Rhea - did you see it?

Sorry Rhea - didn't read carefully.

Barbara Cook and Vanessa Williams singing on the View today!
(right now in my market)

A discussion on "Premium Seating" tickets on Broadway in NY Times Arts Blog: http://artsbeat.blogs.nytimes.com/20...ts-at-a-price/

This is an interesting post, and I can also attest to its absolute certainty. Broadway producers are causing many of their own problems, so I have little sympathy for them.

My antidote is simple. As a New Yorker, I never ever pay full price. I'm a Roundabout subscriber, and I always get some kind of discount offer for every major show, even Fences and Promises Promises and A View from the Bridge (though the latter showed up regularly at TKTS).

I only buy tickets if I can get them for at least 30% off, so I simply never pay more than $100 to see a show. Period. If I can't get a discount, I don't see the show. And I rarely have problems getting decent seats (though rarely before row M, as the post on the NYTimes site says, and almost always on the side). That's a limitation I can live with, but I often get front mezzanine, which is better in many cases than orchestra.

I would never pay for premium seats, but I know that I'm lucky to live in NYC so I can jump on last-minute deals too. I often find myself at TKTS, especially now that they take credit cards. It's a real quandary for me. I love Broadway and go to the theater at least monthly. I'd go more often if it would easier to get reasonably priced tickets, but I do find myself skipping certain shows because the available seating is so bad (I skipped Promises Promises for that reason).

Excellent post, Doug. I'm with you all the way. it's got to be something very special for us to spend over $100 for a ticket. In fact, in the past couple years, the only show for which we spent in six figures was Billy Elliot. (PS: After seeing it, we thought it was money well spent!)

Amen, Doug & Howard. I, too, am a Roundabout subscriber
& also get e-mails from all the discount sites (Theatermania,
BroadwayBox etc).
Altho I don't have the advantage anymore of living in NYC,
I just print out the disc notice & take to box office.
Since I am in the city for business or other reasons, this is
hardly a hardship & unlike Howard, have never paid more than
$50 for a ticket (color me frugal).

I saw the Broadway production Soul Doctor that opened inNew Orleans and now is heading to New York.

You can see an interview here with the writer cast and crew as they closed at the the historic theatre Le Petit in the French Quarter of New Orleans.

It is a musical about the life of Rabbi Shlomo Carlebach.

Interesting link, yk. There is a difference between full price tickets and premium price tickets. I have never and will never buy premium seats. I have, on occasion, purchased full price tickets for a production that I was dying to see, would never have discounted seats, or has a limited run (Hamlet, for example). Sometimes those full price seats are in Row B center orch and sometimes on the side or toward the back of the orchestra. Most of the time, my tickets are deeply discounted. I could not go weekly, on average, any other way.

I saw 'The Creditors' (directed by Alan Rickman) last night at BAM (first time there since college). Excellent cast, but none of us really understood the ending. Anyone else see it?

I went back to that Premium Seating blog post earlier today to read the readers' comments.

Not surprisingly, many people refuse to pay more for those premium seats. Then there are people who cut down the # of trips they make to NYC because they can't afford Broadway shows anymore; and there are even NYC locals who stop going to Broadway shows. Some people even said they boycott any Mel Brooks musicals or movies because it was his The Producers who introduced "premium" pricing to Broadway.

I was so disappointed in Mel when he did that - I thought it was pure greed. He lives in the same building as a friend of mine and I kiddingly asked her to say something to him. She didn't! I personally don't know anyone who has ever purchased premium seats. Friends recently bought six full price seats to treat the whole family (adult children and spouses). With dinner before and dessert out afterward, the price for the entire evening was truly obscene!

The one time I really wanted premium seats (Hairspray with Harvey Firestein in the lead) we purchased tickets through Broadway Cares/Equity Fights AIDS. The tickets were house seats at twice full price (not premium) face value for 5th row center, but the upcharge was a donation to the AIDS foundation and not going into some producer's pocket.

