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80 Cards in this Set
- Front
- Back
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Producer as "shopper" |
Adopt someone else's successful theatre baby and run away to make dollas - more likely to be a revival or remount (Michael David) |
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Producer as "investor" |
Invest in someone elses successful theatre baby and help support it (Michael David) |
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Producer as "originator" |
Birth a theatre baby - most risky (Michael David) |
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Some random Economic Properties of Creative Activites |
1. Sunk Cost - $ you cannot recover, ie. set, props, costumes 2. Salvage Cost - $ you may be able to salvage 3. Organizational Form - Limited Partnership
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Propriatership |
-No separation between you and business -If business goes down, you go with it -Unlimited liability |
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Partnership |
-Same as above, but multiple people -Unlimited shared liability
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Corporation |
-Separate legal entity from owners -owned by shareholders -limited liability (only lose investment) -PROFIT OR DIE - Board of directors responsible for profit |
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General VS Limited Partnership |
General - Producers of Project, Unlimited Liability Limited - Investors, Limited Liability, not allowed to participate in management
Profit split 50/50 |
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Limited Liability Company |
Type of corporation, taxed separated from people |
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Economic Properties of Creative Activites |
1. Demand is Uncertain - NOBODY KNOWS
2. Creative workers care about product - care more about art than $ :(
3. Diverse skills required!
4. Differentiated Products - Each product unique, success based upon subjective taste (Horizontal and Vertical differentiation, can't be compared)
5. Vertically differentiated skills - Different qualities of skills, i.e. A list/ B list
6. Time is of the essence! $ worth less over time. Also, OPENING DATE MUST BE MET!
7. Durable products and Durable rent. Theatre is NOT durable OR affordable! Live performance not durable, but copyrights are for a time. |
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Informal VS Formal Contracts |
Informal - Verbal, generally accepted in industry. Formal - Written legal contract, including situations, possibilities and dates. Generally infeasable for governing creative workers. Governance is usually done through muscle and pecking order |
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Subsidiary VS Ancilliary Rights |
Subsidiary - Remounts, Adaptations down the road Ancilliary - Merch |
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Theory of Contracts |
What governs the conduct of any economic transaction - What you need to do to get yo $$$
Exchange of Consideration - Both parties must have consideration for it to be legally binding, both must get somethin!
Incentive - The more you add the more you get!
Reputation - Don't be a diva.
A-Symmetrical knowledge - One party has more info than other, remedied by involving a third party |
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Where/when was the first commercial theatre built in the USA. |
Williamsburg, Virginia in 1716. Run by Charles and Mary Stagg. |
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The first American Theatre Company (Louis and William Hallam) |
1752, 3rd of September. Louis and William Hallam brother's had a theatre in England that got shut down. Louis and his wife plus kids came to Virginia (Wealthy peeps lived there) to start a theatre company.
They performed for 6 months, then went on tour to all the sea ports for approx 6 months each before moving on. Then they went to Jamaica mon.
Louis dies, wifey remarries Douglas and they found a new company and return to the colonies in 1758. |
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Theatre during Revolution |
Theatre was BANNED in the states
David Douglas went back to Jamaica (me crazehh), returning in 1781
"Garrison Theatre" - Amateur theatre, soldiers in tents dicking around |
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Stock Companies |
1830s and 40s Century, population gets large, so they can have resident stock companies! Super duper. |
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G.F. Cooke |
After civil war, Top leading actor in London, whom the manager of Park Theatre NY brought over. They split the $$$ 50/50, then lots of peeps came over from London and expected the same |
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Actors in 1790s |
Actors became unhappy with their shares, so they began receiving weekly pay. Since they no longer had shares, actors no longer had control. They became employees! Over the next 100 years, we continue to see the separation of actors from the companies. |
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Steamboats! |
-1830s,40s -Kicks touring on the frontier into high gear! -Start of Showboats |
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Edwin Forrest |
American born muscular actor, 1806-1872 Started on the frontier. Started a playwriting contest, resulting in more American plays being written! |
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Riot in Astor Place |
BRITISH VS AMERICAN, FAN THROWDOWN. FORREST VS. MACREEDY. WHO WILL SURVIVE. |
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American Stock Characters |
Native American - played sympathetically, noble savage until civil war, then became bloodthirsty savage
Yankee - Reflection of american qualities, country aristocrat. Points out city problems.
African Americans - Former slaves, always hungry, this is offensive. Mostly played servants and drunks. |
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Minstrels |
Minstrel shows emulated shows that used to happen on plantations. BLACKFACE OMG. |
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Tom D. Rice ( Jim Crow) |
"Jim Crow" - Started the minstrel idea, did song and dance and people were like I wanna do that screw you. |
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Minstrel Companies |
2 Acts - First act, song and dance. Second act, series of one acts.
tambourine and percussion on sides and the musicians in middle, and master of ceremonies chilled at the back.
big companies! over 100 people. Black companies after civil war.
Branched off to Uncle Tom's Cabin Plays, about the badness of slavery.
