How many of you save your Broadway ticket stubs?

I saved them all.

When I was younger, I’d get my Playbill, and that ticket stub (which is no longer a stub, thanks to ticketing scanners) would go right in the middle.

Full embarrassing disclosure: when I was in high school, I used to take the cover of my Playbills, the ticket stubs, and a few choice photos from inside the Playbill, and I’d create a poor-man’s decoupage that I framed and put on my nightstand.  I guess my hope was that they would help all of my Broadway dreams come true.  (My Secret Garden Playbill/photo combo even had an autograph from Daisy Eagan!)

Ok, so I was a lonely kid . . . but it was pretty obvious what I was going to do when I grew up.

This post isn’t about my awkward youth (there isn’t enough space on the entire internet for me to go into that), but rather that ticket . . . which for me, and for so many of you, I bet . . . was a souvenir.

And a souvenir is merch . . . and merch is marketing.

The ticket as a souvenir is slowly but surely disappearing as we transition to e-ticketing, and eventually mobile ticketing technology (having the ticketing scanners scan an image on your phone itself, which requires no paper product at all).

And as much as I’m a huge fan of this technology (and of all technology), it’s going to take us a long time to adopt it.

Why?

  • We’re always slow to adopt technology.
  • Our customers like hard tickets.

While hanging out at the booth last week, I watched a woman turn to another and say, “Did you get ’em?”  Her friend smiled, then fanned out five Billy Elliot tickets like a winning poker hand.  They both literally screamed with joy.  Now imagine what it would have been like if she showed her friend a UPC image on her phone.

Wah-wah.

Broadway tickets still have a Willy Wonka “Golden Ticket” effect that we don’t want to disappear too soon.

They are a tangible passport to entertainment that can create a positive emotional response about our product . . . whether or not you choose to frame it.

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UPDATE:  Two days after I wrote this blog, it was announced that New York State became the first state in the nation to pass a law requiring paper tickets. To read more about it, click here.

Who will be Broadway’s Next Big Star? The “Final 15” Announced.

When we came up with the idea for BroadwaySpace.com’s “Broadway’s Next Big Star” contest, we knew we’d get some submissions from a few talented performers . . . but we had no idea we’d get THAT many!

Several hundred performers and performers-to-be from around the world (yep, there was even an entry from Estonia), submitted videos of themselves doing something “Broadway” (singing, dancing, or making a mash-up) in the hopes of winning the grand prize of getting flown to NYC, doing dinner and a show, and getting an audition with a hot-shot NYC casting director.

Somehow, Craig Burns from Telsey Casting, Bailey Hanks from Who-Doesn’t-Love-Them-Some-Bailey-Hanks, and I, narrowed the hundreds of entries down to 13 finalists. Add to that the two wild card spots we gave away to the two most-viewed videos, and that makes  . . . The Final 15!

Check them out here (and check out the honorable mention/superlatives while you’re at it)!

When you’ve watched them all, vote for your favorite by 11:59 PM ET on Wed. April 7th!  We’ve already had thousands of votes pour in since the first day the voting was announced, so it’s gonna be a close one.  Your vote will count big time.

As I watched all of the entries, I couldn’t help but notice a few things that I thought deserved some special attention.  So, I’m giving out some pre-award awards right here and now.

1.  The “Holy Crap, High School Musicals Have Come A Long Way” Award

Check out the three camera shoot in Audrey Peeples’s “Gimme, Gimme”.  And listen to those tracks.  And is it just me, or is the costume actually period?  (For my high school production of Anything Goes, I wore khakis from The Gap circa 1988).  Man, it’s no wonder that Broadway audiences demand a lot from their $125.  Look at what they are getting in their local high schools!  I’ve heard rumors lately of high schools with bigger musical budgets than some Off-Broadway shows!

2.  The “You Got To Work With Whom?” Award

When I was a Broadway-wannabe, the closest I could get to the stars was hanging out at the stage door and hoping to get a glimpse (I once asked 12-year-old Daisy Eagan for an autograph . . . our paths haven’t crossed since, but I’m sure they will someday, and boy will my face be red).  Now, the incredible generosity of so many Broadway performers, combined with the many schools and classes in the city and around the country (Like Laura Bell Bundy and Paul Canaan’s Take It From The Top) , give young performers a chance to learn from the best.  Check out Final 15er, Nicholas J. Oliveri, as his sings for the original “Gimme, Gimm-er,” Sutton Foster.  And stay tuned to the very end, so you can hear Sutton compliment Nicholas and crack up the class.

3.  The “Golden Age is Over” Award

This goes out to all of the finalists.  Of the 15 songs sung by the finalists, only 4 were from musicals written before 1980 .  And only 2 of those were written before 1970.  These performers are not only the actors of tomorrow, they are also the audiences of tomorrow. And the days of our audiences wanting to see The King and I and Pal Joey and Fiddler are over.

