Broadway Grosses w/e 11/10/2019: Another Op’nin’, Another Show

Overall grosses buoyed with a 14% increase to just over $35M last week. Many shows recovered to pre-Halloween levels while Beetlejuice continued to own the fall holiday season pulling in an impressive $1.2M and continuing a streak where its last five weeks have been their best to-date.

Jagged Little Pill also landed firmly in its first full week of performances grossing $1.1M for eight previews.

You can find the rest of the figures below, courtesy of The Broadway League: 

Show Name GrossGross  TotalAttn  %Capacity AvgPdAdm
A CHRISTMAS CAROL $106,450.00           1,651 64.90% $64.48
AIN’T TOO PROUD $1,519,667.88         10,822 95.00% $140.42
ALADDIN $1,245,179.50         13,297 96.24% $93.64
AMERICAN UTOPIA $965,418.00           5,745 99.64% $168.04
BEETLEJUICE $1,212,734.50         11,569 96.86% $104.83
BETRAYAL $697,428.70           6,857 82.73% $101.71
CHICAGO $661,265.80           7,786 90.12% $84.93
COME FROM AWAY $1,065,019.00           8,545 102.12% $124.64
DEAR EVAN HANSEN $1,088,986.55           7,982 101.40% $136.43
DERREN BROWN: SECRET $394,295.00           5,018 70.56% $78.58
FREESTYLE LOVE SUPREME $701,601.50           5,569 91.00% $125.98
FROZEN $1,082,645.40         12,875 95.57% $84.09
HADESTOWN $1,461,216.00           7,448 101.42% $196.19
HAMILTON $3,088,806.00         10,760 101.59% $287.06
HARRY POTTER AND THE CURSED CHILD, PARTS ONE AND TWO $1,149,130.50         12,976 100.00% $88.56
JAGGED LITTLE PILL $1,107,845.30           8,570 95.22% $129.27
LINDA VISTA $308,367.86           3,981 85.06% $77.46
MEAN GIRLS $974,091.95           9,441 96.34% $103.18
MOULIN ROUGE! $2,218,313.50         10,501 100.82% $211.25
OKLAHOMA! $498,466.00           4,797 92.11% $103.91
SLAVE PLAY $467,721.00           5,676 89.47% $82.40
THE BOOK OF MORMON $1,097,545.70           8,499 101.47% $129.14
THE GREAT SOCIETY $375,184.00           4,948 58.35% $75.83
THE HEIGHT OF THE STORM $292,977.00           3,817 74.20% $76.76
THE INHERITANCE $738,917.50           6,743 80.43% $109.58
THE LIGHTNING THIEF $336,181.00           4,979 58.00% $67.52
THE LION KING $1,921,309.00         13,151 96.93% $146.10
THE PHANTOM OF THE OPERA $952,524.04         10,731 83.57% $88.76
THE ROSE TATTOO $509,255.00           5,384 93.34% $94.59
THE SOUND INSIDE $589,439.10           5,840 73.15% $100.93
TINA – THE TINA TURNER MUSICAL $1,332,425.00         11,860 100.30% $112.35
TO KILL A MOCKINGBIRD $1,926,476.26         11,600 101.05% $166.08
TOOTSIE $943,764.80         10,022 78.20% $94.17
WAITRESS $756,698.50           7,884 94.31% $95.98
WICKED $1,612,019.50         14,095 97.50% $114.37
TOTALS $35,399,366.34 291,419 89.68% $115.98
+/- THIS WEEK LAST SEASON -$1,831,034.99      
PERCENTAGE +/- THIS WEEK LAST SEASON -4.92%

Today’s blog was guest-written by Ryan Conway, President of Architect Theatrical. Find out more here!

Why 90% of Actors Are Doing it Wrong.

What has always been a surprise to me is the amount of the emails I receive from Actors around the world looking for a tip on how to break into the biz . . . and fast.

