or who should walk the dog at night.

Without a doubt, a skillful negotiator can achieve success in their chosen area much faster than someone who just watched a lot of LA Law.

That’s why after my first botched negotiation, I studied the art of deal making like I was preparing for a Supreme Court case.  I read books, took seminars, engaged in live-negotiation exercises and more.  And, I’ve spent the last twenty years, honing those skills in all sorts of negotiations with agents, unions, theater owners and more, all while learning the very unique nuances of negotiating in the arts (which is different than any other industry).

Since negotiating is such an important part of what we all do, I’ve decided to make it the subject of my next webinar, The Art of Negotiating . . . in the Arts  . . . which will take place next Wednesday, January 11th at 7 PM.

During this one hour session (including a Q&A), you’ll learn:

  • The most important part of any negotiation.
  • How do deal with . . . ahem . . . “difficult”  negotiators (and we’ve got a lot of them in this biz).
  • When to walk away . . . no matter how hard that may be (this is so hard in the arts since we’re so emotionally attached to our projects).
  • The one thing you can do to get an advantage in every single negotiation you have.
  • The tricks skillful negotiators will use on you and how to avoid them.

The webinar is $149.  Click here to register now.

Or you can save over $50 and get it for free when you join TheProducersPerspectivePRO for only $97.

And when you join pro, you get full access to PRO including all the other webinars from this past year, contacts lists, my monthly newsletter, networking events (including one on the 21st) and more.  Click here to learn more about PRO (including video testimonials from members).

The average person will enter into thousands of negotiations every single year . . . from in-depth business negotiations (including for your own salary) to negotiating with an airline to get reimbursement when they lose your bag (I just negotiated a free ticket from a major airline when they lost my bag yesterday).

I guarantee you’ll end up getting more out of your negotiations this year when you take this webinar.

See you next Wed.

Sign up for The Art of Negotiating . . . in the Arts for $149.

Join PRO and get the webinar for $97.



10 FAQ about Broadway Investing

Before I crowdfunded Godspell, I had a thesis.

“There are thousands of people out there who would love to invest in Broadway shows . . . they just don’t know how to do it, or who to talk to.”

Sure enough, when we announced our plans for Godspell, thousands of leads poured in. In between placing all those return calls I remember thinking, “Huh, will you look at that . . . I got this one right.”

Of course, not all those people invested (in the end we had about 750 investors), but thousands expressed interest and proved my thesis correct.

And all those thousands of people had questions.

Five years later, people still have questions about investing in Broadway shows. As I’ve spoken to more and more potential investors, I’ve noticed that many of the questions are the same.

That’s why I’ve created this FAQ for Broadway Investing. So whether you’re a potential Broadway Investor looking to dip your toes into our theatrical waters, or whether you’re a Producer looking to raise money for your show, I think you’ll find these Qs and their appropriate As helpful.

1. How much do I need to invest?

When a new theater investor asks me this question I always ask them what they think the average investment in a Broadway show is. Their answers usually range between $50k and $100k. The truth is that the average investment is only around $25k according to our survey. And it’s not uncommon for Broadway Producers to accept as little as $10k. (And Off Broadway shows as little as $5k.) So the entry fee isn’t as high as you think.

2. Can I lose more than I put in?

No. Most offering documents for Broadway shows have a clause that limits your liability to only your initial investment. If you can’t find it when you read your documents, ask the Producer to point it out. Now, if the show gets into a situation and it needs more capital to keep running after it opens, the Producer does have a right to ask for a “Priority Loan,” but the key word there is “ask.” You can always say no.

3. Can anyone invest? Do I have to qualify?

Most Broadway and Off Broadway offerings are for accredited investors only, which means you must meet certain financial requirements to invest. See the official definition here to check if you qualify. (Note that as I wrote in this blog, the definition may change again soon allowing more folks to be able to invest.)

The recently passed JOBS Act may eventually allow more non accredited investors to invest, but I would expect JOBS offerings to be used on Off Broadway shows rather than Broadway shows due to the $1mm cap on the capital that can be raised under its regulations.

4. What about tours and high school productions?

When you invest in a Broadway show you are usually investing in the originating production, or the “Mother Ship” as I like to call it. To compare that to the restaurant world, it’s like investing in the first McDonald’s . . . and then watching it franchise. Traditionally, investors in the original Broadway productions have the right (but not the obligation) to invest an amount proportional to their original Broadway investment in any additional companies produced by the same Producer (i.e. National Tours, London, etc.). Additionally, all those other companies pay a royalty and usually some net profits back to the Mother Ship. So if you invest in an additional company, you can make money on both sides (or if you choose not to invest in an additional company, your Broadway investment will still benefit from the profits (if any) of that company).

