Miscellaneous

July 03, 2009

It's analogy Friday!

Analogy same If you've been a reader for awhile, then you know that I like a good analogy.  I've compared Off Broadway to a rowboat, raising money to selling girl scout cookies, new businesses to kids, and I've used more baseball terminology than an ESPN announcer.

Because of my fondness (and my use) of both good (and bad) analogies, one of my favorite readers out there thought I'd get a kick out of the following.  I certainly did, and I thought you would too.  So today, on this Friday when so many folks are cutting out early, I thought we'd take a break from the Broadway talk and have a little fun.

Every year, English teachers from across the USA collect actual analogies and metaphors found in high school essays.  Now, for your amusement, here are some of the best of the worst:

§         Her face was a perfect oval, like a circle that had its two sides gently compressed by a Thigh Master.

§         His thoughts tumbled in his head, making and breaking alliances like underpants in a dryer without Cling Free.

§         He spoke with the wisdom that can only come from experience, like a guy who went blind because he looked at a solar eclipse without one of those boxes with a pinhole in it and now goes around the country speaking at high schools about the dangers of looking at a solar eclipse without one of those boxes with a pinhole in it.

§         She grew on him like she was a colony of E. coli, and he was room temperature Canadian beef.

§         She had a deep, throaty, genuine laugh, like that sound a dog makes just before it throws up.

§        
Her vocabulary was as bad as, like, whatever.

§        
He was as tall as a six-foot, three-inch tree.

§        
The revelation that his marriage of 30 years had disintegrated because of his wife's infidelity came as a rude shock, like a surcharge at a formerly surcharge-free ATM machine.

§        
The little boat gently drifted across the pond exactly the way a bowling ball wouldn't.

§        
McBride fell 12 stories, hitting the pavement like a Hefty bag filled with vegetable soup.

§         From the attic came an unearthly howl. The whole scene had an eerie, surreal quality, like when you're on vacation in another city and Jeopardy comes on at 7:00 p.m. instead of 7:30.

§        
Her hair glistened in the rain like a nose hair after a sneeze.

§        
The hailstones leaped from the pavement, just like maggots when you fry them in hot grease.

§        
Long separated by cruel fate, the star-crossed lovers raced across the grassy field toward each other like two freight trains, one having left Cleveland at 6:36 p.m. traveling at 55 mph, the other from Topeka at 4:19 p.m. at a speed of 35 mph.

§        
They lived in a typical suburban neighborhood with picket fences that resembled Nancy Kerrigan's teeth.

§        
John and Mary had never met. They were like two hummingbirds who had also never met.

§        
He fell for her like his heart was a mob informant, and she was the East River.

§        
Even in his last years, Granddad had a mind like a steel trap, only one that had been left out so long, it had rusted shut.

§        
Shots rang out, as shots are wont to do.

§        
The plan was simple, like my brother-in-law Phil. But unlike Phil, this plan just might work.

§        
The young fighter had a hungry look, the kind you get from not eating for a while.

§        
He was as lame as a duck. Not the metaphorical lame duck, either, but a real duck that was actually lame, maybe from stepping on a land mine or something.

§        
The ballerina rose gracefully en Pointe and extended one slender leg behind her, like a dog at a fire hydrant.

§        
It was an American tradition, like fathers chasing kids around with power tools.

§        
He was deeply in love. When she spoke, he thought he heard bells, as if she were a garbage truck backing up.

June 26, 2009

Was there ever a more theatrical performer?

Mj872 From his moonwalkin' tipping point to his mini-musical, Thriller (soon to be a full fledged musical), to his performance in The Wiz . . . I don't think the world has ever seen such a man as Michael.  

The tragedy of his death is only overshadowed by the tragedy of the last several years of his life, when he seemed so compelled to be that performer, on and off the stage.

The words "rest in peace" were made for Michael Jackson.

June 23, 2009

10 Things I learned about London

Doubledecker-on-regent About a year ago, I blogged about three of the biggest differences I noticed about the London theater experience. Since I was there for a bit more time this visit, I was able to notice a few more things about the London theater experience that I thought were worth sharing.  

So here they are, in no bloomin' order!

1.  STANDING OVATIONS ARE HARDER TO COME BY.

It's not as easy getting a British audience to their feet (If you're curious, the quickest and biggest ovation I saw was for Priscilla).

2.  OLIVER IS THE UK ANNIE.

We may love Oliver here, but they LOVE IT, YEAH, YEAH, YEAH over there. You know how the Bald Eagle is the National Bird of the US?  Oliver is the National Musical of the UK.  (I also heard recently that the authors of Les Miz were inspired to write their epic after seeing Oliver.  Apparently, they wanted to write a French National Musical.)