In fact, do you know what the most popular blog that I’ve ever written is?  No, it’s not the crowdfunded Godspell, or the live-streamed Daddy Long Legs.

It’s this one, which is all about Actors.

I don’t know why I’m so surprised.  While this blog may be called TheProducersPerspective, it’s for all artrepreneurs out there looking for a little insight into our biz that could give them a leg (and an arm) up.  Because they’re gonna need it!

And since the acting world is much more competitive than any other profession in our industry (thanks to the sheer volume of Actors looking to make it), it only makes sense that they’d be seeking out a way to increase their odds of success.

Which is why I’m writing this blog today . . . to tell those Actors that 90% are doing it wrong.

Now granted, I may be preaching to the converted here, because if you’re already one of my blog readers, then you’re probably in the 10%.

But if not, let me give you a tip that’ll put you on the fast track to success.

Ready?  And if you’re an Actor, and can’t stand a little tough love, STOP reading here.

Ok?  Good.

Here’s what you should do, that has worked for countless others, and WILL work for countless more . . . and hopefully you.

Create your own @#$%.

The ol’ cliche of an Actor taking a job as a “waiter” has always had a double meaning for me.  Because if you are just auditioning for OTHER people’s shows and movies and plays with OTHER people’s songs and scripts . . . then you’ll just be “waiting” until you fit someone else’s idea of who you’re right for.

And you could end up waiting forever . . . regardless of your talent.  (Painful thought, right?)

Now, you could also “get discovered” but those odds are longer than recouping a revival of Moose Murders.

So don’t chase Directors and Agents and Casting Directors and Producers.

Make them chase you.

And how you do that . . . is by creating your own @#$%.

It probably won’t be great at first.  But keep doing it. And you’ll get better.  And then people will find you.

This isn’t a new concept.  I’m not blog-preaching about this today because of the recent rise of the YouTube or Instagram celebrity (although that is one way to create your own @#$%).

Creating stuff is why so many stand-up comedians have gone on to great success.

Steve Martin, Robin Williams, and Whoopi Goldberg all started making up their own punchlines . . . which got people laughing and got people talking . . . and got them roles on stage and screen.  (And they ALL transitioned from comedy to serious work, so don’t think this is just about the funny folks.)

But it’s not just comedians.

What about Matt Damon and Ben Affleck . . . who were struggling actors until they sat down and wrote Good Will Hunting.

And don’t get me started about Sylvestor Stallone, who refused an offer to buy his original screenplay to Rocky (yep – you forgot he wrote it, didn’t you) because the studio wouldn’t let him play the lead (they came around).

Think this is a wave of the past?

What about Phoebe Waller-Bridge and her 8,000 Emmy Awards for Fleabag . . . which started as a one-woman show . . . just like Nia Vardalos’s Big Fat Greek Wedding or Chazz Palminteri’s A Bronx Tale.

Making stuff is by far the fastest way for an Actor to make it.

I’m not saying it’s easy.  But unlike the dreadful audition process, in which so many decisions are made that have nothing to do with you or your talent . . . making stuff, whether that’s a one person show or a web series or a stand up routine, is something you can control.

This is how you design a part that no one else in the world could be right for.  So you have ZERO competition.

And you know what the cool thing is?  90% of the actors out there aren’t doing this.  So immediately you’re going to stand out.

And what stands out . . . is what “sells.”

So if you’re an Actor . . . stop waiting and start making.

And actually, come to think about it . . . this concept isn’t just for Actors.  It’s for Directors, Designers or even Producers! (I got my start by creating my own shit – by producing three shows that I came up with . . . because I couldn’t get the rights to anything!)

Get creating.

– – – – –

Are you an Actor or any kind of artrepreneur that wants to learn how to create @#$%?  Click here to learn from the best.

Broadway Grosses w/e 11/3/2019: Time wasn’t the only thing that fell back this week

Last week, overall grosses dipped 8% to just over $31M. Halloween tends to be a tough day for Broadway shows, and this year’s holiday seemingly lasted all week.

