Industry Pro Newsletter: UK Audiences are Seeing Fewer Shows, BroadwayWorld Launches New Marketing Hub
Cara Joy David takes a look at the compensation of Artistic Directors in New York City, and Lighthouse Immersive - makers of Immersive Van Gogh - has filed for Bankruptcy
By: Alex Freeman Aug. 07, 2023
This week, we’re pleased to introduce the new BroadwayWorld Marketing Hub - a comprehensive platform designed to maximize event visibility. Also, we look at the financial challenges faced by Lighthouse Immersive, creators of "Immersive Van Gogh," as they file for bankruptcy protection. Additionally, we highlight significant leadership transitions at New Dramatists and Gamm Theatre, and explore the Oregon Symphony's new leadership and Louisville Ballet's fundraising efforts. Lastly, we cover the evolving audience behaviors post-lockdown and London's tourism boost from international arrivals.
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Industry Trends
BroadwayWorld introduces the Marketing Hub, an all-in-one platform designed to enhance event promotion efforts. The hub offers a suite of tools to streamline marketing campaigns, boost audience engagement, and maximize event visibility. This innovative platform caters to producers, marketers, and event organizers, providing them with the resources to effectively promote theatrical productions and cultural events. With its comprehensive features and user-friendly interface, the Marketing Hub aims to support the growth and success of the performing arts industry. Click here to read more...
Lighthouse Immersive, Creators of Immersive Van Gogh, Files for Bankruptcy - BroadwayWorld
Lighthouse Immersive, the company behind the popular immersive exhibition "Immersive Van Gogh," has filed for bankruptcy. The article discusses the financial challenges faced by the company and the impact of the pandemic on its operations. "Immersive Van Gogh" gained significant popularity for its unique presentation of Vincent van Gogh's art, and its bankruptcy raises questions about the future of immersive art experiences in the wake of the pandemic's disruptions. Click here to read more...
Broadway/New York
Industry Trends Weekly: Who is NYC Theater's Highest Paid Artistic Director? By Cara Joy David
Even before Under the Radar was canceled, there were grumblings about Oskar Eustis’ compensation. They only got louder after a July 14 New York Times article announced the Public was laying off 19% of its staff. As part of that story, Michael Paulson wrote: “Eustis, who is among the best-compensated artistic directors in the field, said he will cut his own pay by an unspecified amount[.]” I received texts doubting that Eustis would take a pay cut or asking what that pay cut was, inquiring what his salary was, and questions about the pay of other ADs.
On the pay cut, I have no inside intel. I imagine that Eustis will indeed take a substantial pay cut, but I do not blame anyone for questioning it. After all, unmentioned in this most recent piece, is that an April 17, 2020 Times story stated: “Most of the [Public’s] remaining staff, everyone who makes over $60,000 per year, will take up to a 25 percent pay cut. Eustis will take a 40 percent pay cut.” Then that did not happen. According to a spokesperson, government funds came in and altered this plan: only non-furloughed employees making over $100,000 took a pay cut and Eustis took a 25% pay cut, rather than a 40% one. However, that 25% pay cut is not reflected in tax returns, which show Eustis’ compensation increased in the years 2020 and 2021. Therefore, if he did take a 25% pay cut, which a spokesperson says began in 2020 and lasted into 2021, the compensation increases he had around the cut were high enough to totally counteract the reduction and then some. (2021 was when the Public did its first round of layoffs.) Given how late it is in the year, any pay cut might not be reflected in tax statements for this year either.
In terms of how much Eustis’ compensation is as compared to others, you can slice that tear-inducing onion in different ways. If you look at “total compensation”—including non-taxable benefits and deferred compensation—of NYC theater non-profit artistic directors as reported to the IRS, Eustis is the only one who made over $1 million in each of the last three reported years. (The fiscal years ending June or August 2023, which will contain 2022 compensation, have not been reported yet.) His overall compensation increased over these years. The leader closest to him is Lincoln Center Theater’s Producing Artistic Director André Bishop—who is considered to have a greater amount of business responsibilities—but Bishop’s total compensation dipped to considerably below $1 million ($783,191) in 2021. If you average the last three reported years—which includes one pre-pandemic year—Eustis’ total compensation package was $1,103,447 yearly on average, Bishop was at $974,215, and Roundabout Theatre President/Artistic Director Todd Haimes (who passed away after the reported period) got $911,926. To put these packages in perspective, Signature Theatre Company Artistic Director Paige Evans’ total compensation during this period was an average of $300,220 per year. (Evans’ pay is not at the bottom of the pack of NYC artistic directors; I chose to include her as an example because of the multiple programs and stages Signature operates. Several well-known ADs make less, including Classic Stage Company’s John Doyle and New Group’s Scott Elliott.)
