Capital Analytics’ Post

Reflecting on this week's Spring Road Conference, Account Group Director Kyle Fox shares fresh insights on how touring will shape Broadway’s future. Read about how Broadway marketers can prepare for the future of the industry today over on our blog: https://lnkd.in/eHTS-8Hm #MarketingAgency #BroadwayMarketing #TourismInnovation #BroadwayBound

How are dance companies redefining their future in a post-pandemic world? Kellee Edusei, the Executive Director of Dance/USA—one of The Wallace Foundation’s partners—shares insights into how their members are challenging the status quo by recalibrating the existing business model. This conversation wraps up a three-part series with leaders in the performing arts to better understand the issues facing the industry in this current period of post-pandemic rebuilding.

Audience Snapshot: Four Years After Shutdown, a Mixed Recovery--very interesting data metrics. - Broadway audiences still down 17% from pre-pandemic levels - Pop concert sales are up 65% - 2023 Film box office sales were $9 billion compared to $11 billion before - Orchestra ticket sales up 2% and averaging 74%-85% attendance - Opera ticket revenues are down by 22% - Dance companies are averaging higher attendance rates than before the pandemic #data #performingarts #opera #classicalmusic #dance #broadway https://lnkd.in/gppRFXvJ

I love the performing arts and especially watching live performances--dramas, musicals, operas, classical music, and jazz, especially vocalists and also jazz pianists. What gets me the most excited is how technology today is adding to my experience, whether the technology is in front of the curtain or behind the curtain. As I've been reading "Raising the Curtain: Technology Success Stories from Performing Arts Leaders and Artists" by Brett Ashley Crawford and Paul Hansen, I've been impressed by the diversity of the artists and arts leaders who've contributed to this well-researched book. All the contributors have been generous in sharing what works, what hasn't worked, and some of the lessons they learned. The interviews that are sprinkled throughout the book offer fascinating insights that anyone who works in the performing arts can learn from. If you're a performer or work in an arts organization, I highly recommend you buy this book. It's wonderful! #wiley #performance #performer #theatre #theater #dancer #classicalmusic #arts #artsandculture #artsmarketing

An Invitation to Answer an Important Question: How can the Fringe add the greatest value to the UK creative sector? This is the critical question being posed at this year’s Edinburgh Fringe at a gathering at Fringe Central on 24th August 2024 10:00 – 14:00 BST. You can register for free here. This is a Devoted and Disgrunted Satellite event which is co-organised bt Improbable and the Edinburgh Festival Fringe Society. Both issued the following invitations: From Improbable’s Invitation from Ellie Claughton, Executive Director of Improbable: Each year, Improbable hosts an annual Devoted and Disgruntled (D&D) where we ask the question, “What are we doing to about theatre and the performing arts?” It is a moment for the theatre and performing arts sector to gather, to come together and talk, problem solve, be devoted …even a little bit disgruntled. Next year will be our 20th year of D&D so it feels like we are amid and approaching a pivotal point in time for the theatre and performing arts sector. Our sector is consistently facing funding cuts and increasing costs to overheads, production and staff. But with a new government in power, the stakes for our sector feel higher than ever. What will be the path forward? What changes need to happen and need to happen in the immediate future. The Edinburgh Fringe Festival is a vital part of our creative industry and continues to be a platform that amplifies the potency of collaboration when artists, venues, industry professionals and more come together to tell powerful stories. What is the story we would like to tell now? What is the story that needs to be told now? We wanted to bring D&D as a resource to you while you’re at the Ed Fringe, in the most creative place during the month of August. I have taken shows to the Edinburgh Fringe (and even run a venue – Paines Plough Roundabout) for nearly a decade so know firsthand what a brilliant resource, experience, creative platform it is. Something I reflected on greatly was how I was usually in the bubble of my own show, which is almost unavoidable given the myriad factors that sometimes work against you when you’re bringing a show to the Fringe. But also, I would have loved the opportunity to spend some time to gather with other like-minded individuals, to take a break from putting on, watching, thinking about a show and to have important conversations. I now have the opportunity to do that with D&D coming to the Fringe. How can the Fringe add the greatest value to the UK creative sector? What do we need to tell our new government, how do we hold them accountable? What does the Fringe need? You may have similar and other ideas, questions, discussions you’d like to raise. This is the space for you. The Fringe is an important part of my creative life and if you feel the same, come join us at this Open Space, let’s have a cup of tea, chat and get to work, together. 

We are on Forbes! - The legendary Broadway producer Manny Azenberg said in a Q&A with Damian Bazadona, “We have an economic structure that lost its way with the fundamental question of what is fair… [Our industry] has all taken out on the customers.” In the past five decades, top ticket price on Broadway has risen from $15 to $1000 (x 66 times). Inevitably, we are now suffering from a backlash. The pandemic has accelerated the shift of consumer composition and behavior. After the shutdown, we are observing a fast growing audience that's much younger and diverse. They’d love to see lots of shows but can't afford $100+ individual tickets. Therefore, the structure of our ticket supply no longer meets the rising consumer demand. As a result, we are struggling with ticket sales. Shows can't survive. At this urgent moment, what should we do to rebuild a sustainable business? Bring theatergoers into the equation. Empower them to define what’s fair. Build a ticket solution that they want. (Thank you, Marc Hershberg, for covering Theatr App’s story!) To the future of theatre. #theatre #broadway #tech #startup

I'll have more to say in an upcoming series about the state of our recovery, but if you want a spoiler, check out this article about where Broadway stands compared to its pre-covid attendance and grosses. What's especially interesting is how it compares to our sister industries. When you read it, also remember that our expenses are 10-20% higher. https://lnkd.in/erWd4reG

In an era where entertainment is everywhere, what truly draws a crowd? Off-Broadway's booming success suggests something fairly straightforward: fresh, inventive ideas executed flawlessly. Surely this is relevant to all efforts to captivate audiences. Clever, appealing and fresh ideas are vital. But brilliance remains a bedrock. #Audiences #TicketSales #PerformingArts #Theatre https://lnkd.in/ehJSTwdQ

✨ Broadway Week 21 (Ending October 13, 2024) Highlights ✨ This week, Broadway showed growth with total grosses hitting $34.27M, a 3.31% increase from the previous week. Attendance also rose, with 268,081 theatergoers filling seats across 32 productions, representing 91.33% capacity overall. Top Grossing Shows: Wicked continues to dominate with a gross of $2.49M and near-full capacity at 99.53%. The Lion King also performed well, grossing $2.20M with 98.63% attendance. Hamilton grossed $1.97M, filling 98.03% of its seats. Rising Attendance: Broadway shows had a 3.32% increase in attendance compared to the previous week. The average paid admission rose slightly to $127.83, up from $126.20 last week, indicating strong demand despite higher ticket prices. New Shows and Previews: Romeo + Juliet, Sunset Blvd., and Our Town are in previews, contributing to excitement and fresh offerings for theatergoers. McNeal had a planned five-performance week and still hit 100% capacity, showing that even limited engagements are drawing big crowds. Strong Performers: Hell’s Kitchen stayed strong with a gross of $1.43M, operating at 97.46% capacity. Moulin Rouge! performed at over 100% capacity with $1.64M in grosses, reflecting its ongoing popularity. Seasonal Comparison: Compared to the same week last season, Broadway saw a 25.06% increase in total gross and a 23.47% rise in attendance, showcasing significant year-over-year growth. 🎭 Data courtesy of The Broadway League. #Broadway #Theatre #BoxOffice #NYC #BroadwayGrosses #LiveTheatre