Profile for VotePeron

It’s such a complicated scenario, and different for each show. Often, producers hate the idea that the only way their sacred show is viable is due to comps. And, there are shows that literally cannot give tickets away. If Tammy put every seat online for $15, it would hardly move the capacity needle. 
 

People get an impression the show is comp’d, and then hold out for said comps OR only seeing the show at a very low price point. And of course, the majori

Ball of Buttah said: "I was hoping they'd be the little show that could á laShucked.."

That is definitely the closest industry comp, but on paper, you're asking ticket buyers:

 

- Come to a super silly, upbeat, fun show about CORN!

- Come see 2 robots fall in love.

 

I think in November 2024, the gap between those two asks for general audience members is so much wider than we think. The b-roll they

dwwst12 said: "This may be a stupid question, but why do so many "seriously undersold" shows now not use discount codes? Compared to when I first started making regular trips to NYC and following all of this closely in the late 2000's, discount codes seem far less common."

2 things;

1. Someone who works in ticketing on here can comment, but I believe some new fine print rules implemented earlier this year made discount codes essentially void for

ErmengardeStopSniveling said: “JOB always seemed like a bigger risk than O,M! and now that risk is proving itself to be true."

Also doesn’t have great appeal. Multiple people walked out during my performance last week, even before the big “twist.” And it’s only a 75 minute play… 

These reviews are spot-on. If producers thought this deserved a longer/more prolific life, they should’ve done a flashy off-broadw

dramamama611 said: "I don't usually ask for seating advice, but the staging here is so unique, I was looking for input.

I know I do NOT want standing seats, and I also want reasonable priced tix (I'm using code HLRISE - but if someone has another that would be great.

I was wondering what row G of the Mezz....off to either side are like. For perspective, Row G is the first row after the aisle break in the mezz. The seats to the side (the last 4 of the row

Turns out the producers would rather let a couple hundred seats each night go unsold than offer rush into the afternoon. They tried to upsell me to a $59 rear mezzanine price, but it was cheaper at TKTS to sit closer. 

The show itself, especially Arielle, remains great, but the transfer to Broadway is just not working. The mezzanine last night was nearly a third empty, and people were talking, on their phones, and leaving their seats constantly. The experience is so disconnected f

The audience demographic to me was extremely traditional, and like Pipinghot I was very happy to notice a larger presence of Filipino & AAPI audience members. 
 

I do know they emailed people who bought Tdf for this weekend and asked if it was ok to stand on the floor, so I think they’re trying to make it feel more hip.
 

Since the show is opening so close to the Tonys and has no big star or cast members with huge fan followings, I’m not

Loved this off-Broadway, and was very glad I got to see it again on Broadway. The cast and the music is fantastic, but for as expensive as it must’ve been to mount, it came off cheap and shaky to me. 
 

Some of it is growing pains — the floor guides are simply not doing a good enough job of gently moving the crowd, there is a lot of pushing and shoving from both staff and fellow audience members. 
 

When dimly lit, the set is stunning. B

Ensemble1686998462 said: "
After reading all the descriptions I feel like the people who are on the floor are in a way being hired to do a job. Basically, to heighten the enthusiasm and atmosphere around the performance and inside the theatre. That honestly doesn't sound like my type of thing. I have no problem getting all excited during a performance, but I don't want to feel like I have to. The majority of the time I just want to sit back and enjoy what I'm watchin