The Shifting Foundation of Audience
Introduction
The American regional theatre system built a strong foundation for many years with a loyal audience base of season subscribers. The income and devotion generated by subscribers gave these theatre companies a sturdy financial foundation allowing these organizations to grow and develop artistically ambitious seasons. Recently the world is experiencing a time of cultural, economic and societal change. Between 2005-2010 American regional theatres reported an 8.5 percent drop in season subscriptions and other funding sources are shifting (Voss, 2013). How do these once robust arts organizations stay viable with their artistic mission in the face of declining audience base of season subscribers?
Building a Foundation on Subscribers.
In the early 1960’s we saw the rise of American regional theatres with many new professional theatre companies being created across the country. Audiences were drawn to these regional theatre companies who offered a diverse collection of plays. For the first time we had
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repertory classics, street theatre, inner city companies, experimental workshops, and the development of new plays. In fact, Actors Equity could boast for the first time that it had more members working outside New York than in. (Martin, 1985). These regional, non-profit theatres gained their loyal audience base by offering subscriptions to an entire season. Dynamic Subscription Promotion has enjoyed a practically unbroken string of striking successes since it began to be embraced by performing arts organizations in the early and mid-1960’s, when tiny subscriberships were the rule (Newman, 1981). This subscription model allowed the development of a unique relationship between the audience and theatre company as well as raised the desired earn income prior to the opening of the season. Subscribers showed their loyal support and devotion to the artistic vision and mission of the theatre by purchasing an entire season of shows in advance. Artistic directors planned seasons with both popular offerings of audience favorites as well as new or lesser known shows giving the season subscriber wide variety of an artistic and cultural experience. Typically theatre companies would build a season around a story, theme and/or central message to lure in returning and perspective subscribers. Marketing an entire season of shows also proved cost-effective for the theatre company. Theatres typically open their season with a highly anticipated production to excited the audience base, The season would continue with a balance of various shows, including newer or lesser-known productions with artistic merit. The season would conclude with an audience favorite, typically during the subscription renewal period when theatres want to encourage subscribers to continue their patronage and relationship for another season. Subscribers would also receive benefits for their patronage and loyalty including: premiere seating, subscriber-only publications, access to artists, and invitations to special events. This created a exclusive relationship that benefited both the theatre company and their subscriber base. In 1987 I worked at the Seattle Reparatory Theatre in audience services. One of my jobs was taking tickets at the door and directing patrons to their seats. At his point the Seattle Rep had over 20,000 season subscribers. While taking tickets, I was often surprised how many people would walk through the front door, hand me their ticket and ask, “What show are we seeing tonight?” While this may provoke the response, “Why would you attend the theatre if you did not know what you were going to see?” The subscribers were faithful to the theatre and had lasting confidence in the artistic voice and vision of the theatre, knowing they were in for an entertaining and sometimes thought-provoking experience. Danny Newman was the long-time Director of Press and Public Relations for Lyric Opera of Chicago from its inception in 1954 until his retirement in 2002. He is best remembered for his 1977 book, Subscribe Now: Building Arts Audiences Through Dynamic Subscription Promotion. Mr. Newman offered many practical theories for building audiences and relationships through subscriptions. His ideas have been embraced by non-profit organizations around the country. “I continue to be so enthusiastic about subscription because I have seen its constantly recurring miracle in the cases of hundreds of professional arts projects which have, through it, reached new, high levels of audience development.” (Newman 1981). Cracks in the Foundation During the past twenty-five years regional theatre companies have seen a steady decline the number of season subscribers. The new Baby Boom generation is more cautious with how to spend their money and more discerning about their arts choices. A study from the National Endowment for the Arts took a look at attendance by generations showed this societal shift. For plays, all of the cohorts born before 1946 have significantly higher rates of attendance than the youngest adult Americans (Peterson, 1996). While there is no one reason that points directly to the decline, there are many factors that we need to consider. First, is the rise in the number of arts organizations vying for audience members and ticket revenue. Second, the younger generation is not as willing to take the financial and artistic risk to subscribe to an entire season. As the loyal subscriber base grows older, there is a decline in younger subscribers to fill the void. Third are lifestyle reasons. Audience members say that their schedules are no longer predictable or flexible enough to accommodate season subscriptions (Harlow, 2011) This decline caused theatres companies to adapt their marketing away from the traditional subscription model. Theatres also change both their staff structure and programing to appeal to a younger audience base. In order to survive, the regionals as an aggregate increased by almost 40 percent the number of “special shows” (Christmas and other holiday plays). Theatres also replaced many full-time staff people with part-timers. Actors were jobbed-in on the play-by-play basis. It is safe to say there isn’t a single true “company” operating in the regional theatre.” (Schechner, 1993) Theatre and arts organizations have needed to redefine the