3.  YOU CAN EAT AND DRINK ANYTHING IN THE THEATERS.

Take anything to your seat: ice cream, fancy pink drinks (Priscilla, again), even Coke brought in from outside (that was me).  Their theaters are older but they're happy to clean up after you if it makes you happy.

4.  CASUAL SHAKESPEARE IS MORE FUN.

In this country, Shakespeare seems to equal stuffy.  At The Globe, it was fun, and probably more authentic.

Monitor

5.  SOMETIMES THE BRITS ARE SMARTER THAN WE ARE.

Look at this pic.  It looks like a standard cast board that you'd see in any theater, right?  Wrong.  It's actually a video cast board. In several theaters, the cast board and the understudy boards are on video monitors. More aesthetically pleasing, easier to edit, and cheaper in the long run.  Why don't all of our theaters have these?  I hate when we get beat.    

6.  BLOOMBERG LOVES LONDON.

Our mayor failed to get London's idea of congestion pricing passed, but he did manage to shut off traffic in Times Square.  Guess what other square doesn't have traffic?  Leceister Square.  I wonder what Bloomie will bring from Britain next?  Multiple TKTS booths, I hope.

7.  YOU CAN BUY ADVANCE DISCOUNT TICKETS AT TKTS.

Yep, they take the money anyway they can get it in the UK. If you're willing to offer a discount to your show for a future date, the TKTS booth will sell it for you.
Bar

8.  THE THEATERS ARE BIG.

Many of the larger theaters have room for large bar areas, where folks can sit, have a drink and socialize before their show.  It makes going to the theater more of an experience, to say the least.  At all of the shows I went to, the theaters let people in the building (but not to their seats), 1 hour before the show began.  I bet their bar revenues are bigger than ours.

9.  PRODUCERS OWN THEATERS AND ARE CELEBS.

Photo

Two of the largest theater owners in London are Cameron Macintosh and Andrew Lloyd Webber, and you can feel their presence in their buildings.  And it helps that people actually know who they are (helped, no doubt, by their reality TV shows).  I also got a sense of a real attempt at keeping audience members within the theater chain.  Look at this picture of a wall of posters of shows. It was taken from inside the box office at, yes, Priscilla again, promoting all the shows playing at the Really Useful Group theaters.

10.  YOU NEVER KNOW WHAT TIME YOUR SHOW IS GOING TO START.

2 PM, 5 PM, 3 PM, 7:30, 8 PM, etc.  It's confusing and curious. 


And here's a bonus 11th thing I learned this trip . . .


11.  YOU KNOW WHAT?  I LIKE LONDON.

Maybe it's because I've been there a few times in the past few years, so I'm more comfortable finding my way around now. Maybe it's the fact that they speak English, so I don't feel like a tool because I'm uni-lingual.  

Or maybe I like London because there just seems to be theater on every bloomin' corner.  

June 19, 2009

The first cease fire in the secondary ticket war.

Peace(2)It finally happened.

We've discussed the secondary market a few times on this blog, wondering e-loud if there was a way for the major players in each market to work together.

Earlier this week, two of the biggest of the big, shook hands on a peace treaty, in a first attempt to figure it out.

Jersey Boys, one of the members of the million dollar club on Broadway (and probably the member with the lowest weekly nut), officially announced that StubHub was their "official secondary market ticket provider."

What does this mean for both parties?  Details on the deal itself were a bit vague in this Variety article that broke the story.  But, since StubHub is more of an Ebay experience than a broker experience, the financial arrangement doesn't seem to involve what I think will be the basis for future deals between brokers and shows:  a portion of the above-face-value revenue in exchange for an allocation of tickets for certain performances (thus preventing the brokers from having to speculate). 

Still, the deal is a symbolic one.  First New York state made its peace with scalpers, and now a show.

It kind of feels like that time when your Uncle Ernie . . . you know, the one no one talked about because no one was really sure what he did for a living . . . was finally invited over for Christmas dinner.

And it was good.  

Because Uncle Ernie brought lots and lots of full-price-plus customers as presents.

June 17, 2009

The story of one fellow's fellowship.

Endangered species-jj-001 Hal Prince has been on a crusade to put the Creative Producer back in power for many years.  

One of his many efforts was the creation of the T Fellowship, a program he founded in conjunction with Columbia and TDF, "committed to sustaining the finest traditions of creative producing."

One of the first fellows in that program was Orin Wolf, and we're currently seeing the fruits of his and the fellowship's labor with Groundswell, now playing at The New Group.

