BroadwayCon 2016 - Experience reports! — Page 6

LizzieCurry said: "Much of the crowd felt like out-of-towners, and I mean that in neither a good nor bad way -- or maybe it's more good, unless you're a curmudgeon. Because there were a ton of kids there who this weekend who have no one to talk to about musical theatre at home. And they just had their love legitimized and validated. And that's a great thing, even if I wasn't one of them."

It seems the statistics given in the New York Times article were verified by the experiences shared in this thread: mostly tourists (5 percentage points more than average Broadway attendance demographics) and younger (though by exactly how much, who knows). That's actually something to keep in mind concerning the feedback in this thread--the majority of users on this board, I expect, are older than the convention average and also local; thus, a minority. In terms of accessibility, I'll bet quite a few of the tourists went to BroadwayCon thinking of it as a representative "general Broadway experience" instead of seeing many, many shows they couldn't otherwise afford.

So which sessions were Stephen Sondheim, Bernadette Peters, Patti LuPone, Hal Prince, Jonathan Tunick, Chita Rivera, Angela Lansbury, Donna Murphy, Julie Andrews, Jerry Herman, John Cullum et al. in?

I am in the 30 and over crowd and probably got mistaken for younger because I can still pass for 18-25. I saw a few younger kids, which I thought was so weird. Like I couldn't see most children under 10 being very interested in most of the programming. Some was also not appropriate.

Thanks for the insight. If anyone gets a survey from Mischief Management, assuming via email, please post about it, in case someone didn't get it (since the raffle wasn't 100% on point). At least they really should, because there are lots of easily tabulated survey services out there. It will be telling if VIP passes don't sell out anywhere near as quickly once the next BroadwayCon is announced.

It's not too far off, but remember that stories from those of us who aren't in that boat aren't as interesting.

Cupid Boy2 said: "Based on these comments, it would seem that these New York Times' profiles linked below are pretty accurate representations of those in attendance. One thing I absolutely can't stand is this "misunderstood, outcast musical theatre nerd" archetype to which so many of them subscribe.

"My friends never know what I'm talking about; I'm always singing showtunes from Grease and Wicked and Mamma Mia and like I'm the ONLY one who knows them."

If your friends can't relate to you, why are they your friends?"

Well, are you actually living on the East Coast near Broadway? Physical accessibility is absolutely paramount to being an "insider" in this case. This isn't like seeing the latest Star Wars films and being a Star Wars nerd where even a town in Iowa has equal access and more people with the same interest. Especially at that tween-through-college age where finding social circles is so important for self image, it's not a leap of logic that such people will bond with others over other, more accessible things, but still harbor this weird fandom about Broadway. That's not merely "subscribing" to a concept, but I don't doubt many younger fans these days experience some bias firsthand. Art programs are being constantly cut from schools; we get mainstream advertisement from major companies like AT&T completely insulting theater.

The fandom "safety" that conventions like this offer isn't unique to BroadwayCon, of course. The big anime conventions are a good example. That's the nature of a fan convention. I'm not the least bit surprised that these people are a large portion of whom BroadwayCon has attracted.

lite2shine, there was an explanation about the prices linked on the first post of the other thread. Basically, if BroadwayCon can get more sponsors, the prices will (should) fall. Because this was the first one, they didn't exactly have a lot of sponsors and large exhibitors or vendors to chip in.

Updated On: 1/24/16 at 09:18 PM

Pootie2 said:

lite2shine, there was an explanation about the prices linked on the first post of the other thread. Basically, if BroadwayCon can get more sponsors, the prices will (should) fall. Because this was the first one, they didn't exactly have a lot of sponsors and large exhibitors or vendors to chip in.

"

So basically VIP pass holders are chipping in leu of the sponsors? because the general pass price is the same for Leaky Con. In that case, there's more reason that VIP pass holders should be treated like a Royalty!

Updated On: 1/24/16 at 09:36 PM

LC doesn't charge for autograph/photo either, so if they are modeling after LC, you cannot use an argument for higher price bc of free autograph session.

Charging for these sessions for BC wouldn't work bc theatre goers can get autographs/photo at the stagedoor for free. For other Cons, you don't see/meet the TV or movie actors at a certain location outside of the Con, so it's the only opportunity to get their autographs/photo and the fans are willing to pay. (Personally, I don't see any point for getting an autograph from someone I've never seen on the stage in person)

Pootie2 said: "

Information about workshops and try-outs? Also more content about plays and maybe Off-Broadway? There's a lot of potential, that's for sure.

"

I was surprised there was zero programming related to plays. At least I thought there might be something about Arthur Miller, since there is currently a focus on his work on Broadway. I would have worked my entire day's schedule around a panel including the cast of A View From The Bridge.

just a note for anyone complaining about the Saturday evening MainStage programming, apparently from 8-10:30pm the Baseball writers conference that was also taking place in the hotel had that ballroom booked for a ceremony, however due to the storm they downsized their event and the hotel management offered the space back to BroadwayCon to use, thus the impromptu phone party and youtube dance party, those weren't there because people cancelled, as it was nothing was scheduled during that time.

As for adult programming um where the heck were you guys because I saw GREAT panels on Producing, Flop Shows, Filming more shows for commercial release, directing, Adapting preexisting material for the stage, the history of the palace theater, a whole panel of previews of upcoming musicals, a panel about criticism with panelist from USA Today and Deadline Hollywood, Diversity on Broadway, Out of Town tryouts all of those featuring folks such as Kathleen Marshall, Lawrence O'Keefe, Lonny Price, Dori Bernstein, David Cote, Michael Riedel as some of the featured panelist.