Despite the overall drop on the street, newcomers Tina – The Tina Turner Musical and Jagged Little Pill showed strong attendance and average tickets. Beetlejuice also managed to capitalize on the spooky season with its fourth week grossing over $1M. 

You can find the rest of the figures below, courtesy of The Broadway League:

Show Name Gross  TotalAttn %Capacity AvgPdAdm
AIN’T TOO PROUD $1,372,643.10       11,036 96.88% $124.38
ALADDIN $1,260,084.30       13,380 96.84% $94.18
AMERICAN UTOPIA $875,078.00         5,728 99.34% $152.77
BEETLEJUICE $1,075,706.52       11,516 96.42% $93.41
BETRAYAL $610,796.36         6,438 77.68% $94.87
CHICAGO $599,098.60         7,143 82.67% $83.87
COME FROM AWAY $928,715.00         8,447 100.94% $109.95
DEAR EVAN HANSEN $980,096.87         7,967 101.21% $123.02
DERREN BROWN: SECRET $331,728.50         4,973 69.92% $66.71
FREESTYLE LOVE SUPREME $633,350.50         5,379 87.89% $117.75
FROZEN $969,890.00       12,797 94.99% $75.79
HADESTOWN $1,219,209.50         7,403 100.80% $164.69
HAMILTON $2,408,121.00       10,734 101.34% $224.35
HARRY POTTER AND THE CURSED CHILD, PARTS ONE AND TWO $964,909.50       12,976 100.00% $74.36
JAGGED LITTLE PILL $191,787.00         1,097 96.57% $174.83
LINDA VISTA $252,234.32         3,152 67.41% $80.02
MEAN GIRLS $768,890.35         8,476 86.49% $90.71
MOULIN ROUGE! $2,180,899.50       10,498 100.79% $207.74
OKLAHOMA! $390,654.50         4,366 83.83% $89.48
SLAVE PLAY $461,673.50         5,564 87.70% $82.98
THE BOOK OF MORMON $1,013,747.25         8,241 98.39% $123.01
THE GREAT SOCIETY $369,650.50         4,572 53.92% $80.85
THE HEIGHT OF THE STORM $281,028.00         3,468 67.42% $81.03
THE INHERITANCE $545,910.14         4,997 68.12% $109.25
THE LIGHTNING THIEF $203,842.00         3,460 40.31% $58.91
THE LION KING $1,968,299.00       13,113 96.65% $150.10
THE PHANTOM OF THE OPERA $822,373.60         9,639 75.07% $85.32
THE ROSE TATTOO $494,501.00         5,329 92.39% $92.79
THE SOUND INSIDE $514,428.50         5,332 66.78% $96.48
TINA – THE TINA TURNER MUSICAL $1,463,622.00       11,824 100.00% $123.78
TO KILL A MOCKINGBIRD $2,245,898.00       11,674 101.69% $192.38
TOOTSIE $717,535.60         9,469 73.88% $75.78
WAITRESS $564,574.60         6,495 77.69% $86.92
WICKED $1,441,623.50       13,490 93.32% $106.87
TOTALS $31,122,600.61    270,173 86.33% $111.45
+/- THIS WEEK LAST SEASON -$1,956,110.92      
PERCENTAGE +/- THIS WEEK LAST SEASON -%5.91

Today’s blog was guest-written by Ryan Conway, President of Architect Theatrical. Find out more here!

Learn How To Write A Musical In Person from The Man Who Wrote The Book On It.

One of the first pieces of advice I give to writers struggling to improve their scripts is simple . . .

Read Jack Viertel’s The Secret Life of the American Musical.

It’s a genius book that breaks down the structure of the classic American musical.  It diagnoses problems in your own scripts by demonstrating how the masters did it.

I re-read it every year.