A small group of friends and I make a couple of trips a year to NY for Broadway shows. We used to buy our tickets for every in advance just to get those great seats. We would plan and plan the minute a new show was announced and have wonderful orchestra seats or front row mezz <u>paying full price.</u> No more. All the good seats are blocked out no matter how far in advance we plan.

It <u>has</u> made a difference in how I book shows. Since I know I won't get the best seats without paying premium prices, then I figure there's not reason to even pay full price. On this trip we are only seeing shows with discount seats. As I looked for tickets on Telecharge (and,yes, I too hate Ticketmaster's idiotic way of only allowing you to see one location at a time), the full price seats and the discount seats were the same. Why pay full price - especially when we know that many of those premium seats will end up empty or going at a discount by the time we arrive? At Young Frankenstein, we simply moved across the aisle into an entirely empty center orchestra section from our deeply discounted side view seats. What a waste!

This practice may have been o.k. during the boom years, but with a country in recession and Broadway shows lucky to have any patrons, isn't it time that producers got their heads out of the sand? I supposed it averages out for them -- a few premium tickets + a lot of discount tickets = a pretty good box office. But wouldn't it be better to have more happy audience members spreading the word about a show? The show might have a <u>longer</u> run.

One last comment: I have an actress friend in NY. I remember her talking about the contract she had for one particular show. Her salary was a sliding scale based on how many full price tickets were sold for each performance. Discounted sales did not count. As I think about that, a show could save a lot of money in actor's pay if more seats go at discount prices. I'm sure different actors have different contracts, but this is an interesting way of looking at the motivation behind premium/full vs discount ticket pricing.

If people don't buy premium seats, perhaps eventually they will do away with that option. As I said, I have had great seats sometimes for regular full price as well as discounted price. I think it may just depend upon the production and the luck of the draw.

"As I think about that, a show could save a lot of money in actor's pay if more seats go at discount prices."

I think that's kind of unfair logic. Sure they would be paying out less if there are fewer full price seats sold, but then they'd be taking in a whole lot less money at the same time. So I'm not sure how we arrive at the idea that they are "saving" money. My guess (and it's just a guess) is that if a show sells all seats at full price and is selling out and at the same time they are paying full contract price to the actors, they'd be making a lot more money than if they are selling many reduced price seats and paying less to the actors.

Don't get me wrong though. Add me to those who much prefer to pay discounted prices. On my recent month in NYC I saw some 28 (?) shows and only paid full price for one -- A Little Night Music front row mezzanine. And after several failed attempts to get discounted seats for A View From the Bridge, I opted to skip it. Just not worth it to me.

Neo, I'm certainly not advocating this logic. I agree, the practice would be totally unfair. I'm just wondering about the mindset of those who make decisions. If a show holds out a lot of tickets for premium pricing, a percentage of the price somehow goes into the actors pay scale. Whatever they don't sell, but put out at discount or TIX booth pricing, they don't have to count toward the acting pay scale. So my question, do producers see that system in a better light than putting out tickets at full price - selling more - but having to count them in the pay scale? Just wondering out loud. One would really have to see the actual numbers to make a true comparison. I have to go plant flowers now, but later I may hypothosis on this math equation just for fun.

As much as we may resent Mel Brooks for originating the premium seat idea, it was a wise fiscal decision on his part during The Producers heyday (i.e,, the Nathan Lane/Matthew Broderick era). Following that line of thought, I see the premium seating idea alive and well as long as there are blockbuster hits like Wicked and the aforementioned The Producers.
There will always be people who are willing--and can afford--to spend the big bucks.

I thought that was you HowardR who gave me a raft of sh*t about not paying full price at Met! Har and Har.

I don't quite follow you, TDudette. What does paying full price at the Met have to do with premium seats?

One more comment about Premium seats: it doesn't look like they're going away anytime soon.

