A Will It Recoup Update. How is Broadway doing this Spring?

You forgot about this contest, didn’t you?

Back in February, we launched our second ‘Will It Recoup’ fantasy Broadway investment game and put a Kindle on the line.

The name of the game says it all (just like the name of your show should reflect exactly what your show is about).  It’s your job to pick the winners from the floppers in the Spring season.

So how are you (and the Broadway Producers) doing so far?

Here’s what we know and what we don’t:

A View from the Bridge: RECOUPED!
The Miracle Worker: Did NOT recoup.
A Behanding in Spokane: Did NOT recoup.
Next Fall: Did NOT recoup.
Looped: Did NOT recoup.
Red: RECOUPED!
Lend Me A Tenor: Too soon to tell.
Fences: RECOUPED!
Enron:  Did NOT recoup.

So that makes a total of 3 Broadway shows out of 9 that have recouped already. That’s a pretty bountiful Spring, considering the statistical average is 1 out of 5 (although it is certainly not a coinky-dink that two of the three shows that have recouped featured Hollywood mega-stars Denzel Washington and Scarlett Johansson).

Still, the game is not over.  We’ve still got one show on the fence.  We could have quite a good year if it falls into the win column.

How are you doing?

Well, there are 27 of you who picked those three shows to recoup, and the five shows that did not.  27 of you are still in the money!

So…it all comes down to Lend Me a Tenor.

See you in August!

My Top 5 Moments from Last Night’s Tony Telecast

Just like last year, here are five of my favorite things from last night’s Tony telecast.

1.  Sometimes the best speech is none at all.

Marian Seldes shocked (and scared) the crowd in the most classy way possible, by not saying one word after walking on stage to accept her Tony Award for Lifetime Achievement.  It was a little odd, and a little awesome, all rolled into one legend.

2.  Neil Patrick who?

Sean Hayes tore up the stage as Annie, Spiderman, and as a straight guy making Kristin Chenoweth weak in the knees with that tongue-down of an opener. He was as good of a host as we could have asked for.  You’ve been raked through the ridiculous mud over the past couple of months, Sean.  But your gracious talents have made you even sexier to all sexes because of it.

3.  The straight play mashup.

You gotta give the Tonys some credit.  Every year they try a new way to include the straight plays in the telecast.  This year, it was a pair of starry performers from each play describing the plot to the audience (and if those descriptions were getting awards, then Next Fall would have won hands down), as well as remix mashup of straight play b-roll from all of the plays on Broadway this season.  If you didn’t see it, imagine a 17-year-old club kid who also loves straight plays making a three minute tribute to post to his YouTube account.  Was it successful?  I don’t know, but the effort deserves some applause.

4.  Watching a Tony Award audience try to clap in rhythm to Green Day.

Having Green Day on the show was like striking Radio City with a lightning bolt. Has there ever been that much pyro on a Tony Awards telecast?  It was awesome, and hopefully it got the younger crowds at home to tune in.  The older crowd that was in the audience at RCMH however, seemed to have a little trouble finding their punk-groove (did you see Michael Douglas trying to get into it with that head bob?).  The issue of this audience not naturally being in tune with this type of music was made much more obvious later, when American Idiot failed to win the Tony.  But thank you Green Day for bringing your passion and your popularity to our stage.

5.  The Tony for good sports goes to . . 

Bebe and Nathan.  No last names required.  They didn’t need to co-present. They didn’t need to poke fun at themselves.  They didn’t even need to be anywhere near the building.  But they did it all, and once again proved why they are the stars that they are.  This business is going to take us all on a ride.  You’ll be up one second, and down the next.  You’ll have your face on a billboard, and then you’ll be fighting for a bio in a program.  But maintaining a level head about it all is what makes people fall even more in love with what we do.

Other fave moments from the show included the LED wall (less sets, less expenses), Catherine Zeta’s acceptance speech, the Matthew Morrison and Lea Michele Glee-fest, and Daniel Radcliffe presenting with the 2-foot-taller Katie Holmes.

Overall, I’m giving the telecast a B+.  An A- would have been easy, if it weren’t for the many sound f-ups.  I mean, you found a way to bleep out “MIND F***” from American Idiot‘s performance, but you can’t get the mic to work for others?

What were your favorite moments from this year’s Tony Awards?

And stay tuned for the announcement of our Producer’s Perspective Tony Pool winner tomorrow!  Someone is getting an iPad!

2nd Annual ITBA Nominations Announced

The Independent Theater Bloggers Association, of which I am a proud member and co-founder, announced its 2nd set of nominations for excellence in the theater recently.

The list is as follows:

BROADWAY

OUTSTANDING NEW BROADWAY MUSICAL
American Idiot
Everyday Rapture
Fela!

