BroadwayCon 2016 - Experience reports! — Page 7

delongpre said: "** Etiquette lessons should be in store for a lot of the younguns who were running around like the Con was the mall. Walking in and out of meeting room doors, jumping up and leaving or chatting loudly during panel discussions, or subjecting the rest of us to listen to their phones endlessly pinging as they conversed with pals while industry celebs were trying to talk. I know some kids came without parents but there needs to be some way to control the wayward kids.

(Read my other post about how wonderful it was to see the young people embracing Broadway, both current and past shows.)"

Yes to both parts of this. My favorite (?) audience moment in a panel I was at happened when the speaker -- a soft-spoken women -- was talking about something interesting when someone a few rows ahead of me had her phone go off and... it was Guns and Ships. People tittered. At least she ran outside, mortified, to take the call.

Also, if you want to watch videos while you're in a long-ass line, use your damn headphones.

LizzieCurry said: " 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."

This was my biggest take-home from the event. I took my daughter for the weekend as her 16th birthday present. I watched my awkward, geeky, hard-to-make-friends girl find people "just like her" and spend hours talking and laughing and bonding, while singing and pretending, and feeling validated!

All you would have had to do to connect to this feeling was to go to one of the sing-alongs and watch the mix of youth (I hate the term "fangirl" because there is so much more to these kids) respond from their souls to the songs they love....and for once they got to do it in the presence of others WHO FELT JUST LIKE THEM.

I'm a parent, a special-ed teacher and a major theater fan, and I felt the Con was amazing. There were frustrations, for sure: at not getting into ANY workshops or autograph lines, at having to sit way in the back because it wasn't clear where lines began or ended for main stage events, at certain main draws cancelling(Kitt/Yorkey), and for other events that were not happening because of the storm(Writers panel).

But there were other things to do at every minute of the day. My daughter got to learn about writing and adapting plays, diversity in theater, mingled with other Rent fans, and enjoyed panel discussions about favorite shows as well as learning about new ones.

Could it be improved? Of course. But the amount of love I felt in the room of the Disney sing-along was worth the price of the weekend.

"

lite2shine said: "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."

Yeah, I don't actually expect them to change to a separate payment system either, but it didn't look like a great system given the comments on their Facebook. I think adding a limited line "at your own risk" option wouldn't be terrible. When the price is rolled in, people should get their top pick. Or something. (Removing the option should lower the pass prices, but anyway.) My comment about stage dooring is more along the lines that it should be treated as a tradition, yes, but something separate from the planned environment of a convention. I would never stage door because I don't like mobs of any kind, but--assuming I did have an interest in obtaining an autograph--the convention environment is far more appealing. And the guests are getting paid for their participation (surely I hope that's the case) as opposed to being tired after a show and wanting to go home.

I still think there should be a general etiquette something, because I worry that with how "connected" BroadwayCon's proceedings were, newcomers would expect they'll be able to live-tweet a show. Some people already do that, sure, but there's no way to stanch it besides strengthening respect with education as well as security.

I go to a lot of cons so I kinda have a weird fascination with them. For a first year con, BroadwayCon doesn't sound like it did too bad of a job. Lines were a mess but almost all cons have the same problem and the amount of programming sounds pretty good for it's first year.

The main problem seems to be the price point, if you're gonna charge $100-$600, people are gonna have high expectations of what they will get out of the con. Autographs should not be part of the ticket especially if you're gonna do a raffle for them. The only con I have ever been to that does that is Comic Con and they only do raffles for signings that are free. Plus not everyone goes to cons for signings or photo sessions. It's interesting to note that for most celebrities on the con circuit, most of the money they make comes directly from signing and photos. It's a huge part of why they go so it's interesting to wonder how much BroadwayCon paid everyone. (Not that I ever expect to find out)

Also a lot of first year cons make this mistake but they should have made the con, 1 day, 2 days max. Not only would it be easier to run but the price would be a lot cheaper. Every con wants to be huge like SDCC or NYCC right out the gate but it's better to perfect what you're doing on a smaller level before going big.

Updated On: 1/25/16 at 01:47 AM

I really want to see it suceed, but the nature of It is aimed twords young people, so some of it may not apeal to all.

did you pay for a VIP pass because I did.

JM226, I think the main problem is the VIP passes. It sounds like VIP pass holders are the only ones really complaining, while with General or Day passes had a good time!

So please don't generalize and tell me I'm "putting a positive spin on it".

And we know what Fosca said about expectations!

I do want to mention some fun highlights, though, that I don't think were brought up earlier:

• * Rob McClure's one-man Sweeney Todd: hilarious but also terrifying
• * The Les Miz OBC audition/rehearsal stories
• * People losing their **** when Ben Cameron recited his one line from the Wicked cast recording
• * I didn't catch her name, but in the out-of-town tryout panel, discussion of Millie in La Jolla
• * All the social media horror stories

And I wouldn't say the positive comments are there to put a positive SPIN on the events -- they're just people reciting what they enjoyed which may not match up with what you experienced. There are 40 truths to every story.

Updated On: 1/25/16 at 08:58 AM

" You just need to be prepared to deal with what feels like two floors' worth of the post-show excitable Schmackary's crowd."

This is exactly why I didn't go. My idea of hell.

To those of you who spent $$$ on VIP passes: why didn't you just go see Hamilton?

"These benefits look like a real treatment of a VIP, right? "

The Walking Dead one absolutely does not.

The Big Beautiful Women of AA?

i regularly attend conferences and festivals. some people spend their money on seeing hundreds of Broadway shows. i do not. i spend it this way. most VIP experiences include accommodations, like lodgings or drink and food, or at least something exclusive. like line hopper passes, a private lounge, a special meet and greet, a personal guide or concierge. nothing even close to that here. they failed big time with the VIP pass holders. that is why i think they'll lose business for next year INCLUDING MINE.