4.  The “How to Stand Out in the Clutter” Award

And last, but not least, Stewart Yu gets a nod, not for making it into the Final 15, but for knowing he wasn’t going to make it into the Final 15, and creating a video that will probably get him more views than many of the finalists!  Stewart knows the rule by which we all must live: creativity cuts through clutter.  I’ve pasted his video below.

Good luck to all of the finalists!

See them all here (and don’t forget the honorable mentions at the bottom).  Make sure to cast your vote by Wed at 11:59!

And enjoy Stu!

My Tony Award Predictions

Ok, here they are, as promised:  my predicts for what the 800 or so Tony Voters will select as the winners of this year’s Tony Awards.  To clarify, this is not what I think should win, nor is it what I necessarily voted for myself, but rather this is who I expect to be standing on that stage on Sunday night.

Drumroll, puhleeze.

BEST PLAY:  GOD OF CARNAGE

The French can be snooty and smelly, but neither of those adjectives apply to French writer Yasmine Reza or her work of “Art.”  Her star-studded, super-grossing ($900k for a play?), smart yet accessible comedy (complete with barf jokes) will win out over the primary competition, Labute’s reasons to be pretty.

BEST MUSICAL:  BILLY ELLIOT

The Best Musical landscape is similar to Best Play.  Another import, this one British, squares off against a smaller, perhaps more challenging, American musical, Next to Normal.  Unfortunately for all you patriots out there, the British and Billy will take the big prize of the evening.  And seeing the 147 kids in the show storm the stage at the end will be a sight to see, so stay up!

BEST ORIGINAL SCORE:  TOM KITT & BRIAN YORKEY, NEXT TO NORMAL

The Americans strike back here, as N2N deservedly picks up the score trophy.  This award also comes with a note from many voters that reads, “Sorry we didn’t vote for you for Best Musical.  We loved your show, but . . .”

BEST BOOK OF A MUSICAL:  LEE HALL, BILLY ELLIOT

For awhile, I thought N2N would pull a Urinetown or Falsettos split (and take both score and book while giving up the big prize to a more commercial choice, Millie and Crazy for You, respectively), as the voters like to reward writers of challenging work.  The upset of the night would be if the voters tipped their hat to Hunter Bell and the TOS crew with an award.  But frankly, I just don’t think enough of them saw the show last fall to make that happen.

BEST REVIVAL OF A PLAY:  THE NORMAN CONQUESTS

Great revivals were like foreclosures this year . . . on every block!  (Too soon?)  This category would have been even tougher to pick, had the nominators not forgotten about some of the fall shows (specifically, The Seagull).  Norman gets the girl in this category, partly for its great production, and partly because of the degree of difficulty in staging three British comedies and running them in rep  (I’d also bet that a bunch of voters voted for Norman while only seeing one of the plays.)

BEST REVIVAL OF A MUSICAL:  HAIR

The Most Improved Show award goes to Hair this year.  Luckily, West Side doesn’t need it with its Wicked-like grosses (it’s a revival!).

BEST SPECIAL THEATRICAL EVENT:  LIZA’S AT THE PALACE

Obviously, I’m praying that I’m wrong with this one.  Will’s got a chance, thanks to the phenomenal success of the run and because it’s fresh in everyone’s memory.  But a Hollywood A-lister bringing down Broadway royalty seems like a long shot to me, so I’m putting my money on the safe bet. That’s ok.  I’m still happy having put my investors money on the other guy.  🙂

BEST PERFORMANCE BY A LEADING ACTOR IN  A PLAY:  GEOFFREY RUSH, EXIT THE KING

This is the easiest to call, which is unfortunate for Raul Esparza, who deserves to have a couple of trophies on his mantle.  But God knows, he’ll have more chances to get up on that stage, as I don’t see him making an exit anytime soon.

BEST PERFORMANCE BY A LEADING ACTRESS IN  A PLAY:  MARCIA GAY HARDEN, GOD OF CARNAGE

There is a 60 second section in God of Carnage where Marcia doesn’t utter a word.  But you can practically read her thoughts as if they were written in a bubble above her head.  She wins for that moment alone.

BEST PERFORMANCE BY A LEADING ACTOR IN  A MUSICAL: THE THREE BILLYS, BILLY ELLIOT

Tatum O’Neal, Daisy Eagan , Anna Paquin.  Voters love to give a kid a trophy.  And the only thing better than one kid nominee  . . . is three.

BEST PERFORMANCE BY A LEADING ACTRESS IN  A MUSICAL:  ALICE RIPLEY, NEXT TO NORMAL

In an example of the Hollywood Rain Man syndrome (where playing a challenged individual of any type, physical or mental, gives you a boost at award time), Alice will win for her terrific portrayal of the challenged mom in N2N.