For any subsidiary activity that the Producer does NOT have the rights to (i.e. Greece, a movie, etc.) the Mother Ship is still paid a percentage of income received from the Authors for that activity (usually between 30-50%). However, it’s important to note that this doesn’t last forever. There is a ticking clock (somewhere between 7 and 30 years traditionally) that starts as soon as the Broadway production (or last production produced by the Producer) closes. The length of time that the investors receive this income is based on the percentage referenced above (the higher the percentage they receive, the less time they get this money).

Subsidiary deals do vary for each show, so ask your Producer to describe what your show’s deal is. These are very important as a good subsidiary deal can mean a long-term annuity fund for a successful show.

5. Do I get to go to opening night?

If you invest in Coca-Cola, they aren’t going to send you a free six pack. But on Broadway, we like to give you lots of perks! And yes, opening night is one of them. But, usually opening night tickets require a minimum investment. I try to get every investor into the opening nights of my shows, no matter the amount, but because the theaters are limited in size, this is often challenging for many Producers. Ask what the minimum is for opening night up front.

You should also get access to “house seats” (full price tickets reserved for VIPs), and may also be invited to dress rehearsals, meet and greets and more.

6. How does this work with my taxes?

Thanks to a very recently passed law, taxes for Broadway investors are easier now than they have been. First, it’s important to remember that this is an investment. You will receive a K1 at the end of every year just like you would for any investment. And since Producers don’t know your specific situation, you should always talk to your accountant about how an investment (successful or not) will impact your taxes. But yes, expect to pay taxes if the show is profitable and yes, expect that you will be able to write off a loss if not. And, click here to read about how the government has finally made this more advantageous for Broadway Investors. (By the way, Producers shouldn’t be giving you tax advice so if one does . . . don’t listen and call your accountant.)

7. Can I afford to invest?

Investing in Broadway shows is a very risky endeavor. According to industry averages, only one out of five shows recoup their investments. As I say to all my first-time investors, “Write this check like you are never going to see it again.” It’s important to have proper expectations, especially on your first time out.

8. How do I pick my first show to invest in?

Make sure you pick something you love, so if it does disappoint you and doesn’t recoup, you will still be proud to have helped make it happen. Some people hang a piece of art on their wall. You’re going to hang a poster for a Broadway show. You want something that is going to make you think, “Look at what I helped make!”

And make sure you’re investing with a Producer you know and trust and has a good track record for returning investments, producing quality shows and communicating with his/her investors.

9. Ok, I want to invest, but how do I find someone to invest with?

Although Producers don’t usually advertise that they are looking for investments (there are regulations against that), most would be happy to take your information if you raised your hand and said you were interested in getting involved with a show. My suggestion to potential investors is always to go see shows, and when you like one, look at the name at the tippy-top of the list of Producers on the Playbill. That’s the lead Producer . . . and if you liked his/her show, then you have similar tastes. Reach out to their office (a quick Google search will find something for them I’m sure) and say, “Hey, I liked your show. Can you put me on your list?” I’d bet money they will.

Now, don’t expect to get a call to invest in the next “sure thing.” First-time investors usually have to take a little more risk on a show before they are offered the shows that are safer bets. Why? Well, when Producers do have something that feels big (a show with a big star, etc.) they usually go to the people who have lost money on bigger risks before. There is seniority, as I’m sure you can understand.

10. What if I wanted to invest more and be a Co-Producer?

For larger investors, it is possible to earn additional perks including Above-The-Title Producer credit, additional profit percentages, participation in business decision making, and more. Contact your Producer if you are interested in these opportunities. Average Co-Producer investment minimums average around $350k but can be lower or higher depending on the level of risk involved with the production.

And lastly one bonus FAQ, and the most important . . .

11. Why should I invest?

Because you love the theater. Period. Yes, you can make money. Yes, you can make great networking connections. Yes, you can learn if you’re looking to produce/develop your own shows. But the bottom line is only invest if you couldn’t live without it. And think the world shouldn’t be without it either.

Want to learn more about investing in Broadway shows, including my tips and tricks on finding a winner? Click here to register for my upcoming Broadway Investing webinar on March 22!


(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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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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