OUTSTANDING NEW BROADWAY PLAY
In The Next Room (or the vibrator play)
Next Fall
Red
Superior Donuts
Time Stands Still

OUTSTANDING BROADWAY MUSICAL REVIVAL
Finian’s Rainbow
La Cage aux Folles
A Little Night Music
Ragtime

OUTSTANDING BROADWAY PLAY REVIVAL
Brighton Beach Memoirs
Fences
Lend Me A Tenor
Oleanna
A View From The Bridge

OFF-BROADWAY

OUTSTANDING NEW OFF-BROADWAY PLAY
Circle Mirror Transformation
Clybourne Park
The Orphans Home Cycle
The Temperamentals

OUTSTANDING NEW OFF-BROADWAY MUSICAL
Bloodsong of Love
Bloody Bloody Andrew Jackson
The Scottsboro Boys
YANK!

OUTSTANDING OFF-BROADWAY REVIVAL (PLAY OR MUSICAL)
The Glass Menagerie
A Lie Of The Mind
Twelfth Night

OFF-OFF BROADWAY

OUTSTANDING OFF-OFF-BROADWAY SHOW
Alice In Slasherland
Girls In Trouble
In Fields Where They Lay
Lear
MilkMilkLemonade
Rescue Me
Samuel & Alasdair: A Personal History of the Robot War
The Soup Show
Viral

UNIQUE OFF-OFF-BROADWAY EXPERIENCE
The Lily’s Revenge

CITATION FOR EXCELLENCE IN OFF-OFF-BROADWAY THEATRE
Company XIV

ALL VENUES

OUTSTANDING SOLO SHOW/PERFORMANCE
A Boy And His Soul
Zero Hour

OUTSTANDING ENSEMBLE PERFORMANCE
Circle Mirror Transformation
A Lie Of The Mind
Twelfth Night

Winners will be announced on May 20th, along with citations for excellence by individual performers.

For more info on the ITBA, including how to join, visit www.theaterbloggers.com.

Congrats to all and good luck!

My predictions for the 2.5 big Tony Award nominations.

It seems like just yesterday we were debating who would get snubbed in the 2008-2009 Tony noms (remember when Rock of Ages slipped in instead of 9 to 5?) . . . And already, it’s time to predict this year’s snubs!

Conventional Broadway wisdom says that there are only 2.5 Tony Awards that have a meaningful impact at the Box Office:  Best Musical, Best Play . . . and the half goes to Best Revival of a Musical.

So, I’m going to give you my predictions on what I think will be nominated for those 2.5 categories (as opposed to what I think should be nominated).

Best Musical

IMHO, there are three locks for the Best Musical nom this year:

American Idiot
Fela!

And the only completely original musical of the season . . .

Memphis

It’s the fourth slot that there’s some fighting over, especially since this season saw the elimination of the Special Theatrical Event category, which lumps at least four other titles into the Best Musical category.

So who will take the slot?

The two front runners are The Addams Family and Come Fly Away, with Everyday Rapture the next-in-line long shot.  My guess is that the Tony Committee will honor Rapture by nominating it’s star for Best Actress and maybe even Best Book, but they’ll leave it out of this category, which puts us back with the two choices that started this paragraph.

If I were one of the nominators sitting The Edison Cafe making the decision, I’d go with Addams Family solely to reward the original score and the original book over the beautifully danced, but is-it-really-a-musical, Come Fly Away.  You’ve got to give some points to Family for degree of difficulty, don’t you?

But, knowing what I do about the nominators and the process by which they choose these nominees, my gut says that they will nominate Come Fly Away, and for the third year in a row, snub the big, commercial choice (First Legally Blonde, then 9 To 5, and now Addams Family).

Best Play

Expect the biggest hit, A Steady Rain, to get a steady snub in this category.

Red is a shoe-in for a nod.  As is Next Fall.  The next two spots could go a bunch of different ways.  You’ve got the Brit hit, Enron, Mamet’s f’ing Race, and Superior Donuts, the follow-up play by the man who penned the biggest dramatic epic that we’ve seen since Angels in America.  And what about The Chris Walken show aka Behanding in Spokane, the buzzed about Vibrator Play, or the timely Time Stands Still?

I’m going with Time for the third slot.  And the fourth?

Tricky again . . . I’d like to say that it will be Donuts . . . but taking into account that nominators tend to forget the Fall (as we found out last year), I’m going to go with Enron (partly because bigger really is sometimes better in the eyes of nominators and voters).

Best Revival of a Musical

Sondheim will get another bday present with a nom for Night Music.  La Cage will get the second slot, and Ragtime will get the thanks-for-trying third nom.

But what about the fourth?  Finian’s or Promises?  Great reviewed versus great box office?  Fall versus Spring?

Put my money on Promises.

– – – – –

Whew.  That was tough.  Thankfully, I’m only picking 2.5 of them.