This was far from a bad con, were the passes too expensive, yes, was there management issues, yes but if you really put in the work there was some GREAT panels with some really good content happening.

People need to lighten up little, at no point was this advertised as a celebration of broadway past but as a celebration of Broadway now and people shouldn't be shocked it skewed younger or was filled with RENT fans, look at the organization and people running it, Leakycon is attended primary by young kids and anything Anthony does is going to bring out a LARGE legion of Rentheads, if you are surprised by this I don't know what to tell you.

lite2shine said: "LC doesn't charge for autograph/photo either, so if they are modeling after LC, you cannot use an argument for higher price bc of free autograph session.

Charging for these sessions for BC wouldn't work bc theatre goers can get autographs/photo at the stagedoor for free. For other Cons, you don't see/meet the TV or movie actors at a certain location outside of the Con, so it's the only opportunity to get their autographs/photo and the fans are willing to pay. (Personally, I don't see any point for getting an autograph from someone I've never seen on the stage in person)"

Stage dooring is never guaranteed and should not always be expected as an obligation, as was discussed in the other thread, not to mention controlled crowds are likely far more attractive for the performers as well. But I don't know how LeakyCon or GeekyCon work, so there's that. I think BroadwayCon's passes could be changed a bit. For example, I have no interest in autographs, so why not remove those as added benefits and charge a separate ticket raffle thing along with the option of just waiting in line.

Cupid Boy2, thanks for the clarification. I suspect those were cherry-picked quotes as well as cherry-given quotes given the context of the topic, however. If they found happiness there, that's great. I know some friends who manage to go "all out" with a precious personal interest only a couple times a year in this type of context.

BroadwayConcierge said: "I complained, but I will honestly look back on BroadwayCon 2016 in pretty positive retrospect. I think it wouldn't be unreasonable for some sort of discount or whatever to be given to this year's VIP members for the 2017 Con (it sure would bump motivation, and it would honestly make sense to me since I do think that I paid exorbitantly more than the difference between VIP and general passes warranted). But all in all, job very, very well done for the first go-round of a massive event."

That's a fantastic idea, really.

Updated On: 1/24/16 at 10:38 PM

Thanks for expanding Cupid Boy, I read your previous post completely differently. You have a valid point, and I've grown to be quite contend to go to the theater by myself back home (in Germany), and thanks to the internet I do now know likeminded people whom I can share my excitement with. If it wasn't for that, it would be quite a lonely affair though.

And as someone who was an outcast and bullied in my highschool year (although not for loving theater, but just for being overall "uncool", I know how wonderful the feeling is to be in a place, perhaps for the first time ever, where you're excepted for who you are, and where you're surrounded by likeminded people. I only experienced that through the internet for my years, and having that happen in "real life" is quite a different experience. Even know that I live in NY and have many friends who love theater, and even though I don't *need* that for any kind of sefl-worth,I loved the feeling of being in a room with thousands of people who feel the same on Saturday. It was special.

Someone complained about the lack of A-listers at the Con... and I just wanted to say Cut them some slack! It was the first ever Broadway Con, and I could see lots of the more famous Broadway people being skeptical and staying away until it's a bit more established. Audra, on the phone, basically said she would come next year, and I expect it to be much "bigger" that way. I would also expect them to expand the number of panels to next year, simply because more people will want to be involved.

I do agree with BettiBoy about the definite lack of musicals from 60s, 70s, 80s, or even older. In terms of panels and stars. While I'm in my 20s, I personally don't care much about the modern "rock" type musicals, my love is the "classic" Broadway show like Anything Goes, On The 20th Century, and other shows in that veine. I would have wished for a greater variety there, and I hope they will branch out there in the future as well.

Nevertheless, I had a really good time. I attended a bunch of the "grown up" panels, and they were all great, and there were more that I would have been interested in today (but I only had a day pass). But I also really enjoyed the the more fun fan panels. After all, I didn't just go to learn about Broadway, I also went to have a good time and be entertained. Like I said before, I thought the Party Line was hilarious, and beyond the entertainment factor, it also showed all those stars that were being called, how many enthusiastic fans were there, and might help to get them on board next year.

As far as VIP tickets go, I do agree that for $600 more should have been offered, but the ticket description never promised anything like green rooms or "special" treatment beyond preferred entrance to MainStage (and MainStage only) panels and the autograph sessions. Why did anyone buy VIP based on that description? (Serious question, because it never seemed even worth it to me, even if I had been willing to spend that kind of money).

Oh, and one other thing, I didn't feel like the con was swamped with teenagers. Sure, there were many, but I was actually surprised how many "older" people were there, and I saw quite a few people around my age (late 20s, early 30s).

I don't know if this article (written by Melissa, the organizer) was shared before. She said they didn't want to charge extra after having the attendees buy generally expensive passes. So I don't think they'd like to go for paid raffle tickets route. http://penbitten.com/post/110085671761/on-the-first-few-days-of-broadwaycon-being-public

Re: stagedooring I didn't say it's expected or obligation. I'm grateful and it's so nice for the actors who sign and pose for a photo after a long day and I appreciate it (I don't do stagedoor for all the shows I see either, only the one I was moved and/or have friends in it). Some actors (Nathan Lane) don't do stagedoor. But it's a Broadway tradition and a part of the culture, which you can experience outside of the Con.