The 1st ever Crowd-Funded Broadway musical. And it’s got your name on it. (UPDATED 2019)

Yes, it’s true.  We’re doing it.

But before I go into the details, here’s the backstory.

The world of financing projects of all shapes and sizes has been changing at an alarming rate over the last decade.

Thanks to entrepreneurs like Guillaume Colboc and Benjamin Pommeraud, as well as my bloggin’ hero Seth Godin and his book Tribes, the guys at Kickstarter.org and, of course, the King of Crowd-Funding himself, Barack Obama, a new era in bringing people with a common vision together has been born.

We’ve even talked about it on this blog on several occasions . . . and we’ve even wondered, “Can we apply this to Broadway?”

Well, guess what?  We can.  It just took a few extra lawyers and a few extra hours to figure out a new way of doing things.  (I even had to pass a Series 63 Exam to become a Securities Agent!)

So, it is with great pleasure that I officially announce to all of you first, that my upcoming Broadway revival of Godspell will be the first-ever Crowd-Funded, or as I like to call it, “Community-Funded,” Broadway musical.

To be honest, I’ve had this idea for several years, but I was just waiting for the right show.  And Godspell is the perfect show for this concept.  As Stephen Schwartz said to me, “Godspell is essentially about a community of people coming together.”  It just makes sense to bring together the largest community of Producers ever to mount this historic 40th Anniversary production.

As you know, investing in a Broadway musical is something that is usually only available to a select group of people at very high investment thresholds.

But everywhere I go, I meet people who I know would love the opportunity to invest in a Broadway musical and become Broadway Producers themselves, despite the obvious risks, if they only knew how, and if only the entry point was more affordable.

Godspell is for all those people.

Traditionally, the price of one investing unit in a Broadway show has been as high as $10,000, $25,000 or even $100,000.

One unit in Godspell is only $100.  (FYI, there is a minimum purchase of 10 units per investor)

Now, in the subject of this post I said this show had your name on it.  Here’s how:

Each investor
in Godspell shall receive a limited liability company interest in The Godspell, LLC,
per our Offering Circular as qualified with the Securities and Exchange
Commission of the United States.*

In addition, every single investor, no matter how much he or she invests, will have his or her name listed on a poster outside of our Broadway theater.

Yep, you’re going to get billing.

And every single investor will also have their name listed on a new website created exclusively for this community, PeopleofGodspell.com, as well as his or her photo, hometown, a quote, and links to their Facebook and Twitter profiles. 

What do you think?  Fun, right?

There may even be opportunities for opening night performance and gala tickets, complimentary tickets to previews, invitations to private cast functions and more.

If you’re interested in joining me and the other members of the community in this incredibly unique and historic production, visit www.PeopleOfGodspell.com today or click here.  Please note, this is a limited offer because there is only a finite quantity of units available.  If you are interested, I encourage you to contact me through the link above as soon as possible.  I’ve announced it publicly here on my blog first, so that my readers could have the first opportunity to participate . . . after all, our conversations helped inspire it.

Click here to learn more about joining the community.  And maybe I’ll see you on opening night!

Oh, and yes, every investor gets one of the buttons in this photograph.

Join The People of Godspell today.  It’s the first-ever Community Produced Broadway Musical.

– – – – –

UPDATE:  This offering closed back in 2011.  Want to learn more about Broadway InvestingClick here to get the only book published on the subject, and learn it works, how to pick “winners,” how to avoid “losers,” and how to get started.

This blog written by the President of the United States.

Last night, some of Broadway’s Best were invited to 1600 Pennsylvania Avenue to perform as part of the White House Music Series.  Nathan Lane, Elaine Stritch and Jerry Mitchell were just a few of the names that helped entertain the President, his family, and all the other West Wingers invited to the show.

Before the entertainment began, Mr. Potus shared a few words of his own about what Broadway means to him, and to the country.

And well, I think I’ll just let him take it from here.