The nominators are picking 26, and they’ll do it tomorrow.

On Tuesday, at 8:30 AM ET, the nominations will be announced live.  Watch on the web at TonyAwards.com.

But before then, tell me how you think I did with my choices in the comments below.

What do you think will get nominated?

10 Questions for a Broadway Pro. Volume 1: A Broadway Mad Man.

Today on The Producer’s Perspective we’re introducing a brand new feature, which is a spin-off on my Advice From An Expert articles.

In “10 Questions for a Broadway Pro,” I ask . . . yep . . . a Broadway Industry Professional 10 Questions!

We’ll talk to all sorts of people involved in the modern theater and get their perspective on their job, their role in the biz and what they’d like to see change.  We’re gonna hear from Casting Directors, Marketing Directors, Press Agents, and more (let me know if there is a position you’d like to hear from).

The inspiration for this feature came from my first gig on a Broadway show.  I was the Production Assistant on the Barry and Fran Weissler revival of My Fair Lady, starring Richard Chamberlain and a 23-year-old Melissa Errico.  My duties included everything from getting Richard his fresh-off-the-bone turkey sandwiches to typing up the rehearsal schedule on a Mac Classic.

And it was one of the greatest times of my life.

The best part about the gig was that I was exposed to a whole bunch of people and positions that I never knew existed before.  The job gave me a chance to see who was pulling the curtain strings of Broadway . . . and made me realize that I was even more excited about being behind-the-scenes rather than in them (I was on the actor-track).

I used to ask everyone involved in the show questions about what they did. Thanks to their answers, I learned so much about what I wanted to do and what I didn’t want to do.

So, I thought I’d give you a virtual experience of what I went through back then, and introduce you to not only the biggest players on Broadway whose names aren’t on the marquees, but also help us all understand what exactly they do on a day-to-day basis.

First up is one of Broadway’s own Mad Men, Drew Hodges, the founder and CEO of SpotCo, one of the two Broadway heavyweight ad agencies.  (Drew also happens to be #21 on BroadwaySpace.com’s 50 Most Powerful People.)

Having sat in many an ad meeting with Drew, I can tell you that he’s one of a very rare hybrid that combines incredible business acumen with unbridled creativity.

Without further ado, here are 10 Questions with Drew!

1.    What is your title?

Founder, SpotCo Advertising

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

Next Fall, Million Dollar Quartet, La Cage, Memphis, A Behanding in Spokane, Chicago, The Pee Wee Herman Show, Priscilla Queen of the Desert, Hair, A View From the Bridge, Billy Elliot, Fences, Time Stands Still, Red, In The Heights,  The 39 Steps, Avenue Q, West Side Story, Come Fly Away, Lips Together Teeth Apart, Present Laughter, The Miracle Worker, Blue Man Group, Radio City Christmas Spectacular, Love Never Dies.  In no particular order.

3.    In one sentence, describe your job.

We create identities and sell tickets for live theatrical events.

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

Creativity, marketing, problem solving, humility, humor, and fast thinking.

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

I owned my own design studio doing advertising and design for entertainment – film, cable, and the recording industry – for 12 years. Before that, I got a BFA in Graphic Design from the School of Visual Arts.

6.    What was your first job in theater?

I did the poster for The Destiny of Me, the sequel to The Normal Heart for Tom Viola and Roger McFarland.  It’s a portrait of my right hand.

7.    Why do you think theater is important?

It creates joy and outrage, both often when we need it most.

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

Conservatism, and too many cooks.

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

That every challenge be met with humor and poise, rather than blame.  The team is always better when unified and caring.

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

If you wanted to work in advertising for theater, there are several paths to take.  If you are a graphic designer, video editor, web designer, etc., we just look for a great portfolio that has vibrancy, a sense of humor as a person, and the ability to move fast.  A love of theater is not essential, and often times, I like that people bring a more diverse palette to our Broadway materials.  If you wanted to be an account person, a writer, etc., a passion for theater is a great help.  A sense of marketing, or marketing courses as a background are nice.  We have several people from the BMI workshop, and the producing program at Columbia.  We also have people who have worked at other more traditional ad agencies, and that knowledge can be a huge help, when combined with the joy (or the heartbreak) of theater.

Because Drew is the kind of guy that always goes a little further in everything he does, he also answered a bonus question.  When asked what kind of advice he would give to someone that wanted to be a Producer, he answered as follows:

Surround yourself with the best people, and be willing to understand that every friend you have will tell you your project is perfect.  You need to listen to real people, and if your advance is falling, people don’t like it as much as you think.  The opposite is also true- if your advance is climbing, no matter how slowly, people are genuinely loving your show and you should keep going.

Want to hear more expert advice from Drew but don’t have a show that he can advertise yet?  Listen to some of his American Theatre Wing panels 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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