Broadway League: Grosses will not be reported this season — Page 2

The average Bway theatergoer doesn't check the grosses in order to buy tickets in advance. Just seems like some people here seem to get off on speculating about a show's grosses just to guess when it'll be closing.

Theatrefanboy1 said: "So, I'm just going off of what some people involved behind the scenes have said to me about ticket sales. Apparently, sales in general are very good for the shows reopening for the first month or some (because a lot are in fact based in New York). They do build up in the end of November (through the general holiday period) but really flat line in the New Year, which has been to be expected, but its magnified. Producers are worried about the implications (apparently from some data they are analyzing and looking to close down a handful of big time long runners in that time). As for new shows, unfortunately they are looking at it right now that with all the shows reopening so quickly after each other and the real tourist crowds not even projected to reach 2019 levels for another 2 years, a lot of the new shows will not make it past the 3 month/100 show mark. And right now they are behind the scenes very nervous about that.

Though they also did confirm to expect a number of "surprise " revivals in the next 18 months with shows bringing in their former tour sets and costumes, with a stunt cast. (I have my hopes on a Dolly reprise)

Anyway that's what I was told the other day"

Hearing this, I reiterate my cry for the hybrid model:

* Open at reduced capacity and (somewhat; they could shave 'em a little, at $150-$200/ticket -- on the low end) standard prices for in-person audience.

* Offer simulcast streamed performances (live or thereabouts, at least two a week, to satisfy the variable of each night's uniqueness) at a much lower price (say, $10 to $20 apiece; could probably even squeeze it to $30, but no higher) for a virtual audience.

I'm not asking them to reinvent the wheel; BroadwayHD has already done the perfunctory bureaucratic groundwork of striking deals with authors, cast, etc., for their live-stream events that can be referred to by future producers.

And increasing accessibility and affordability for people who can't -- or, for safety's sake, don't choose to -- leave the house can open the door to the streaming ticket being a show's new primary income in the future, even if it only runs a month and a half. People who don't have the discretionary funds to visit the city, or travel overseas, to see a show multiple times might think twice about seeing their favorite more than once if they only had to spend what they would on a large pizza and never left the house to do it.

With consistent audience support, and measures taken to avoid stream recording and other piracy concerns, one could sell more virtual seats than the venue has in person... just sayin', Broadway League!

Updated On: 8/10/21 at 08:46 PM

Let's make a deal: you break down for me how that model guarantees a flop, while I prepare a number of budget proposals with income and ROI projections that have the hybrid plan as a structural girder. We'll see whose math adds up.

HogansHero said: "g.d.e.l.g.i. said: "Hearing this, I reiterate my cry for the hybrid model:

* Open at reduced capacity and (somewhat; they could shave 'em a little, at $150-$200/ticket -- on the low end) standard prices for in-person audience.

* Offer simulcast streamed performances (live or thereabouts, at least two a week, to satisfy the variable of each night's uniqueness)at amuchlower price(say, $10 to $20 apiece; could probably even squeeze it to $30, but no higher) for a virtual audience.

I'm not asking them to reinvent the wheel; BroadwayHD has already donethe perfunctory bureaucraticgroundwork of striking deals with authors, cast, etc., for their live-stream events that can be referred to by future producers.

And increasingaccessibility and affordability for people who can't -- or, for safety's sake, don't choose to -- leave the house can open the door to the streaming ticket being a show's new primary income in the future, even if it only runs a month and a half.People who don't have the discretionary funds to visit the city, or travel overseas,to see a show multiple times might think twice about seeing their favorite more than once if they only had to spend what they would on a large pizzaand never left the house to do it.

With consistent audience support, and measures taken to avoid stream recording and other piracy concerns, one could sell more virtual seats than the venue has in person... just sayin', Broadway League!"

What you are "hearing" is the analogue of what one hears eavesdropping on some drunk people at some once and futurebar in the theatre district. But accepting it fwiw, neither part of your hybrid works. No sane producer is going to produce on a basis that guarantees a flop, and no one could afford to do that streaming arrangement, even if they didn't believe in their soul that streaming is a suicidal concept. As I have posted before, the solution to the lack of short/mid term demand would have been to reduce the supply, but very few could resist reopening improvidently. So we shall wait the outcome and pray a lot."

This is the exact situation that the person involved in the producing finance side of things was say. And the problem about delaying openings for others is that producers are wanting to see $$ coming in and capitalize on reopening. Yet the demand is proving not to be there for the long run.
Also the large number of people that would go see a show or two a year a lower price are now strapped for money. And are required to cut out some luxuries and are relaying now on at home streaming or cheaper localized entertainment that is a cheaper night out. Even though the prestige might not be there

I enjoy reading the grosses and will miss having that data readily available (if it does not leak, which I agree it could)

But this is not surprising for people who follow other entertainment industries. TV ratings used to be king and many amateurs followed them in addition to many within the industry. Now you have all the streaming services and none of them report ratings at least to any consistent metric. Netflix might put out some garbage PR release about how many people watched a new show but their metric is two minutes of one episode. It's nothing like Nielsen Ratings on ABC, CBS, etc. Now the streamers control the narrative and it has worked out for them for the most part. Sure, the press screams about transparency and internet TV ratings aficionados get angry on message boards, but it's not like the general consumer cares all that much. The movie industry is just starting to deal with this too with same-day streaming releases for theatrical films that aren't reported. I'm sorry to say this might just be continuing that trend.

They need every penny right now!

But yes, I imagine once the losses are actually occurring, discounts will begin.