Died out around 1890s. |
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Combination Companies |
-Post civil war -Traveling company, concentrated in NY -Carried all their stuff with them.
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Start of theatre circuit in New York |
New York has become theatre factory, first time we see producers!
Owners suffer a great deal of financial loss due to disorganization. This forced them to create theatre circuits. |
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3 Partnerships in 1896 |
1. Klaw and Erlanger - they control the south
2. Frohman and Heyman - they control the west
3. Nixon and Zimmerman - they control the north and the mid
They rule all the bookings, theatres and productions, and together create the syndicate. |
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The Syndicate |
More efficient, but the actors and theatre owners sacrificed control. Controlled everything for about 10 years until the Shubert Brothers. |
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The Shubert Brothers |
Sam, Lee, and JJ. 1895 they move to NY and begin acquiring theatres. They use outside investors.
Sam died, and Lee and JJ decide to TAKE OVER THE SYNDICATE. They have a open door policy. They established what is now the current Broadway area.
They would buy AND build theatres, where the syndicate would just buy.
They begin using corporations to maintain control FOREVER. |
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General Industry Decline in the 1920s |
"The road" dies, it was too expensie |
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IATSE |
International Alliance of Theatrical Stage Employees!
Strikes in 1910/1911 which forced producers to actually recognize them.
Consists of moving picture technicians, artists and allied crafts of the United States, it's territories, and Canada. Run through locals, the theatrical protective union. Consists of ALL technicians minus wardrobe. |
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AFM |
American Federation of Musicians |
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Actor's Equity |
Founded 1913, Effective in 1919 after the Actor's strike!
Main point was to produce contracts
1924, Closed shop! Only EQUITY actor's hired, if not you gotta pay $$.
1933, Minimum wage set |
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Broadway League |
League of American Theatres and Producers, eventually changed to Broadway league.
Trade association for Broadway - Producers, owners and presenters. All about advocacy and education. |
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Dramatists Guild |
1912 - For authors - Composers, Writers and Playwrights. Came up a model contract and helped set royalty standards. |
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ASCAP (haha ass-cap) |
American Society of Composers, Authors and Publishers.
Public performance rights and royalties. |
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ATPAM |
Association of Theatrical Press Agents, and Managers.
A part of IATSE. Attached to a specific production, and in charge of public relations. |
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SDC |
Society of Directors and Choreographers.
A union, helps with subsidiary rights! |
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TWAU |
Theatrical Wardrobe Attendance Union |
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Cost Disease |
Normally, all industries can do more at lower cost due to technology but not theatre. Our costs ALWAYS increase. Lame. |
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Stanislavski's tour to U.S. |
Brought the "method" to New York. |
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3 large theatre owners on Broadway |
1. Shuberts
2. Jujamcyn
3. Nederlanders |
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The Golden Age of the Broadway Theatre |
1943-1966 When Producers would invest in moneymakers as well as artistically important projects. Book musicals also started becoming popular.
1960s - Off broadway and Off-off broadway. More experimental |
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Rock Musicals |
1960s, change from book musicals to rock musicals with Hair! Popular music dominates charts. Rock doesn't work as well for book musicals cause its like... episodic and repetitive. 1980s, start to master the Rock Musical. |
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Broadway in the 70s |
Times Square is seedy and dangerous, sex shops, prostitutes. Runaway inflation!
SO... they built up tourism. I heart NY. City begins investing in infrastructure, and funding from the theatres cleans up times square.
By the 80s, 60-70% of the demographic are tourists! (they wanna see spectacle, stars, musicals with a reputation) |
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Inflation costs |
60s - 500,000 to produce a musical 70s - 1 million end of 70s - 5 to 6 million 80s - 10 million 90s - 15 million
Production costs skyrocketed, ticket prices rose slower. |
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Theatre Development Fund |
They will sell the ticket at half price on day of performance.
Cross between commercial and non-for-profit
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Non-for-Profit in USA |
WW2, American soldiers see state-funded arts in Europe. They see UK Arts Council and they think HEY THAT'S A GREAT IDEA.
We see the beginning of arms-length funding (no control over, funding based on reputation)
More experimental, home of American playwright
Founders for NFP, mostly women from Texas. Wtf.
Producers start nurturing playwrights from NFP for broadway |
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Margo Jones |
Developed Theatre 47 in Houston, Texas.
First NFP Professional Resident Repertory Theatre.
First to encourage subscriptions.
Innovative staging. (theatre in the round rather than arena and alley) |
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Tyrone Guthrey |
Founding artistic director of the Stratford Theatre.
Was using stars, and thrust theatre. |
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Lincoln and Mackenzie Centre |
NFP began using institutions as theatres as the part of the civic redevelopment project.
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The Invisible Hand |
Nobody is control of the negotiation between supply and demand.
If it's good, people will buy it. The era of the general store!
Merchant must be knowledgeable about the market and work within it. ---> Theatre = Stock company
This changes with the introduction of stars. |
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The Visible Hand |
1840 -1980
Bigger businesses, expensive and fixed in overhead.
