My Whiteboard Workshop Episode #14: The 3 Keys to a Super Demo

Watch this episode of the White Board Workshop for my “3 Keys to a Super Demo” for your musical!

I hope you enjoy and if you do, share it.  And if you want to see the past thirteen episodes click here.

For more tips like these, check out  The Producer’s Perspective PRO!

 

 

Broadway Grosses w/e 2/10/2019: A Slight Uptick in Grosses Sets the Stage for the Spring Season

Grosses this week were up by about 4% and attendance was just slightly higher improving by 5%. Overall, most shows posted increases. The biggest jumps came from Phantom of the Opera, Kinky Bootsand Beautiful.

As the industry preps for several new plays and musicals to open this spring, we received word last week that Anastasia will play its final performance on March 31. It won’t be in time for something to open this season, but I would expect an announcement soon from the next tenant.

You can find the rest of the figures below, courtesy of The Broadway League:

Show Name GrossGross  TotalAttn  %Capacity AvgPdAdm
ALADDIN $1,141,386.20 13,483 97.59% $84.65
ANASTASIA $545,061.30 7,888 86.26% $69.10
BEAUTIFUL $682,323.09 7,816 95.22% $87.30
CHICAGO $617,923.65 7,728 89.44% $79.96
CHOIR BOY $379,818.55 4,739 92.99% $80.15
COME FROM AWAY $911,699.90 8,495 101.52% $107.32
DEAR EVAN HANSEN $1,205,216.25 7,964 101.17% $151.33
FROZEN $1,289,423.60 13,064 96.97% $98.70
HAMILTON $3,108,317.00 10,757 101.79% $288.96
HARRY POTTER AND THE CURSED CHILD, PARTS ONE AND TWO $1,947,680.50 12,976 100.00% $150.10
KING KONG $724,935.43 10,759 77.38% $67.38
KINKY BOOTS $740,858.20 8,653 75.96% $85.62
MEAN GIRLS $1,010,515.38 9,240 94.29% $109.36
MY FAIR LADY $869,481.50 7,509 87.80% $115.79
NETWORK $1,025,682.98 7,120 100.21% $144.06
PRETTY WOMAN: THE MUSICAL $825,294.60 8,099 86.68% $101.90
THE BAND’S VISIT $528,202.00 7,297 87.79% $72.39
THE BOOK OF MORMON $1,018,885.00 8,567 102.28% $118.93
THE CHER SHOW $1,004,437.50 10,315 93.43% $97.38
THE FERRYMAN $786,854.71 7,175 88.02% $109.67
THE LION KING $1,742,668.00 13,495 99.46% $129.13
THE PHANTOM OF THE OPERA $813,236.68 10,461 81.47% $77.74
THE PROM $527,155.25 6,802 81.36% $77.50
TO KILL A MOCKINGBIRD $1,539,570.51 11,643 101.42% $132.23
TRUE WEST $528,398.30 5,329 90.02% $99.16
WAITRESS $701,149.30 7,679 91.85% $91.31
WICKED $1,445,082.50 14,667 98.23% $98.53
TOTALS $27,661,257.88 249,720 92.62% $108.36
+/- THIS WEEK LAST SEASON +$5,642,680.73      
PERCENTAGE +/- THIS WEEK LAST SEASON +25.63% 
Today’s blog was guest-written by Ryan Conway, General Manager for DTE Management. Find out more here!

Podcast Episode 177 – A Tony Award-Winning Broadway Producer Who Also Trains Broadway Producers.

Tom Viertel has produced some of the biggest hits that Broadway has seen, including The ProducersHairspray and more. 

But what I love about his trajectory is that he got his start producing some of the smallest shows that Off-Broadway had ever seen.

And worked his way up. (If that sounds familiar, it’s what I did too . . . and what I recommend all startup Producers (and startup anythings, actually) do).

It’s fitting that Tom is also the Executive Director of The Commerical Theater Institute, which helps train Broadway Producers To Be.