subscription model by expanding the types of subscriptions to attract a new and wider demographic. This new model includes: flexible tickets that could be used for different performances or combined for fewer shows, reduced subscriptions where subscribers choose 3-4 plays instead of committing to an entire season of 5-6, monthly membership passes where the patron pays a monthly fee and can see any show during the season. While these new subscription models have been appealing to many subscribers, yet it does create an artistic dilemma to many theatre companies. Subscribers are selecting certain shows in a theatre season, but not attending the full season offering. In the original subscription model, the artistic choices of the theatre company allowed for one or two plays each season that were artistically viable, but not as popular with single ticket buyers. This new model, allowing subscribers to make choices, means some of the artistic choices made in the past, may not be placed in a season due to financial viability and when they are planed the theatre is taking a larger financial risk. The cultivation of new plays and the access to lesser know works are starting to shift away from the larger regional theatres to smaller ones, limiting the exposure to a wider audience. In the 1980’s a regional theatre, like the Seattle Rep, would sell 20,000 subscribed tickets to a show that many would not have chosen to purchase as single tickets. With the decline in subscriptions these artistic choices become more difficult as theatres struggle to stay viable. An Artistic Director of a well-know theatre company stated: “If I don't sell tickets, we shut down. We used to do it by selling subscriptions. That gave us money up front, and it also made it easier for me to do serious work, because people were buying a five-show package, and they trusted me to give them a well-chosen, wide-ranging package each year.” (Teachout, 2013) The Crumbling Foundation Performing arts organizations across the country are grappling with falling subscription renewal rates and a troubling decline in total subscriber numbers. This trend has serious implications for many organizations that depend on subscribers not just for ticket revenue, but also for a large share of contributed income (Harlow, 2011). Theatre companies are still offering a variety of subscription models and continue to market these subscriptions to current and potential new audience members. The facts are fewer people are attending arts events and those who attend, are less likely to subscribe as their older generation. The National Endowments for the Arts recorded a reduction of adults attending at least one arts activity from 39 percent in 2002 to less than 35 percent in 2008 (National Endowments for the Arts, 2008). At the same time arts organization are feeling the pinch from their contributed income as donors and foundations are spreading their donations across a wider field of applicants. Regional Theatre Companies needed to adjust their budgets as contributed income declined from 59% of income in 2000 to 53% in 2013 (Voss, 2013). Below is a chart from the Theatre Communications Group showing earned income trends over the past five years. Build a New Foundation of Members While season subscriptions continue to see a decline, theatre companies need to adapt to attract new audience members. After the economic collapse of 2008, many theatre companies had to get creative as both earned income from ticket sales and contributed income from donations was on the decline. Arts organizations are finding some new and creative ways to attract and retain audience members. Steppenwolf Theatre in Chicago created many new initiatives to build stronger relationships with their single ticket buyers in hopes to have them become multi-ticket buyers.
They have developed an idea of a “Public Square” allowing deep dialogue between the artists and audience members. They listen to the audience every night by having a post-show discussion after every performance. They have extended this dialogue beyond the theatre by dedicating a large portion of their website to placing content that would inspire and cultivate the interest. Steppenwolf is now treating single ticket buyers like subscribers inviting them to special events and special savings for future productions. Their efforts have been rewarded with the number of return audience members increasing, the number of visitors to their website and social media follows has grown exponentially and has created a deeper experience for both audience and
artists. When Benjamin More, the former Managing Director of the Seattle Reparatory Theatre was asked about the changes he saw since he arrived in 1985, “There are fewer of us now than there were then. That certainly has affected the overall ecology of the theater community and how it’s populated. There’s also been a huge shift. When I arrived here in ’85, we had more than 20,000 subscribers. We have 8,500 subscribers today. People don’t buy the product the way they used to, which is kind of discouraging because if we’ve constructed a good journey for a season with the theater, you’re not going to love everything but you’re going to go places you wouldn’t ordinarily choose to go on your own, and that to me is an adventure.” (Levesque, 2012). The Seattle Rep has also changed it box office model to give each audience members a personal experience. They have combined their traditional ticket sales staff and telemarking staff into one Patron Service Team. Now there is one member who takes care of our ticketing needs and follows up asking patrons about their experience and cultivating a relationship in hopes of return patronage or a charitable gift. The Seattle Rep has created events for young professionals and increased their online dialogue through social media. Key Questions: 1. Creating these new relationships with members takes more time, effort and financial resources. How will theatre adapt their staffing and budgets to gain these new members? 2. As the audience become larger Stake Holders, how will this effect the artistic choices of programing? How will this effect the development of new play or the exposure of lesser known plays with artistic merit?
Cullen, Frank, Florence Hackman, and Donald McNeilly. Vaudeville, Old & New: An Encyclopedia of Variety Performers in America. New York: Routledge, 2007. Print.