Read this great article about how Orin found the piece, how long it took him to get it going, and how he found the people he needed to get it up.  It's a great lesson in creative producing.

For more on the fellowship, click here.  And yet another thank you to Hal Prince for establishing it in the first place, because God knows, we need it.

Creative producers are an endangered species.  Sometimes I think that they should put several of us in a room and force us to mate in order to guarantee our survival.

But that would make for some frighteningly obsessive-compulsive showtune-singing offspring . . . 

June 16, 2009

Will what has happened to Off-Broadway happen to Broadway?

Opera-singer As I sat in my seat at The Laura Pels, one of the 143 Roundabout theaters, watching the new Off-Broadway musical Tin Pan Alley (directed by my ABz director, Stafford Arima), I started to think once again about the current state of Off-Broadway and more specifically, commercial Off-Broadway.


My mind wandered to when I was at NYU in the early 90s, a period that I call "The Golden Age of Off-Broadway," when commercial musicals like Nunsense, Forever Plaid, and Forbidden Broadway, were all playing and playing profitably.  

There are fewer and fewer musicals opening commercially Off-Broadway now . . . never mind running . . . and never mind running profitably.  

You know what there seems to be more of Off-Broadway these days?  Non-profits.  I don't have the numbers on this, but I'd bet that there are more non profit off-broadway and off-off broadway theater companies today than there were 20 years ago, and fewer commercial productions.

20 years ago, there weren't many non-profits with Broadway houses either.  Now the Roundabout has three.  MTC has one.  Second Stage bought the Helen Hayes.  And they might as well give the keys to The Belasco to Lincoln Center, because they are the only ones that seem to want that space.  

Notice a similiar trend?

So, in another 20 years, will we see only non-profits producing on Broadway?

Isn't that what happened to opera over the last two hundred years?  

June 11, 2009

Why shopping online for theater is different than shopping online for other entertainment.

Buying-online-tips iTunes revolutionized how music is consumed by satisfying our culture's increasing demand for instant gratification.  Want a song?  Click.  Bam.  Boom.  It's on your iPod and you're rocking out to your favorite Carpenters tune in no time.


Netflix is now pushing their instant viewing option as a way to satisfy the capricious mind of today's audience that doesn't want to plan ahead.  I want to see Goonies.  Now.  Now.  Now!  And all from the comfort of one's own couch.

And the latest is from Amazon.com, the company that re-energized how we bought books.  Now, with The Kindle, you can have the latest Jackie Collins e-delivered to you in seconds, wherever you are.

So what do all of these trends have in common? 

They don't require the buyer to get off his butt.

The fundamental difference between purchasing theater tickets online and purchasing most any other product online, is that the purchase of a theater ticket is a commitment on behalf of the buyer to make a physical effort in order to have the experience at a future date or time.

In addition to all of the examples above, food, clothes, electronics, etc. are all e-shopped items that can be delivered, but buying a theater ticket requires you to get off your couch, determine your method of transportation, block out time to see the show (there ain't no pause button), and physically get your American Idol watching a$$ down to the theater.

This is one of the greatest challenges that the theater faces in the next decade, as more and more entertainment options become instantly available to us (it's also important that as we develop our marketing strategies we realize this fundamental difference in our customers' purchase thought process).

But these challenges are not insurmountable.  As I've said before, I believe that as more of these two dimensional forms of entertainment become available to us, the three dimensional form or the "live" entertainment experience becomes that much more rare, and that much more valuable . . . provided the experience is still special.  

A lot of people disagree with me.  They say that the internet has changed the face of entertainment and that theater will be dead in 20 years.

My response?  

Somehow, the theater has survived the invention of the radio, the movie, and most significantly . . . the television. As long as we tweak our experience to satisfy our new audience's expectations, we'll have no problem surviving this.

- - - - -

Speaking of The Kindle, for those of you who own that little cracker-jack of a device, you can now get my blog e-delivered directly to your Kindle.  Visit the Kindle store and search for Ken Davenport or click here!  

If you don't own one, let me tell you that it's one of my favorite new toys, thanks to the PDF feature.  It allows me to read more scripts than ever before.

May 28, 2009

The theater bloggers of the world have spoken . . .

Winner Remember that time when all of the theater bloggers got in a room at Planet Hollywood to blab about blogging?

Well, we did more than chat and eat chicken crunch that day.  In fact, that was the very first meeting of the ITBA, or Independent Theater Bloggers Association, a group of the most passionate theater bloggers on the web.

