Industry Pro Newsletter: Broadway Averts a Strike, Dallas Arts Groups Need More Than a Band-Aid
Leadership transitions continue at organizations of all sizes across the globe - and Cara Joy David explores what is happening to the subscription model that regional the
By: Alex Freeman Jul. 24, 2023
Last week, Broadway narrowly avoided joining Hollywood by coming to a tentative agreement on the Pink contract, after IATSE had voted to authorize a strike if they couldn’t find a deal. Amidst wide industry challenges, Cara Joy David explores the revenue side of the equation and the regional theatre subscription model. As theatres explore new revenue models, they’re also doing it under new leadership, as last week saw the announcement of multiple high level appointments and departures from the leadership ranks of theatres around the globe.
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Executive Director - Shakespeare Theatre Company
Reporting to the board of directors as a co-leader alongside the Artistic Director, the Executive Director will be responsible for the business operations of the organization, and the leader of its financial and strategic planning for its evolving business model. This will include overseeing all aspects of STC’s administrative operations, including financial management, labor relations, facilities management and construction, community engagement, and contributed and earned revenue streams. Serving as an engaging community ambassador, they will develop influential connections throughout Washington D.C., as well as nationally and internationally. Click here to learn more…
Industry Trends
Industry Trends Weekly: Subscription Numbers Have Plummeted Across the Country, But There Might Be Hope by Cara Joy David
Even before the pandemic, there was talk that the subscription model supporting many non-profits was dying out. In 2000, Theatre Communications Group proclaimed that for the first time since it started examining the topic in the 1980s, average single-ticket income exceeded average subscription income in its studied theaters. According to data collected by SMU DataArts, theaters sold 28% fewer subscription tickets in 2017 as compared to 2004.
It wasn’t all bad news—some theaters experienced subscription growth over the years. But the industry was rightfully worried pre-pandemic and had already begun tinkering with models. Subscriptions represent guaranteed funds, so theaters prefer them, even when more costly single tickets eventually make up the gap. (And single tickets usually do not make up the gap. In that same 2004 to 2017 period, there were only 3% more single-ticket buyers across studied theaters.)
Therefore, even prior to the pandemic, theaters were working on how to make subscriptions more attractive. A few packaged shows with local restaurant deals, there were special opening night packages, lower cost preview packages, and more. To keep up with the streaming world, Phoenix Theatre Company instituted an “all access” pass pre-pandemic, meaning you spend a certain amount and can go whenever you want, however many times you want (subject to ticket availability). (Phoenix was not the first to try such a model. For example, in 2008, Seattle’s ACT Theatre launched a pass that had a $30 per month flat fee for admission to almost everything. The program is credited with helping the theater survive the Great Recession. It no longer exists.)
In the decade prior to the pandemic, theaters had kept renewal rates within a reasonably consistent 70%-75% range, according to Theatre Communications Group data, but had trouble signing up new subscribers. Then the pandemic happened and things got a lot worse for most theaters, as I’ve previously detailed. Before my last story on this topic, I spoke to 25 individuals who previously had regional theater subscriptions about why they didn’t come back post-reopening. Of those I spoke to, which admittedly was a small sample size, most simply hadn’t felt the need to re-up. That of course is partially the result of programing.
“I watch more TV now and I haven’t felt the seasons were full of shows I needed to get to in advance,” said Leslie Pinkam, who previously subscribed to two major LA-area non-profits, echoing the sentiment of many others.
Data from multiple theaters has supported anecdotal evidence that audiences greatly prefer familiar feel-good offerings currently; seasons filled with those types of shows do somewhat better.
“It has been reflected in some of the surveys we’ve done—people don’t want challenging work from their regional theaters,” Jennifer Sowinski Nemeth of JCA Arts Marketing said. “They don't want the thing that's going to make them think about the state of the world—that’s why Broadway musical tours are doing well. People want escapism. I think that's hitting regional theaters particularly hard in a way that's not hitting our orchestra clients.”
There were only a couple of folks I spoke to that cited a perceived politicization of theater as a turnoff, but I'm unsure how accurate a gauge that is of the magnitude of the problem, as such opinions are easier to express in anonymous surveys. Some people cited increasingly unpredictable scheduling in their personal and/or professional lives. A few subscribers referenced health concerns. (Though I heard just a bit about this from former subscribers, theater executives tell me health issues continue to appear in surveys—and last season some patrons were split on masks, with many not wanting to attend wearing a mask and others only wanting to attend if patrons were masked.) None of these folks said they’d never return to the theater, but most had not. Story continues, click here for more…
"A Plan to Save the American Theater from Collapse" - The New York Times
This opinion piece highlights the dire financial situation faced by the American theater industry and proposes a bailout plan to save it from collapse. With the devastating impact of the pandemic and mounting debts, many theater companies are struggling to survive. The proposed plan involves a $10 billion federal bailout to provide much-needed financial support and ensure the survival of theaters nationwide. The article argues that such a bailout is essential to preserve the cultural and economic significance of live theater and safeguard jobs in the industry. Click here to read more...
Broadway/New York
IATSE, The Broadway League, and Disney Theatrical have reached a tentative agreement on the Pink Contract, which covers theatrical wardrobe and hair employees. The agreement is pending ratification by the union membership. The Pink Contract negotiations have been closely watched by the industry, and this development signals a step forward in labor negotiations in the Broadway community. The article emphasizes the significance of reaching agreements that address the needs and concerns of theatrical workers and ensure the sustainable growth of the theater industry. Click here to read more...