<b>Fewer People but More Money for Broadway</b> in the NY Times Arts Beat Blog
http://artsbeat.blogs.nytimes.com/20...-for-broadway/

<i>Broadway productions grossed a total of $1.02 billion during the 2009-10 season, which officially ended on Sunday, with premium-price tickets for star-driven shows like “A Steady Rain,” “Hamlet” and “A Little Night Music” increasing box office sales in spite of a 3 percent decline in attendance compared to the 2008-09 season

The 2009-10 season’s track record of financial gains in spite of audience losses can be explained in part by the financial success of some plays and musicals that sold a portion of their best seats at a premium, for $300 or more, while other shows struggled to attract audience members.</i>

Ben Sisario writes in the Sunday NYT an interesting article on the price of VIP tickets at rock concerts. One of the highest being Bon Jovi at $1875. He gives credit to The Producers on Broadway for paving the way for VIP seating. The following quote from the NYT article is a noteworthy look at why VIP seating might still be around in spite of a poor economy. Do you think this holds true in Broadway houses? At least at concerts, the fans get lots of swag. At Bon Jovi they get to keep their chairs. However, they do NOT get to meet Bon Jovi.

<i>“It’s probably the biggest negotiation in any tour deal,” said Randy Phillips, the chief executive of AEG Live, promoter of the Bon Jovi tour. On a hot act you can make as much money from 10 percent of the house as the other 90.” </i>

http://www.nytimes.com/2010/05/23/ar...%20seat&st=cse

The reason why premium seats will remain is a no-brainer: As long as there are wealthy people, there will be a market for these high-price tickets. Period. It's that simple.

Thanks for the link to the article, TC. There is no way I would pay that much for a concert, and I don't even pay more than $100 for a broadway musical. They can charge whatever they like, as long as this statement remains true, so I can benefit from the "cheaper" seats:

<i>Promoters say that premium ticketing offers them two particular benefits. One is that high prices up front can effectively subsidize cheaper seats elsewhere</i>

Then there are the people who pay something like $5000 each or more for Super Bowl tickets -- a game showing live on TV for free. It's all a matter of individual wealth and interest.

Need some help...we are visiting NYC at the end of June and would like to see 1 or 2 broadway shows. Our group consists of my husband and our 2 boys (9 and 12) and myself. My short list of shows include The Addams Family, Wicked, Billy Elliot and Mamma Mia (I love the music from this one). I have found discounted tickets for Billy Elliot and Mamma Mia only and realize I probably won't for the other 2. One of my ?s is about the seating in rear mezz for Wicked or the Addams Family -- how bad is it? And out of those 4 shows, does anyone have a favorite? Thanks.

Personally, I would see one show and go for better (closer) seats. Having two sons myself, I would guess that they would least like Mamma Mia and enjoy the Addams Family or Billy Elliot the most.

Just read that A Little Night Music will continue with Bernadette Peters and Elaine Stritch.

Just back from our annual Broadway trip. We saw five shows: <u>God of Carnage</u> (In its final week with a third run cast. We missed it last year in its glory. We should have missed it this year.) <u>Fela</u> (A beautiful piece on the life and music of Nigerian musician/activist Fela Kuti. Though brilliant, the music and dances were repetitious. We felt the show was too long. By the second act everything started to sound and look the same.) <u>Come Fly Away</u> (A Twyla Thorpe dance piece to the songs of Frank Sinatra - this was truly a dance piece and not a musical play. We thought it could have been more interesting with a bit of dialogue tossed in for contrast.) <u>La Cage..</u> (We weren't originally going to see this one as I've seen this show every time its been done on Broadway and thought the last production was just awful. However, friends raved about this West End transplanted production, so we grabbed a couple of discounted seats for the Wednesday matinee. Thank heavens we did. It was the best thing we saw. Douglas Hodges from the UK is just amazing. He's over the top and understated as the roll demands and is brilliant at both. Kelsey Grammar (Fraser) plays the more subdued partner and does it quite nicely. There were many touching as well as hilarious moments.) Our last show was <u>A Little Night Music</u> with Catherine Zeta Jones and Angela Lansbury. It was wonderful. We had amazing third row seats. CZJ is stunningly beautiful - no matter how near or far. Her subtle facial expressions are priceless and she's not a bad songstress. Angela Lansbury is......well, she's about 92 years old, but pretty darned good. We spent one day at The Met Museum to see the American Woman exhibition and the Picasso exhibition. Both are outstanding. The Picasso exhibition is made up of every piece the museum owns and there are hundreds. It was wonderful to see his very early work, when everything was grounded in realism. He was an amazing portrait artist. Producing pieces that look almost like photographs. I'd never seen Picasso like that before. The American Woman is a textile/clothing exhibition showing how styles changed as women gained independence -- less restrictive clothing for more active women. Many pieces are on loan from the Brooklyn Museum. It is a well crafted showing with stunning fashion and a cohesive story. We had some great meals -- especially loved Toloache on 50th in the Theater District. We saw the whole cast of Rock of Ages there one night and had a nice conversation with Neal Patrick Harris on another -- not to mention great margaritas and amazing fish tacos! Another wonderful trip.