The bloggers in that room knew that the online media world was changing with every keystroke, especially since every day we seem to lose another theatrical writer from the traditional media world.  Therefore, we felt it was important to gather together formally in order to provide some organization to the ever-evolving theatrical blogoshpere.

We also wanted to recognize excellence in the three distinct areas of the theater that we write about:  Broadway, Off-Broadway and Off-Off Broadway.

So, the ITBA was formed and today, it announced the winners of the 2008-2009 ITBA Awards for Excellence in seven categories. 

Visit the website today to see the winners, but make sure you check back in a few weeks.  In true new media style, we're not having an actual awards ceremony . . . we're going to have a virtual one.  We'll be posting video acceptance speeches shortly.

Congrats to the winners!

To learn more about the ITBA, visit www.TheaterBloggers.com.

Oh, and I know I promised another blog about the recent Broadway season for today, but we had to interrupt the previously scheduled program for the above special announcement.  More data about the last 11 weeks of Broadway grosses tomorrow.

- - - - -

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Play today!  Click here!

May 26, 2009

The game on Broadway has changed.

Timessquare And by game, I mean traffic.  And by Broadway, I mean the actual street.

The picture in this post is of Broadway (que Ripley).  Those are chairs down there.  And people sitting in them . . . in the middle of the street, where taxi cabs and City Sights buses once fought for the same slice of the street.

No more, thanks to Mayor Bloomberg.  Traffic is now closed on Broadway from 47th to 42nd street and the street is a a big pedestrian mall.  

And since a chunk of that real estate saddles up against the TKTS booth, you can bet that it's going to affect ticket sales. But how?
  • There will be more room for pedestrians to walk, talk and interact, therefore the importance of a great street team is even greater than it has been in the last 12 months.  
  • The importance and value of outdoor advertising in Times Square (billboards, etc.)  just went up, as more pedestrians should flock to the area (and if those chairs stay, so will the pedestrians, soaking up a much stronger impression from that advertising).  
  • How people physically approach the booth is going to change, and so should booth business, as more people will be simply walking closer to it.  More people in closer proximity puts more pressure on the the booth promoter for your show (yes, I'm sorry to say, but those many people that stand by the TKTS boards and shout, "Any questions?  Anyone need help," are actually being paid by specific shows to "guide" you towards the right decision (which is the the show they are being paid by). 
The environment has changed.

And that means there's a new opportunity.  It's your job to find it.  

(BTW, I'm predicting grassed over streets in Times Square in 10 years or less.  And nothing will make me happier.  Thanks, Bloomie.  I'm sorry your congestion pricing didn't pass, but this is a great alternative.)

- - - - -

Only 12 days left to enter The Producer's Perspective Tony Pool.  Win $500! 

Play today!  Click here!

May 21, 2009

Email gets us off the hook from taking the phone off the hook.

1751a87915354bca977524329aaf7629 Admit it.

When faced with getting in touch with someone you weren't so confident about talking to, how many times have you said:  "Oh, I'll just send them an email," when maybe calling would have been better, faster, and/or more personal?

Let's face it . . . while I wouldn't trade email for a million and a half dollars, it has trained us all to be more passive and, well, lazy.  I'd even argue that email has been detrimental to developing good negotiating skills (it's easy to ask for something when you don't have to hear the response instantly.  It's easy to say no to something, when you're rejecting someone cyber-ally).

Emailing someone also makes us feel like we're accomplishing something without ever knowing if we really are.  I feel better when I push that send button, making inquiries, checking on status, etc., but should I?

When you send an email and no one responds, is that really communication?

We took a poll at my office, and we all agreed that email has made it harder for us to pick up the phone with certain parties.  Why put yourself in a situation where you might be uncomfortable, if you can just "send an email" instead.

So at DTE, we have a new rule.  Every day, we make one phone call. . . that we don't want to make.  It's a variance on the famed "Do One Thing A Day To Accomplish Your Goal" treatise, but the difference is, this is something we specifically don't want to do.  

When we feel that pang in our gut that indicates we're trying to weasle out of some direct communication that would probably serve us better and get us what we want faster, that's when we pick up the phone.

Email is awesome.  It's a form of technology that makes our lives a heck of a lot easier.  Kind of like the remote control.  But at times, like the remote, it may not be very healthy.

Pick up the phone.  The people you don't want to call, are the exact people you should be calling.  

And the moment you start doing it, I guarantee your phone will start ringing in return.

And that's when the fun really begins.

- - - - -

Only 17 days left to enter The Producer's Perspective Tony Pool.  You could win $500! 

Play today!  Click here!

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