Production was cheapest at highest productivity. Cost to produce doesn't change, so might as well make as much as ya can!
No longer a relationship between seller and marketplace. Brand names that consumers trust, instead of people.
Theatre equivalant = Combination Companies (specialized in 1 play, coming from large zones. Middle man = producer/manager) Assurance of quality is direct from NY!
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The Vanishing Hand |
1980 - Onwards
Everything becomes localized, the market remained large but the management remained local!
Theatre Equivilant = Everything became centralized in NYC and industry separates owners from producers. People no longer go to theatre, they go to a specific show. |
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Key Differences BTW Theatre and Other Entertainment Businesses |
1. Level of Author Control - Theatre authors have full control, where film authors have limited sometimes no control.
2. Rights - Movies have rights forever while theatre have rights for a limited amount of time.
3. Cost of Capitalization - Lower for theatre
4. Upfront payments for rights are lower in theatre
5. Financial terms and royalties are different |
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Overview of the Producer (4 steps) |
1. Years before - find property and acquire rights
2. 1 year before - start creating the artistic package (how you're gonna sell it, stars, director, designers)
3. 6 months before - start worrying about financing, budget is set and you're looking for investors
4. 5 months before - in production |
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Different types of Producers |
1. Co-Producer - producers at equal level
2. Associate Producer - chipped in some $, but not same authority
3. Executive Producer - all control, has final say on every decision
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Duties of General Manager |
Responsible for budget, liaison between producers and production departments |
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Types of Tours |
1. 1st National Tour - 6 week tour, only largest cities
2. 2nd National Tour - 2 week
3. Bus n' Truck Tour - Less than a week, or split weeks |
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Sit Down Company |
Open-ended run in places like NY, Chicago, LA, Toronto. Not original production. |
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18 Steps to Mounting a Broadway Show |
1. Find Property 2. Get the property 3. Reading or Workshop 4. Hire GM 5. Hire Press Agent/Ad Firm 6. Budget 7. Create Offering, or PPM, get $$ 8. For partnership 9. Stars/creative team 10. Engage Cast 11. Theatre Booking 12. Design Quotes 13. Source/Build Designs 14. Hire Crews 15. Rehearsals 16. Out Of Town 17. Previews 18. Open
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20 Hour Reading |
You can have a partial cast, on script, partial costume and set, table read. Actors get no rights. |
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Equity Workshop |
Between 6-8 weeks, complete cast. Little scenery, few musicians, no charge for audience. Actors have subsidiary rights. (if not in later production, they must be bought out) |
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Commercial/NFP Arrangements |
Once you have your Broadway company, you can make an arrangement with a NFP theatre to host you.
Cheaper than out of town trial!
Theatre gets royalties, net profit participation, billing of broadway production (and prestige!)
NFP gets total control of show, must negotiate creative team.
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Enhancement |
(cost - NFP orignal budget) + (cost of run - box office) = Enhancement
Broadway company will provide more $ to theatre to enhance their budget |
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Mass-Marketing |
Appealing to a broad market with one marketing strategy |
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Target Marketing |
Marketing efforts are aimed towards a specific demographic |
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Relationship Marketing |
Emphasizes customer response and satisfaction, i.e. Subscriptions. |
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Advertising |
Paying an ad firm, buying attention in a precise and targeted way.
Complete control over info, can be as aggressive as you want. |
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Promotion |
Using assets of the show to barter for additional exposure and awareness.
More passive, not as much control.
i.e. Giveaways, contests blah |
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Publicity |
Campaign involving exposure for a project. Aimed at press coverage.
3 VIEWS lol
Reviews Previews Interviews
High risk, no control over info.
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Word of Mouth |
Marketing cannot save bad word of mouth!!!!! |
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Tryouts/Previews |
Tryouts - develop work without critics!
Previews - allows you to make adjustments before opening (not a complete work, so critics will be nicer) |
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Critical Path |
The task that will take the longest time. If something on this path is held up, the whole production will be delayed. |
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Jim Edwards - What does the ticket buyer want to know? |
1. What is the show about? 2. Who's in it? 3. How much are tix playa? 4. WHERE THE HELL AM I SUPPOSED TO SIT?! |
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Barbara Eliran - Theatre Advertising |
4 categories of theatrical advertising omg I'm so bored
1. Print
2. Broadcast
3. Outdoor
4. Direct Response |
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Touring Presenter/Producer |
Presenter - Sells the show to local audience, provide theatre, provide administrative staff, hire stage hands
Producer - Responsible for cast, show, design and marketing
Relationship is ruled by risk/reward |
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3 types of agreements or deals between producer/presenter |
Ruled by risk/reward
1. Guarantee - Presenter puts up $ for performance week. Risk is with presenter.
2. 4 Wall Deal - Only done when show is gone be good. Risk is on producer side. Producer puts up $.
3. Co-Production. Moderate risk for both. Presenter invested at beginning, so they split profit. |
