Great insight as usual! Now, please look at the place did the revivals of Proof and Joe Turner with their substantial grosses turn a profit. Both proclaimed getting new audiences in,
the boxoffice numbers prove they did - but where they substantial enough to recoup.
End of the day, THAT is what counts in commerical theatre.
Thanks again for your insight. Many have prophesied about the future of Broadway with great concern; the high price & enormous risk of investment, high ticket prices, dependence upon “brand” names to lure elite prices & audiences, the precipitous drop of tri-state audiences, etc - - but the investors and audiences still come, including Mr. Emanuel, who has just paid $6 billion for ATG. Check out their profile: Today’s Tix controls 15% & 20% of B’way & WE tix, respectively. That gives them substantial weight in pricing. Their broad entertainment pallet; broad music, film, UFC, WWE, etc., gives them near omnipotence in entertainment. Whether it’s the glamour, high crossover potential, access to the highest wealth tier on the planet- - B’way & the WE will continue to thrive, given their completely unique appeal to people of all ages.
Seriously, NONE of these new musicals sound interesting to me. I have zero desires to see any of them, and I used to see about 60-75% of new musicals each season.
Feels like a classic example of the K-shaped economy most of us are struggling in - plenty of premium, high-end, top dollar experiences (and a rush to capitalize on those consumers) with very little left for those in the middle or on the bottom.
Great insight as usual! Now, please look at the place did the revivals of Proof and Joe Turner with their substantial grosses turn a profit. Both proclaimed getting new audiences in,
the boxoffice numbers prove they did - but where they substantial enough to recoup.
End of the day, THAT is what counts in commerical theatre.
Just
Thanks again for your insight. Many have prophesied about the future of Broadway with great concern; the high price & enormous risk of investment, high ticket prices, dependence upon “brand” names to lure elite prices & audiences, the precipitous drop of tri-state audiences, etc - - but the investors and audiences still come, including Mr. Emanuel, who has just paid $6 billion for ATG. Check out their profile: Today’s Tix controls 15% & 20% of B’way & WE tix, respectively. That gives them substantial weight in pricing. Their broad entertainment pallet; broad music, film, UFC, WWE, etc., gives them near omnipotence in entertainment. Whether it’s the glamour, high crossover potential, access to the highest wealth tier on the planet- - B’way & the WE will continue to thrive, given their completely unique appeal to people of all ages.
Seriously, NONE of these new musicals sound interesting to me. I have zero desires to see any of them, and I used to see about 60-75% of new musicals each season.
Good luck trying to crack a million a week. With all of those shows, it is going to be nearly impossible. I wish them all well!
Feels like a classic example of the K-shaped economy most of us are struggling in - plenty of premium, high-end, top dollar experiences (and a rush to capitalize on those consumers) with very little left for those in the middle or on the bottom.
Who even wants to see these shows? None of them sound remotely interesting, and we can't afford to breathe right now.