Ladies and Gentlemen, the President of the United States.  (You don’t have to stand)

THE PRESIDENT:  Thank you, everybody.  Everybody, please have a seat.  Let’s put on a show.  (Laughter.)  Welcome to the White House.  I am just thrilled, and I know Michelle is thrilled, to host the sixth in a series of evenings celebrating the music that helped to shape America.

Now, so far we have heard from some of the biggest names in jazz, in country, in Latin, classical, and the music of the civil rights movement.  And tonight we are honored to be joined by some of the biggest and brightest stars on Broadway.

And I notice — I should just point out that I see a lot of members of the New York delegation here.  (Laughter.)  They take great pride in Broadway.  I want to start by thanking George C. Wolfe and Margo Lion for making this event possible.  So please give them a big round of applause.  (Applause.)  And I want to thank all of tonight’s performers for sharing their gifts with us.  They are just so generous with their time, and this will be a wonderful evening.

I also want to recognize my outstanding Secretary of Labor, Hilda Solis, who is in the house.  Here she is right here.  (Applause.)  As well as the other members of the administration  — thank you guys for the hard work you do each and every day.

Thank you to the National Endowment for the Arts, and the President’s Council on the Arts and the Humanities for their continued support.

And I finally want to recognize Jerry Mitchell and everybody who participated in the dance workshop earlier this afternoon and helped inspire the next generation of performers — as well as my wife — to do a few dances.  (Laughter.)  She was showing off backstage.

Now, as we’re about to see this evening, there’s nothing quite like the power and the passion of Broadway music.  At its heart, it’s the power of a story -– of love and of heartbreak; of joy and sorrow; singing witches, dancing ogres.  Musicals carry us to a different time and place, but in the end, they also teach us a little bit of something about ourselves.  It’s one of the few genres of music that can inspire the same passion in an eight-year-old that it can an 80-year-old –- and make them both want to get up and dance.  It transcends musical tastes, from opera and classical to rock and hip-hop.  And whether we want to admit it or not, we all have the lyrics to a few Broadway songs stuck in our heads.  (Laughter.)

In many ways, the story of Broadway is also intertwined with the story of America.  Some of the greatest singers and songwriters Broadway has ever known came to this country on a boat with nothing more than an idea in their head and a song in their heart.  And they succeeded the same way that so many immigrants have succeeded -– through talent and hard work and sheer determination.

Over the years, musicals have also been at the forefront of our social consciousness, challenging stereotypes, shaping our opinions about race and religion, death and disease, power and politics.

But perhaps the most American part of this truly American art form is its optimism.  Broadway music calls us to see the best in ourselves and in the world around us -– to believe that no matter how hopeless things may seem, the nice guy can still get the girl, the hero can still triumph over evil, and a brighter day can be waiting just around the bend.

As the great Mel Brooks once said, musicals “blow the dust off your soul.”  So to everyone watching, both here and at home, here’s a taste of Broadway to help us do just that.

Thank you very much, everybody.  (Applause.) 

We need more doctors.

In a recent Riedel (aka #37article, Neil Simon was referred to as the “Doc” of Broadway, having punched up and polished a whole bunch of Broadway scripts in his heyday. Apparently he even wrote a couple of zingers for Pulitzer Prize-winning, A Chorus Line, including the line, “I thought about killing myself, but then I realized to commit suicide in Buffalo is redundant.”

That one line has probably been worth thousands of laughs over the years, wouldn’t you think?

And if A Chorus Line benefited from a last-look by another writer, couldn’t others as well?

Hollywood doctors and polishes its scripts all the time.  Did you know that Schindler’s List got a once-over before it went in front of the cameras?  (This kind of work is more prevalent in H-town, because the scripts are not owned by the writers, but by the studios.)

This kind of work doesn’t happen on Broadway as much anymore . . . when it does happen, it’s usually when a show is in trouble.  But what about making a very good script great with a fresh pen?  Doesn’t Jay Leno hire other writers to make his monologue the funniest it can be?  Doesn’t Barack Obama hire several speech writers to make sure his arguments are that much more convincing?

If you’re a Producer, think about whether or not your script could be just a bit better with some spit and polish.

And if you’re a writer, welcome the chance for someone to make your work look even better.

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