If there is truly tradition to be found among the great theatres both on and off Broadway, then certainly the Sullivan Street Playhouse and its long running production of The Fantasticks rates as one of the most celebrated of New York theatrical traditions. Maintaining its place as the longest running production Off Broadway, The Fantasticks remains an enchanting and insightful tale of both young love and bitter disillusionment. It also reminds one, in this age of spectacle and the mega-musical, how powerful and truly inspiring theatre itself can be. Clearly, one of the great strengths of this production and a large part of its appeal for audiences over the last four decades lies in the fact that both the story and the style of presentation compliment each other so completely. Here we find the non-essentials are stripped away, and we are left to rely simply on the imagination of both the audience and the performers to create a magical evening.
Concluding the Federal Theatre Project, it has accomplished the goal of introducing theatre to millions who had never seen theatre before. It employed thousands of people, initiated European epic theatre and Living Newspaper theatre techniques to the United States, and for this reason could be seen as a vast achievement.
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Motion pictures from Hollywood had taken Broadway’s place as the king of entertainment. The main reason behind this was that because it was culturally relevant and coming out with new flashy techniques such as Todd-AO and Cinerama.
Kislan, Richard. The Musical: A Look at the American Musical Theater. New Jersey: Prentice-Hall, 1980. 84, 110, 116-121, 125-127, 128, 134, 163, 195, 201, 209. Print.
In Dialogue: Theatre of America, Harold Clurman said, “we make theatre out of life” (27), and it was precisely this view that motivated him to help create a uniquely American theatre. Clurman, considered one of the most influential directors of the modern American theatre, had a unique vision of what the American theatre could become. One of the founders of the quintessentially American troupe, the Group Theatre, Clurman was a contemporary of Elia Kazan and Lee Strasberg, and even married to Stella Adler for twenty years. At a ceremony honoring Clurman, Elia Kazan stated that Clurman’s “greatest achievement [was] himself” (Harold Clurman: A Life of Theatre). An important figure in our theatrical past, Clurman’s theories on theatre and directing require close attention. In this paper, I will first provide a brief biography of Clurman, second, examine his theories of theatre and directing, and lastly, I will explore his criticisms of the then-contemporary theatre, and draw conclusions to the current state of the Broadway theatre.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
The duration and cost of the production have been compared to other media which provide entertainment, such as television and film. A theatre performance is more expensive to attend than cinema. The play only lasted for 85 minutes, a film can go on for two hours or even more. This can have a big influence on why people would choose one medium over the other. Accessibility has also to be taken into account when investigating the relevance of theatre in the 21st century. Television is a medium which can be accessed from home, and usually doesn’t cost a lot of money, whereas theatre costs money and is harder to access. Although the production was Australian, the actors talked with an American accent. Bearing in mind that the play was written in America, which could make it harder for an Australian audience to familiarise with the dilemmas going on, on stage, while the themes discussed seem to be more relevant there than in Australia. Overall this play doesn’t contribute to the relevance of Australian theatre in the 21st century, due to the many other sources people can access for entertainment, and because the play seems to be more relevant for an American audience rather than an
It is human nature to tell stories and to appreciate and participate in theatre traditions in every society. Every culture expresses theatre and may have their own traditions that have helped pave the way for how they are today. The involvement of African-Americans has increased tremendously in theatre since the nineteenth century and continues to increase as time goes on. African-Americans have overcome many obstacles with getting their rights and the participation and involvement of Theatre was something also worth fighting for. American history has played an important role with the participation of African-Americans in theatre. Slavery occurrence in America made it difficult for blacks in America to be taken seriously and to take on the characters of more serious roles. With many obstacles in the way African-Americans fought for their rights and also for the freedom that they deserved in America. As the participation of African-Americans involvement within the theatre increase so do the movements in which help make this possible. It is the determination of these leaders, groups, and Theaters that helped increase the participation and created the success that African-Americans received throughout history in American Theatre.
American Theatre: History, Context, Form. Edinburgh: Edinburgh Univ, 2011. Print. Scott, Freda L. "Black Drama and the Harlem Renaissance."
Miller, D. A. Place for Us: Essay on the Broadway Musical. Cambridge, MA: Harvard UP, 1998. Print.
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
Brockett, Oscar G., and Oscar G. Brockett. The Essential Theatre. New York: Holt, Rinehart and Winston, 1976. Print.
Clifford Odets’ Golden Boy has survived the test of time, being just as empowering and impactful for its audiences today as it was over 75 years ago during the late 1930s. Being a founding member of the Group Theatre, Odets used his company to explore new territory within the theatrical industry. Odets crafted his plays to depict the unstable and unsettled lives of American citizens, bringing a fresh and new perspective to the stage. Within this paper, I will perform an in-depth analysis of the themes present within Odets’ Golden Boy, studying how it relates to the decade in which it was written, as well as how it can still impact audiences of today.