We talked about how producing has changed over the years as well as . . .

  • What’s wrong with Off Broadway today?  And can it be fixed?
  • How to learn from the shows that don’t work.
  • The most important skill a Broadway Producer must have.
  • The advantages of taking small investors and how he built his database.
  • What real estate and Broadway producing have in common.
Click here for my podcast with Tom!

Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)

Download it here.

What Marie Kondo can teach you about rewriting your script.

If you don’t know who Marie Kondo is, then you’re probably living under a very untidy rock.

Marie Kondo is the author of the bestselling The Life-Changing Magic of Tidying Up, and the star of the new Netflix series “Tidying Up” which has become the hot water-cooler conversation of late.

Ms. Kondo is an organizational guru who changes lives by changing how you keep your home clean.

So, my Type A peeps out there?  You’re going to love her.  And the non-Type A’s?  She’s just what your cluttered closet ordered.

Her basic principle of “tidying” is pretty simple.  Instead of looking at what is in your closet and saying, “What should I throw away,” she turns the question around to ask a positive one . . . “What should I keep?”  And her rule about what stays around is . . .

Only hold on to items that “spark joy.”

So vivid, right?

A sweater that sparks joy stays.  If you don’t feel joyous when you put on those jeans, out they go.  Same with trinkets or books . . .  or even people.  🙂

This got me to thinking about how to apply it to the development of shows and more specifically, how Authors should deal with the notes they get on a script.

If you’re a writer then you know . . . everyone has an idea on how to rewrite your script, right?  And every time you do a reading or send it around, you probably get so many notes, you don’t know where to start . . . and end up not starting at all.

Feedback can be overwhelming, which is why I suggest following the Marie Kondo approach.

See, too many writers I know (especially new ones) take ALL the notes they are given by all the various people who give them . . . and the next draft ends up looking like some kind of collage of a show with no singular vision.

Writers need to know how to filter the feedback they receive, so the show gets better and remains the same show the writer wants to write.

How do you filter?

You Kondo your feedback.

Writers should only take notes that “spark joy.”

When you get a note, you should think about it, roll it around, debate it if you must, and wait for it to give you a burning desire to get back to the keyboard to make the change.

If it doesn’t even get you excited about doing the rewrite?  Forget the note altogether.  Because even if you take it, you won’t write it well, so why bother?

To be a successful rewriter, you must be enthusiastic about the process if you’re going to improve your script.

But you should never sacrifice the story that you want to tell just because someone else has ideas on how they would write it.

They are not you.  The script is not theirs.  It’s yours.

So write the show you want to write, and let Marie Kondo make it even tidier.

– – – – –

Want to learn how to self-diagnose your own script so you don’t have to hear from anyone else? 🙂  Download our “How To Self Diagnosis Your Script” execution plan today and get your script better by tonight! Click here.

 

The latest addition to our Development Slate.

Yesterday, I announced a project that I’ve been bursting at the “scenes” to talk about.

I’ve always been a fan of Harry Belafonte, but it wasn’t until I had the incredible pleasure of spending a few hours with the legendary entertainer and activist that I knew I had to get his story on a stage.

See, I know how lucky I was to have that audience with Mr. Belafonte and to hear the incredible stories of his interactions with JFK, RFK, MLK, Eleanor Roosevelt, Nelson Mandela, etc., never mind how he took a traditional Jamaican folk song and turned it into one of the most well-known songs in the world. (Sing it with me . . .”Day-O!”)

I also know that not everyone can be as lucky as I was and hear about his journey from the icon himself.

Which is why we’re going to put his story and the music of his incredible, world-changing life on a stage.

I don’t have many details on the show or team just yet, but I will soon (sign up here for future announcements) . . . but I can say this — with his gifts and his guts, Mr. B. changed the world.

And we’re going to work really, really hard to make sure that this show inspires others to do the same.

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