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 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,, 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 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.

Look out licensing houses, here comes Seth! of the most popular business bloggers in the world took a swing at the theatrical licensing agents yesterday, with this blog about a non-pro production of Grease that cost the theater company $3k in royalties to put on.

It seems like an awful lot, Seth argues, for a show with 3 jokes and 4 chords.  He actually calls Grease an “old, not particularly wonderful musical script.”

I don’t know many people that would disagree with him, yet those 3 jokes and 4 chords have made a lot of audiences very happy and all of the authors very rich.

I worked on the 1994 revival of Grease with Rosie O’Donnell then Brooke Shields then Jon Secada, then Dominque Dawes then Maureen McCormick and so on and so on (It was on Grease where the Weisslers perfected their art of star replacement aka “stunt casting,” that they would use to even greater success on Chicago).  One day during a tech rehearsal, I turned to Jim Jacobs, the book writer of Grease, and said, “You know, Jim, I actually played Kenickie once.”

He laughed and said, “Ken, there isn’t anyone that I’ve met who hasn’t done Grease at least once in their life.”

Back to the subject . . .

Seth argues that the price of Grease was artificially inflated by a bit of collusion by the licensing houses.  I have to disagree.  Grease is high because Grease sells, whether we like it or not.  If that local theater company wanted to do a show with less of a proven box office success rate, then they could find a zillion shows in that Sam French catalog for less.  But no. They wanted to do a show that they knew their audience (and their actors) would love.

Or hey, they could even pull an old Gilbert and Sullivan out of the trunk and save a bundle.

If you’ve never read any of Seth’s stuff before, start with this one.  While technically a marketing book, it is a great handbook for how to pick a show to produce.  Simply stated, if it’s not purple, don’t produce it.

And yes.  That is me playing Kenickie on that 1969 Volkswagon Beetle.  And yes, Grease does take place in 1957.  Maybe we picked the ’69 because we couldn’t afford a ’57 car because the royalties were so expensive. Yeah, that’s it. That’s it.

What’s The Buzz from The Theater Bloggers’ Social?

Thanks to the 30 plus Theater Bloggers who showed up at Planet Hollywood yesterday for the first Theater Bloggers Social!

We had a great time, discussing everything from the upcoming awards season (can N2N or 9:5 threaten that giant-sized kid, Billy Elliot?) to the rise and fall of the newspaper (will Seth Godin’s prediction that “there will be no significant newspapers printed on newsprint in the US by 2012” come true?) and the difference between theatre with an RE and theater with an ER (“RE is the art, ER is the building,” was one concise answer).
Oh, and we ate a lot of Chicken Crunch.
For those of you who aren’t bloggers . . . become one and come to the next social.
Because I guarantee, something cool is gonna come from this group.

Stay tuned.










The position known as Missionary: Part I.

Many marketers have names for the people that passionately spread the word about products aka the people that drink the non-lethal kool-aid and love it’s strawberry goodness so much that they have to get others to do the same.

Seth calls them sneezers.
Malcom calls them mavens and connectors and salesmen.
Others have called them influences, ambassadors, awesome-ites, and more.
I wanted to be cool, so I’ve come up with a name of my own for the passionate peeps that I believe should be a primary focus of all product launches and marketing campaigns.
I call them Missionaries.
Here are just a few reasons why:
  • Most Producers, business owners, and entrepreneurs I know think their project or product is divine in nature, hence the use of the term with the religous connotation.   (Tip:  frankly, if you don’t think your project is divine, then find another one.)
  • Missionaries work best when sent to areas where the Producer, business owner or entrepreneur can’t reach by traditional methods.
  • Missionaries don’t do their work out of biological reflex (like sneezing – sorry, Seth), and they don’t do it for money . . . they do it out of love and faith in the product itself.
Now that we have a name for them, what we do with them?
See tomorrow’s post.