Some believe the better measure of yearly compensation is pure reportable compensation of the type that would appear on a W-2. If you examine that figure, Eustis made $827,806 in 2019, $888,676 in 2020 and then $898,606 in 2021. Considering the years 2019 through 2021, Eustis received an average of $871,696 per year, Haimes was at $846,177, and Bishop was at $734,088.
Others would say this too is the wrong way to think about it—it should be two or three top executives. In other words, MTC’s Lynne Meadow might not receive as much as any of the guys, but do she and Barry Grove beat a combo of Eustis and Public Theater Executive Director Patrick Willingham? Using a 3-year average of the W-2 figures, the answer is “no." Eustis/Willingham combined average was $1,324,466 and Meadow/Grove were at $1,239,779 together (inclusive of a special bonus payment to Meadow). However, Haimes and Roundabout Executive Director Julia Levy topped Eustis/Willingham during this period with a combined average of $1,563,489. Bishop and LCT’s second-highest compensated employee, Executive Director of Development and Planning Hattie Jutagir, were below the Public at $1,230,590 on average. (If you’re wondering about Second Stage, because of its Broadway house, its leadership compensation was considerably lower.)
There are several other ways to look at this. You could look at all the top compensated executives. You could view executive compensation in relation to revenue and/or expenses. But the above gives you a good sense of the highest NYC artistic director salaries.
New Dramatists, an esteemed playwright development center, appoints Christie Brown as its new Executive Director. Brown, with extensive experience in theater administration, will lead the organization's strategic vision and operations. The article also discusses New Dramatists' ongoing process of selecting a new artistic home, marking a significant chapter in the organization's history. As a vital institution supporting emerging playwrights, this leadership transition signals a commitment to advancing the development and promotion of new theatrical voices in the performing arts industry. Click here to read more...
Regional
Jason Cabral Hired As Gamm Theatre Executive Director - BroadwayWorld
Jason Cabral is appointed as the Executive Director of Gamm Theatre in Rhode Island. With his expertise in arts management, Cabral will oversee the theater's administrative and financial aspects. The article highlights Gamm Theatre's commitment to strengthening its leadership team and maintaining its position as a prominent regional theater. Cabral's leadership is expected to play a pivotal role in the theater's continued growth and artistic excellence. Click here to read more...
Oregon Symphony Names a New President and Chief Executive Officer - The Oregonian
The Oregon Symphony has named a new President and CEO, Isaac Thompson. With a strong background in arts leadership, Thompson will lead the organization's strategic direction and operations. The article emphasizes Thompson's mission to drive artistic innovation and community engagement through the symphony's performances and educational programs. His appointment comes at a crucial time for the arts industry as organizations work to navigate post-pandemic challenges. Click here to read more...
Louisville Ballet faces financial challenges and seeks $3 million in donations to secure its future sustainability. The article sheds light on the impact of past losses on the ballet company and its efforts to secure vital funds to support artistic productions and community initiatives. The ballet's financial situation underscores the broader challenges faced by arts organizations in the wake of the pandemic, emphasizing the significance of community support to preserve the arts and cultural landscape. Click here to read more...
International
More Than a Third of Post-Lockdown Audiences Seeing Fewer Shows - Survey - The Stage
A survey reveals that over a third of audiences returning to theaters post-lockdown are attending fewer shows than before. The study highlights the challenges faced by the theater industry in recovering audience numbers amid the pandemic's impact. Despite venues reopening, audience behavior has shifted, with many opting for fewer theater visits. The findings underscore the need for innovative strategies to attract audiences and ensure the long-term viability of the performing arts sector. Click here to read more...
London Tourism and Economy Receive Boost from International Arrivals This Summer - Evening Standard
London's tourism and economy experienced a boost from international arrivals during the summer. The return of foreign visitors contributed significantly to the capital's recovery after the pandemic's impact on the tourism sector. With international travel restrictions easing, the city saw an influx of tourists supporting various industries, including the arts and entertainment sectors. The positive trend signals a step towards reviving London's vibrant cultural scene and reinforces the importance of tourism in the city's economic resurgence. Click here to read more...
Missed our last few newsletters?
July 31, 2023 - Stage Access and ReachTV Agree to Partnership, New Leaders Across the Industry
It’s a new beginning Monday, with a series of appointments into top jobs at regional theatres across the country, in the UK, and in New York - one sure sign that even though the industry is struggling in its recovery, that struggle is bringing with it a new generation of leaders to meet the challenge. Last week, Kent McIngvale also announced a new company for Broadway tour marketing and publicity, and this morning, we’ve got the news that Stage Access and ReachTV have reached a partnership to bring high quality arts content to travelers in hotels and airports. Click here to read more…
July 24, 2023 - Broadway Averts a Strike, Dallas Arts Groups Need More Than a Band-Aid
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. Click here to read more
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…
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