Pittsburgh CLO will reduce programming from 6 shows to 3 (including one tour), due to financial constraints

[ErmengardeStopSniveling]

Posted: 9/13/24 at 11:14am

This feels notable for one of the preeminent summer theatres in America operating in the old stock tradition. Based responses from some other theaters who have tried this, cutting the season in half usually offers no better financial upside.

The 2025 season will be CAMELOT, the tour of BACK TO THE FUTURE, and FROZEN.

By contrast, its 2024 season was Lady Day at Emerson's Bar and Grill, West Side Story, The Color Purple, The Music Man, Young Frankenstein, and Seussical, split between a 2800-seat space and a 250-seat space. They've done away with the 250-seat space programming.

 

"The 2025 PNC Summer of Musicals marks a strategic shift for Pittsburgh CLO, with a move from a six-show to a three-show summer lineup with all shows at the Benedum Center. Theater organizations, like Pittsburgh CLO, are grappling with increasing production costs, fluctuating audience attendance, and the lingering impact of the pandemic on the arts. The 2025 Summer of Musicals has been carefully curated to strike a balance between fiscal sustainability and delivering Broadway-caliber entertainment that Pittsburgh audiences have come to expect from the Pittsburgh CLO."

https://www.pittsburghclo.org//buy-tickets/clo-subscriptions

[ACL2006]

Posted: 9/13/24 at 1:00pm

Why not just do two week runs of each show instead?

[sbflyfan]

Posted: 9/13/24 at 1:06pm

I'm honestly surprised this didn't happen years ago. Depending on the casts, I've attended one or two of their shows each season for the past 15 years.  These productions have been undersold in the Benedum Center for a long time, even during weekend performances.  The creative venue shifting this year was a good attempt, but obviously didn't prove to be sustainable. 

"Back To The Future" and "Frozen" will be very safe sells next year, but I'm not sure I would have chosen "Camelot" as the third production.  Hopefully they have a recognizable "name" lined up to help boost sales for that one.

 

 

Updated On: 9/13/24 at 01:06 PM

[sbflyfan]

Posted: 9/13/24 at 1:09pm

ACL2006 said: "Why not just do two week runs of each show instead?"

Their productions used to run for two weeks.  They were then cut down to two weekends (plus the Tuesday, Wednesday and Thursday between), and then eventually down to just 8-performance runs.  (Prior to this year's venue changes).

Updated On: 9/13/24 at 01:09 PM

[darquegk]

Posted: 9/13/24 at 1:35pm

Meanwhile, the small-space programming running this year has done very well; Young Frankenstein extended almost an entire month.

[CATSNYrevival]

Posted: 9/13/24 at 2:17pm

Any chance Camelot will be the Aaron Sorkin book? I'm curious if his book will ever be licensed.

[nealb1]

Posted: 9/13/24 at 2:35pm

It's unfortunate that this has to happen.  And very good of them to be able to readjust in order to keep in business.  In summer 2008, I saw both "Mame" and "West Side Story" there.  Fantastic productions!!

[ErmengardeStopSniveling]

Posted: 9/13/24 at 2:37pm

CATSNYrevival said: "Any chance Camelot will be the Aaron Sorkin book? I'm curious if his book will ever be licensed."

Their season announcement only lists the original authors of the show which I assume means it won't be the Sorkin or the David Lee revisal, but who knows.

LCT would certainly benefit from MTI licensing the Sorkin version, because that's the only way any trickle of money will be made from that production (unless it happens to tour or play London). The final decision is probably up to the L&L estates.

Updated On: 9/13/24 at 02:37 PM

[Call_me_jorge]

Posted: 9/13/24 at 3:23pm

Is Broadway in Pittsburgh co-presenting BTTF with CLO? 

[darquegk]

Posted: 9/13/24 at 3:28pm

CLO is a major investor in tours and the larger theatre markets. They were investors in BTTF to begin with.

[Call_me_jorge]

Posted: 9/13/24 at 5:01pm

darquegk said: "They were investors in BTTF to begin with."

and that’s probably why they’re running out of money.

[ErmengardeStopSniveling]

Posted: 9/13/24 at 5:25pm

A lot of these regional touring presenters invest in shows in exchange for getting the tour to play their venue. They get a hot show that would have otherwise gone to Broadway in Pittsburgh (which can be a keystone of a season subscription), and if it recoups then there's a nice little chunk of change that could roll in for decades.

Sometimes it's not even their own money, it can be a supporter or Board member who makes an arrangement with the theatre.

The proliferation of BAA, ATG, and Nederlander means these smaller players have to fight to get a tour instead of one of the big boys.

[darquegk]

Posted: 9/14/24 at 12:00am

Coincidentally, I saw a small professional production of Addams Family today. The producer list credited from the original production was a mile long, and included CLO. 

[ErmengardeStopSniveling]

Posted: 9/14/24 at 10:49am

darquegk said: "Coincidentally, I saw a small professional production of Addams Family today. The producer list credited from the original production was a mile long, and included CLO."

yes, they raised a good deal of money for shows during the Van Kaplan era (and Van was a lead producer on American in Paris).  https://www.ibdb.com/broadway-organization/pittsburgh-clo-486887#broadway

[JBM84]

Posted: 9/14/24 at 11:46am

That's what confuses me, why not lean more into the cabaret stuff and cut one of the larger shows? And CAMALOT?!?!?

[darquegk]

Posted: 9/14/24 at 11:52am

CLO Cabaret has also built a new reputation as one of the theatres where BIG musicals try out their chamber version. The small-cast version of Xanadu and the small-cast Young Frankenstein both premiered there.