BEST PERFORMANCE BY A FEATURED ACTOR IN  A PLAY:  JOHN GLOVER, WAITING FOR GODOT

This one could also be called the Best Spitter Award (previous winners would have included Jonathan Groff in Spring Awakening).  John wins for saying the most with the least to actually say.

BEST PERFORMANCE BY A FEATURED ACTRESS IN  A PLAY:  ANGELA LANSBURY, BLITHE SPIRIT

There is currently only one woman who has won five Tony Awards.  After Sunday, there will be two.  Watch for the standing ovation when Angela takes the stage.

BEST PERFORMANCE BY A FEATURED ACTOR IN  A MUSICAL:  CHRISTOPHER SIEBER, SHREK

The guy is on his knees for the whole show for Shrek’s sake!

BEST PERFORMANCE BY A FEATURED ACTRESS IN  A MUSICAL:  HAYDEN GWYNNE, BILLY ELLIOT

Hayden hits a trifecta here:  Outer Critics, Drama Desk, Tony.  That much momentum can’t be stopped.

BEST DIRECTION OF A PLAY:  MATTHEW WARCHUS, GOD OF CARNAGE

For awhile, I thought Matthew’s two noms would split his vote, but then I saw I took another look at God’s grosses ($900k for a play?), and realized that he would take the Tony on the back of the show’s success, and deservedly so.

BEST DIRECTION OF A MUSICAL:  STEPHEN DALDRY, BILLY ELLIOT

For awhile, I was calling a bit of an upset here, because without Diane, Hair would not be the hit it is.  But at the end of the day, I think the majority of voters will give it to Daldry for the sheer magnitude of the work he did in directing Billy.

BEST CHOREOGRAPHY:  PETER DARLING, BILLY ELLIOT

When dancing is a major part of your plot, you better win choreography!  Hands and toes down, Darling is the winner.

BEST ORCHESTRATIONS:  MARTIN KOCH, BILLY ELLIOT

Big show + big score = Tony.

BEST SCENIC DESIGN OF A PLAY:  DEREK MCCLANE, 33 VARIATIONS

The other nominees in this category are mostly stationery sets, so Derek’s “musical” set wins.

BEST SCENIC DESIGN OF A MUSICAL:  IAN MACNEIL BILLY ELLIOT

They had to drill a giant hole in the basement of the theater to allow for that house to come up through the ground, like a man from a mine, but it’ll earn this man a Tony.

BEST COSTUME DESIGN OF A PLAY:  DALE FERGUSON, EXIT THE KING

Whenever Kings and Queens are in a play, the odds for winning a costume award jumps up tremendously.  Normally, I’d say give this one to Mary Stuart, but I’m going with Dale, for the absurdist suit of armor.

BEST COSTUME DESIGN OF A MUSICAL:  TIM HATLEY, SHREK

Costume awards go to designs that stand out, and in a field of nominations that include one show about the 60s and two shows about the 80s, Shrek certainly stands out.

BEST LIGHTING DESIGN OF A PLAY:  HUGH VANSTONE, MARY STUART

On Broadway, “rain” is an electrician and a lighting designer’s job. It rains in Mary Stuart. And that’s cool and memorable. So it’ll rain a Tony on Hugh.

BEST LIGHTING DESIGN OF A MUSCIAL:  RICK FISHER, BILLY ELLIOT

With the design awards, sometimes bigger is better.  The bigger the show, the bigger the budget, and the more toys the designers have to play with.  In this case, bigger is Billy.

BEST SOUND DESIGN OF A PLAY:  RUSSELL GOLDSMITH, EXIT THE KING

This is a tough one.  Your guess is as good as mine.  I went with the sounds of a dying king.  Creepy.

BEST SOUND DESIGN OF A MUSICAL:  PAUL ARDITTI, BILLY ELLIOT

Paul will win for excellent work, yes, but also for a syndrome I call, “Tony By Association.”

So that’s it!  Make sure you tune in on Sunday to see how I do!  And don’t forget to make your picks on my Tony pool!  There is only 2 days left to play and win $500!  Click here.

If you’re not following me on Twitter, click here. Just like last year, I’ll be tweeting from my $900 seat (yep, that’s how it costs – crazy, huh?) and I’ll fill you in on everything that’s going on from inside Radio City, including the not-suitable for airing, in between commercial breaks stuff.

If you don’t yet have a place to watch – try Times Square!  The Tonys will be on the Big Screen!  With the new blocked off streets, it should be fun.  Tweet me from there if you go. I’d love to hear what the party is like.

Oh, one more prediction before I sign off:  during the telecast, I predict there will be two Jeremy Piven jokes.  🙂

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