#254 Below will become a nonprofit, in another sign of its financial troubles.

Realistically, how much did Michael Feinstein's departure affect 54 Below?  I was always a bit confused at the nature of that partnership, both in terms of influence and economically.

I have noticed them adding more "diverse/young" programming, but I'll admit that it's sometimes detrimental to the quality of the shows.  There have definitely been more TikTok stars on the 54 stage in recent months and while some of them are legitimately good performers, I can't say all of them have been the caliber of what I'd expect.

#454 Below will become a nonprofit, in another sign of its financial troubles.

heybaby said: "So can I write off the $35 martini I had last time I was there? The food and drink prices are such a ridiculous joke at 54 Below."

No because you received goods and services for the $35. It’s not a donation (which I think you know).

The Feinstein situation was a necessary infusion of cash + an agreement that he would play X nights a year + probably some programming support. But I don’t think that partnership was as fruitful as they’d hoped, hence reverting to the old name.

The venue has no real programming “strategy” beyond filling 3 shows a night. Obviously they hope to make money off bigger names, but they can’t fill all time slots with them, hence “54 Sings the Phonebook” or whatever. Thus, it also has an identity crisis, because it’s half glorified open-mic night and half sophisticated club room. They never *wanted* to have to fill shows with amateur/lower-level performers, but that’s how it worked out. Patti LuPone and Audra and whoever can’t do that many nights a year.  

#654 Below will become a nonprofit, in another sign of its financial troubles.

ErmengardeStopSniveling said: "heybaby said: "So can I write off the $35 martini I had last time I was there? The food and drink prices are such a ridiculous joke at 54 Below."

No because you received goods and services for the $35. It’s not a donation (which I think you know).

The Feinstein situation was a necessary infusion of cash + an agreement that he would play X nights a year + probably some programming support. But I don’t think that partnership was as fruitful as they’d hoped, hence reverting to the old name.

The venue has no real programming “strategy” beyond filling 3 shows a night. Obviously they hope to make money off bigger names, but they can’t fill all time slots with them, hence “54 Sings the Phonebook” or whatever. Thus, it also has an identity crisis, because it’s half glorified open-mic night and half sophisticated club room. They never *wanted* to have to fill shows with amateur/lower-level performers, but that’s how it worked out. Patti LuPone and Audra and whoever can’t do that many nights a year."

To this point-- this is more what Chelsea Table & Stage is doing. They aim for Bway star residencies, give space for up and coming projects, and allow for a number of different genres, while staying true to the high brow crowd, bringing in younger people, and pulling from hotel customers... 

#854 Below will become a nonprofit, in another sign of its financial troubles.

The Carlyle remains the prestige location. Joe's Pub remains the edgy location. Dizzy's & some other venues have the jazz scene cornered. Which leaves 54 to compete as equals to Birdland (generally cheaper than 54) and Green Room and Laurie Beechman. And then there's places like Town Hall and Little Island.

The other issue is that some of the above clubs can share kitchen costs with their associated restaurants; Carlyle also probably gets some casual attendance from hotel guests/residents. 54 never quite figured out how to make it a dining/drinking destination when a show wasn't going on. For a structured cabaret show you obviously don't want people coming and going during the performance. And they've never figured out how to partner with Roundabout or the commercial tenants upstairs.

I'm just not sure how it could be run better by different leaders or new creative/programming directors. We know from Broadway buying habits that "Broadway names" have finite interest and in a world where you can watch your faves on YouTube or Tiktok, there's not really an incentive to drop $100+ per person to see them with any regularity. I'd have loved to see Jen Simard's show, but my ceiling for something like that is $40 all-in (or under $5 for streaming).

#1054 Below will become a nonprofit, in another sign of its financial troubles.

BETTY22 said: "I think Real Housewife Countess LuAnn is one or the most successful acts.

Times are changing ........"

 

That's only because she buys out most of the house herself for all of her shows. It's all a vanity project.

 

#1254 Below will become a nonprofit, in another sign of its financial troubles.

Are you getting confused with “fourwalling” which isn’t uncommon at 54 and other venues? (An act pays to buy out the entire house up front, and then controls all ticket sales/revenue and marketing)

#1454 Below will become a nonprofit, in another sign of its financial troubles.

heybaby said: "So can I write off the $35 martini I had last time I was there? The food and drink prices are such a ridiculous joke at 54 Below."

What prices are not ridiculous in the theater district? Start with moderately good seats to a show that you know will be one run and done. And the drinks you buy at the theater may not be quite as expensive as they are at 54 below but they are not quite as good either. Hey, I will splurge for a Manhattan made with Grand Marnier. 
 

The deal with 54 below is that you see major stars, and major, up-and-coming stars in a wonderfully intimate venue, with good food and drink, and even the possibility of having a good conversation with one of your table mates, that you did not know.

I love to be so close to Linda Eder and Chita Rivera, and be allowed to take videos, which I am then happy to share with the public on YouTube.

#1654 Below will become a nonprofit, in another sign of its financial troubles.

I, for one, hope they can pull through. It is not easy running one of these rooms. There's a reason so few exist, across the country.

I will say I skipped the Diamond Series because of the price, but I just assumed the price was reflected by the fee the artist required and was a way to get another tier of performer in.

#1854 Below will become a nonprofit, in another sign of its financial troubles.

I'd go there often if they had late night shows. I'd love to catch a cabaret show after a Broadway show. 

#2054 Below will become a nonprofit, in another sign of its financial troubles.

I always check their schedule when I'm planning a trip, but only ever went once.  Their late shows aren't really late enough for after a play or musical.  For comparison, in 2014 I saw Chita Rivera at Birdland for an 11pm show on a Saturday night. 

I've also gone down to the Blue Note in Greenwich Village for late night shows - they only have a one drink minimum & prices are fair, but if you get dinner some of those items leave much to be desired.

If I was a local I'm not sure I would want to go out late especially midweek, but with the time difference 11pm in NYC feels like 8pm.

#2254 Below will become a nonprofit, in another sign of its financial troubles.

Yea, they need to expand programming options. If there’s one thing that so many in the Broadway industry don’t realize, it’s that many of the people they put on a pedestal won’t sell a ticket. 

#2454 Below will become a nonprofit, in another sign of its financial troubles.