NYC's Metropolitan Playhouse to Close After 31 Years - American Theatre Magazine
After 31 years of operation, New York City's Metropolitan Playhouse is set to close its doors. The off-Broadway theater has been known for its commitment to reviving forgotten and neglected plays from American history. The closure is attributed to financial difficulties exacerbated by the challenges faced by many arts organizations during the pandemic. The article pays tribute to the theater's legacy of showcasing unique and historically significant works and emphasizes the broader challenges the theater industry continues to navigate during the post-pandemic recovery period. Click here to read more...
Sarah Scafidi Joins Waterwell as Managing Director - BroadwayWorld
Sarah Scafidi has been appointed as the new Managing Director of Waterwell, an acclaimed off-Broadway theater company. Scafidi's extensive experience in theater management and her passion for innovative storytelling align with Waterwell's artistic vision. The article highlights the significance of Scafidi's appointment and her potential contributions to the company's continued growth and success. Waterwell's commitment to pushing artistic boundaries and engaging diverse audiences is reinforced with the addition of Scafidi to its leadership team. Click here to read more...
WP Theater Welcomes Ayana Parker Morrison as BOLD Associate Artistic Director - BroadwayWorld
Ayana Parker Morrison has been named the BOLD Associate Artistic Director at WP Theater, a New York-based company dedicated to supporting the work of female-identified and trans playwrights and artists. Morrison brings a wealth of experience in championing underrepresented voices and will play a key role in shaping the company's artistic direction. The article highlights WP Theater's dedication to providing opportunities for diverse artists and its mission to amplify marginalized voices on the stage. Click here to read more...
New 42, a nonprofit organization supporting performing arts for young audiences, has partnered with the New York City Housing Authority (NYCHA) to offer free tickets to families residing in NYCHA housing developments. The initiative aims to provide greater access to theater for underserved communities and ensure that young audiences have the opportunity to experience live performances. The article emphasizes the importance of creating more inclusive and equitable access to the arts and reflects the commitment of New 42 and NYCHA to engaging communities through cultural experiences. Click here to read more...
HERE Founding Artistic Director Kristin Marting to Step Down - American Theatre Magazine
Kristin Marting, the founding Artistic Director of HERE, a prominent New York City theater company supporting hybrid performance and multimedia works, will step down from her role. Marting has been a driving force in fostering experimental and boundary-pushing performances. Her decision marks a transition in leadership for the organization. The article celebrates Marting's artistic contributions and her impact on the contemporary theater landscape, while also highlighting HERE's ongoing commitment to innovation and supporting visionary artists. Click here to read more...
Regional
Dallas Cultural Groups Say 'Band-Aid' Bond Funds Won't Do. Here's What They Hope to Fix. - KERA News
Dallas cultural organizations express concerns over the allocation of "Band-Aid" bond funds for arts facilities. They argue that these funds may not be sufficient to address the urgent needs of their venues and infrastructures. Instead, they advocate for a more comprehensive approach to funding that considers long-term sustainability and capital improvements. The article sheds light on the challenges faced by arts organizations in Dallas and their efforts to secure adequate financial support to preserve and enhance cultural spaces and programming. Click here to read more...
Edward Hall & Kimberly Motes Named Leaders of Chicago Shakespeare Theater - American Theatre Magazine
Chicago Shakespeare Theater appoints Edward Hall as the new Artistic Director and Kimberly Motes as Executive Director. Hall, a renowned theater director, will be succeeding the founding Artistic Director, Barbara Gaines. The new leadership team is set to lead the theater in its continued dedication to producing world-class theatrical works. The article recognizes the significant contributions of the outgoing artistic director and highlights the anticipation for fresh perspectives and artistic innovation under the guidance of the new leadership. Click here to read more...
International
Royal Court Theatre Appoints New Diorama's David Byrne as Artistic Director - The Guardian
The Royal Court Theatre has named David Byrne, the current Artistic Director of the New Diorama Theatre, as its new Artistic Director. Byrne will succeed Vicky Featherstone in leading the renowned London theater company known for producing innovative and impactful works. His appointment is set to bring fresh artistic perspectives and a focus on nurturing emerging talents. Byrne's extensive experience in the industry and commitment to diverse and thought-provoking productions align with the Royal Court's mission, signaling an exciting new chapter for the theater's future programming. Click here to read more...
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July 17, 2023 - Public Lays Off 19% of Staff, IATSE Gets a New Touring Contract
With Hollywood at an impasse, IATSE was able to notch a win for their members this week as a new touring contract was ratified. However, the news wasn’t all bright in the theatre world as The Public Theater became the latest major institution to announce layoffs of their staff - laying off 19%, and announcing a deeper restriction on programming for next season. While we already knew of the plans to renovate the Delacorte, the Public will also be performing fewer shows at Astor Place. But in Miami, we also have an example of a city stepping up their arts and culture funding - this time in a bid to rebrand a city currently better known for Spring Break than anything else. Click here to read more…
July 10, 2023 - Broadway's COVID Guidelines Evolve, Lookingglass and Signature Limit New Production
From the intersection of politics and school plays to the evolving landscape of Broadway, we explore the trends and developments that are shaping the industry. Join us as we celebrate the expansion of UCB Theater in New York, new Artistic Director appointments at Abingdon Theatre company, Oregon Shakespeare Festival, and Raven Theatre in Chicago. On the flip side of the coin, we also look at the industry as more companies continue to battle headwinds - with Signature Theatre off-Broadway and Lookingglass Theatre in Chicago the latest to announce halts and reductions in programming. Click here to read more…
June 27, 2023 - Labor Shortages in Shops Across the Country, Triad Stage Ceases Operations
As regional theatres continue to deal with shortfalls, news of another closing (Triad Stage) and gap fundraising came to light last week. American Theater Magazine reported on the labor shortages and significantly higher materials costs that scenic and costume shops across the country are dealing with putting further strains on regional theater budgets. Click here to read more…
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