http://toloachenyc.com/media/toloache.html

TC - What a great B'way week!! I agree that 'Come Fly Away' is more revue than play. I really enjoyed it, but it's not for everyone.

We saw 'La Cage' this weekend and thoroughly enjoyed it too, especially Douglas Hodges. If he doesn't win the Tony, I'll be very surprised. I thought we had tix for the 2nd row, but it turns out that row B is the 1st row. I was seated directly in front of several steps that were part of the 'cabaret' setting of the stage. I was hoping I wouldn't have interaction with the cast. Well, at one point, one of the terrific transvestites in the play descended the steps and put his/her skirt over dh's head. It happened so fast - it was hysterical. I wish I had a camera. We never laughed so hard!

Love Douglas Hodge and Rufus Sewell since they were in Middlemarch. Darn!! DD and her high school choir will be in NYC this week to see several musicals. Wish I had volunteered to go along!!

Hi CPG; I remember that particular bit of staging from La Cage. Very funny.

For visitors and locals alike, I want to also mention a wonderful evening we had walking the High Line. A good friend lives a couple of blocks from the entrance in the East Village/Meatpacking District. She took us on a spectacular night stroll after dinner. It is amazing. One of the most creative city parks I have visited <u>anywhere</U>. The Manhattan skyline views at night are spectacular! There was music in one section and in another some amatuer astronomers had set up there HUGE telescopes to view Saturn. They were sharing with all the passers-by and we got to see Saturn and her rings. The night time lighting is so beautiful on the plantings and flowers, but I wished we could have returned in daylight hours to enjoy the plantings in sunshine as well.

If you have not strolled the High Line, put it way up on your list.

http://www.thehighline.org/design/high-line-design

TC, glad you enjoyed our latest "must-see" attraction. The High Line is indeed something special, offering a new perception (for want of a better word!) of New York City.

We're not really "musical" people, but we ended up seeing "A Little Night Music" last week, and have to say we thoroughly enjoyed it.

~Liz

Liz - that's the thing about the arts. Even if someone is not into musicals, dramas, classical ballet or whatever, there are some performances that are so worthwhile and enjoyable. It's good to keep an open mind. I try to look at each piece individually because maybe I will like it even if the genre is not my thing generally. I enjoyed ALNM too - and I didn't expect to!

CPG- Yes, so true!

I was hoping that others who weren't sure if this was their cup of tea might give it a try.

~Liz

Liz - I was so pleasantly surprised by 'Side by Side by Sondheim' too.

CPG, I assume you mean the current "Sondheim on Sondheim." Unlike you, we were "pleasantly disappointed" by the show.

Yes, I think Side by Side by Sondheim is a great review with a good mix of famous, favorites, and not so well known, with just enough background material to make it move and flow and play well. While I haven't seen Sondheim on Sondheim, I think much of that great mix and flow is missing.

Howard - yes, I meant "Sondheim on Sondheim." My response to Liz had to do with liking something that you might not expect to. I didn't expect to like it because I'm not a huge Sondheim fan and because of many others' opinions. Perhaps expectation had a lot to do with it, but I definitely enjoyed it.

CPG, and we came from the opposite side: We're great fans of Sondheim and, thus, expected more!
Patrick, you're right on about Side by Side by Sondheim. That one we loved! The CD continues to be one of our favorites to play,

Has anyone seen Next To Normal? Heading to NYC next week and Playbill offers discount tix for this one.