Jordan Catalano said: "Which makes me ask again as I have for so long - why not just film the numbers on stage in their theaters and broadcast that? They did it before and it worked better than most of theTonys numbers we see. It’s only a downside for the people in the audience there and since the broadcast is trying to sell the shows, why not show the actual product in its original form?"
I think that this is more of an undertaking than people would imagine (and while these are specific to the Tony Awards, it certainly sheds some light on why so few shows are actually commercially captured... or why shows have historically gone "out of town" to be filmed):
• This is the slightest of costs, but not insignificant: you'd have to bring in the entire staff that it takes to turn on a hundred+ year old building from when load-in starts to when load-in ends. One set of house heads becomes 4 or 8 (if you're capturing the plays too), plus the crews. All on minimums on what is typically a day off... and Sunday (premiums for some unions).
• filming takes a lot of infrastructure. Just this paragraph alone from the Local 1 collective bargaining agreement with the league would show that it's not a slight undertaking to "just" film a segment of a show. Times 4 or 8. "In the event of filming, taping, or television as referred to in Article XV, Section 15 hereof, the jurisdiction of Union hereunder shall also cover and include the following work to be performed in connection therewith: (i) all loading and unloading of technical equipment (excluding camera heads); (ii) the laying and running of cables from the theatre entrance to the equipment located in the house; (iii) the setting, hanging, positioning and striking of mikes and all in-house sound work (including any P.A. system but excluding sound booms) although final adjustment thereof may be done by others; (iv) the handling, setting, hanging, positioning and focusing of all lights and lighting or electric accessories (excluding battery-powered lights and equipment) and including all light direction functions relating to the filming, taping or televising of the show as distinguished from the functions of a Lighting Designer or Consultant for the show itself; and with respect to all of the foregoing work, it is distinctly understood and agreed that Union’s jurisdiction shall apply regardless of whether such equipment is house equipment or equipment furnished by the outside entity engaged in such filming, taping or televising activity." To get proper b-roll for a show, the filming companies bring in platforms to cover the front of the orchestra for jibs and dollies.... all installed by a union crew. Times as many shows as you're filming.
• The orchestra and recordings are a major cost of the ceremony, and maybe you'd save something by capturing each orchestra in their natural habitat, it seems like that might have its own massive complications. (Great article on the 2019 orchestra for the Tony Awards and how they did it that year.)
• Do you chance throwing to 4 or 8 theaters live? If so, what's the technical rehearsal process like? The Radio City rehearsal process is down to a science.
I suppose you could forgo live performances and do pre-taped ones: perhaps using one crew to film each nominated show in the days leading up to Tony Awards, but I don't think that would feel as great to everyone.)
Logistically, trying to do all them as a remote or even pre-tape just seems like a crazy undertaking... and I'm sure I've overlooked a hundred other reasons.
Updated On: 6/8/24 at 03:20 PM