You make the call: would you take the group and change your show?

The fight between Art and Commerce is like the fight between Cats and Dogs, Republicans and Democrats, Lindsay Lohan and the law.

As a Producer you may be faced with tough decisions all the time.  You’ll have artists who want to add more scenery to a scene that you know won’t result in more ticket sales . . . but you’ll want to do it, because it will make the show’s statement stronger.  You’ll have marketers that want your star to appear on Howard Stern . . . even though your star hates Howard like Lindsay Lohan hates paying for expensive jewelry.  And you’ll want your star to do it because maybe Howard reaches an audience that is right for your show.

Or . . . you’ll be faced with the real-life decision that came across our desk here at DTE last week.

Here’s what happened.  And pay close attention, because just like my favorite part of watching football when I was a kid, I’m going to give you the chance to “Make the call!”

I have a division at my office that sells group tickets to Broadway shows.  A few weeks ago we got an inquiry from a group of 500 people that was looking for a show.  Yep, 500!  That’s 1/3 of a big Broadway house, which means quite an impact on a weekly gross.  We suggested a few shows to the group leader that we thought were appropriate for this group, and the leader went off to scout them.

The group came back and said there was one show that they specifically interested in.  “Great,” we said and started to place they order.

There was just one problem.

The group explained that there were a few moments in the show that they thought were objectionable, and unfortunately, because of the mission statement of the organization, they would not be able to book their group (of 500!) if those moments were in the show.

Insert dramatic chords here.

The “moments” weren’t specifically plot-related, nor would they involve a great deal of work to alter them.

But would the show make the alterations to satisfy this group?

Insert more dramatic chords here.

Obviously there are a lot factors that would be involved in this decision, like when the group is looking to come (what time of year and what performance during the week), how well the show is doing, how much the group is paying, etc.

But if you’re a commercial theater producer, the question is whether you would be willing to ask your creative team to make the changes to their work to accomodate this bonus to the bottom line?

And that’s the question I’m asking you!

You make the call.  Would you change the show for the group?

Comment below!  (Email subscribers, click here to add your comment).

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10 Questions for a Broadway Pro. Volume 7: Arbender Robinson, Dance Captain/Swing


Hair
played its last performance on June 27th.  And while I’m sure everyone in the cast/crew was very disappointed to see this love-and-flowers-filled production close, I’d bet that it took the show closing to finally allow Arbender Robinson, the Dance Captain and Swing, to catch his breath!

Dance Captains/Swings are some of the hardest working people on Broadway.  They have to memorize a bunch of different tracks and be ready to go on for any of them at a moment’s notice (sometimes during the show).  They are constantly in rehearsal, and they have to keep the show in shape by giving notes to their fellow cast members/friends (which ain’t easy).  

It’s no wonder that so many Dance Captains and Swings go on to choreograph, since they have to possess great creative skills and great leadership skills simultaneously.

But enough from me about what these gutsy guys and dolls do for a living, because God knows I’ve never done a pirouette on Broadway (ok, there was that one time at 3 AM on Broadway and 51st St., but that was after an opening night party, and . . . well, never mind).

Here’s Arbender!

1. What is your title?

Dance Captain/Swing

2. What show/shows are you currently working on?

Hair.  Love Out Loud!!! (I love that phrase)

3. In one sentence, describe your job.

That’s impossible!
Actually I maintain all of the blocking and choreography for the show,
assist in training all understudies, swings and replacements, and I am also
responsible for knowing what every ensemble role does in the show, and I must be
able to go on for any of those tracks (male or female).

4. What skills are necessary for a person in your position?

Attention to detail is most important. In my show I am
looking at over 20 people onstage at a time and if things are wrong, or unsafe, or not what the choreographer intended, then I need to see it, note it, and
devise a quick plan to fix it for the next show.

Self motivation is great, too.  Not only do I need to know the show, but I
need to be sure that I am ready to perform any of these roles at any time…this requires a ton of homework to remember different vocal parts, blocking,
choreography, and acting intentions for each character.  This includes everything they do
offstage, too: costume changes, prop shifts, entrances and exits etc.

Time management as well.
Sometimes you may have a list of things to tweak or adjust and you have
limited time to get the notes out and fixed before the show.

5. What kind of training did you go through to get to your position?

Well I do have a degree in Theatre and Music.  I do think it’s more of my people skills that
helped me land this job.  Everyone learns and takes notes differently.  You need
people skills to be able to communicate effectively with each individual.

6. What was your first job in theater?

A Play called Magic In the Toyshop.  I was in 3rd grade and I played a robot name
Marv-L.  I even remember the lines.

7. Why do you think theater is important?

Theatre has been around forever.  It’s a constant link between the past, present
and future.  It is a medium that can
teach [and] allow self expression and creativity.
It, like music, can touch anyone [regardless of] race, age,
religion, or sex.  For me, I truly think
theatre and the arts saved my life.
Honestly, but that’s a much longer conversation.

8. What is your profession’s greatest challenge today?

There is a lull in amazing creativity.  I’m not being mean by this but it seems that
commercial success is more important
than creating new creative and innovative pieces of art.  I’m not a writer or a designer, but where are
the new creators?  What innovation in the
arts will a history book say about today?

9. If you could change just one thing about the industry with the wave of a magic wand, what would it be?

I wish everyone could recall that the work is what
counts.  If it’s a show at school, or
community theatre, Broadway or Regional; it is all about the work, the passion,
the precision.  We always have our eyes
set on the dream of Broadway but the dream should be to create great work.  It does not matter where.  We would have no Steppenwolf, no Groundlings,
no 2nd City if someone did not realize…I JUST WANNA DO THE WORK and CREATE
ART!

10. What advice would you give to someone who wanted to do what you do?

This is simple…. JUST DO IT!!!   You will get a ton of “no’s” and
discouragement, you will kick yourself all the time…  Just dont give up.  Once you doubt it…. then it’s over.  You have to be your biggest motivator and JUST DO IT!   Accept nothing less…

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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