I’m also lucky enough to call Jack a peer and a friend.  And recently, while we were jawing over a new musical I was working on, I got to thinking . . . the book is great and all, but hearing him talk in person is priceless for anyone looking to get better.  And aren’t we all?

Since my mission is to help people like you get your shows off the ground, I asked Jack if he’d ever teach a LIVE workshop for my readers.

And he said yes.

So we’re doing it!

On Sunday, December 8th, from 2-6 PM, Mr. Jack Viertel, Broadway Producer, Writer, former Critic, now head of Encores (for a little while longer anyway) and so much more, will be teaching an intensive workshop on the structure of a musical.

It’s a four-hour class that will be split in two parts.  The first will be Jack deconstructing a musical for you like he does in his book, but more in-depth.

The second part . . . and oh this is where the fun begins . . . we’re hiring two Broadway Actors to play Julie Jordan and Billy Bigelow and they’re going to perform the famous “If I Loved You” scene.  Jack will go through it line by line, starting and stopping, to demonstrate why it is one of the most perfect scenes there is in all of musical theater . . . and how knowing why it’s so good, will help you write classic scenes of your own.

There will be time for questions, and a big networking opp as well.  So come!

This is a small workshop for the serious minded students of musical theater, so seats are limited.  Click here and get one today.

Whether you are a Producer, Director or of course, a writer . . . your career will thank you for it.

And I will see you there, and I can’t wait to learn more from this Musical Whisperer.

Date: December 8th

Time: 2pm-6pm

Location: Theater District

Elena Shaddow (The Visit, The Bridges of Madison County, The King and I – National Tour) will be performing in the scene from Carousel along with another performer to be announced.

What Disney Plus Could Mean To Us.

The streaming world will never be the same.

On November 12th, Disney will launch its own Disney streaming service, Disney + taking its Disney Channel roots to an on-demand pay-per-month subscription model for all of its titles . . . from the Mickey Mouse Club to Marvel to The Star War Series.

All of it.  In one place.

And more importantly, NOT in other places.

Yep, Netflix will no longer carry Marvel, Disney and Star Wars movies by the end of this year.

Which means if you’ve got a young one in your family (like a certain Broadway blogger you know and hopefully love), you’ll be pickin’ up Disney Plus faster than you can say M-I-C.

What’s drawn my attention to this model is that Disney is willing to give up the major distribution networks, like Netflix, for its direct-to-consumer model.  They’re skipping the middle man to speak straight to their customers.

They don’t want to sell their content to someone else, who sells it again to their customers.

No, no . . . Disney wants to sell its content STRAIGHT to its customers.

Because why not?

Well, the reason why it hasn’t is that Hollywood never had a direct-to-consumer option before the internet.  Disney had to go through 3rd parties . . . whether that was movie theaters, or television networks (until they bought their own), etc.

But not anymore.

Disney will now handle the sales transactions (netting higher margins) and get all the important customer data . . . not only knowing who is buying its stuff, but more importantly what its customers are buying . . . which will help influence their content creation in the future.

Why is this relevant to the theater?

We don’t sell straight to our customers.  We go through 3rd parties too.

And as a marketing person, it’s one of the things that drives me nuts.  In fact, people often ask me my “Genie Question” from my podcast, and what I’d ask the Genie from Aladdin to wish for on Broadway?

Simple.

I wish we could be our own cash register.

It would create more (and better) competition.  There would be better marketing.  And yes, I firmly believe, higher grosses.  And Broadway wouldn’t only be for the white-hot hits that sell no matter how they are sold.  Shows that might be important but not commercial could have a better shot at grinding out a run.

Disney is proving that a direct-to-consumer model is the wave of the . . . well . . . the present.  Broadway is ten years behind everyone else. But I’m predicting a big change in how tickets are sold on Broadway over the next ten years.

And maybe, just maybe, we’ll be able to speak to our customers directly to tell them all about it.

– – – – –

Our conference is just TWO weeks away!  AGH!  You coming?  I hope so.  Click 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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