Broadway Banter - Spring '10
May 13th, 2010, 09:32 AM
#164
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A discussion on "Premium Seating" tickets on Broadway in NY Times Arts Blog: http://artsbeat.blogs.nytimes.com/20...ts-at-a-price/
May 13th, 2010, 12:38 PM
#165
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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).
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).
May 13th, 2010, 01:49 PM
#166
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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!)
May 14th, 2010, 03:32 AM
#167
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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).
& 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).
May 14th, 2010, 06:07 AM
#168
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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.
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.
May 14th, 2010, 01:28 PM
#169
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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 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?
May 14th, 2010, 01:40 PM
#170
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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.
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.
May 14th, 2010, 03:08 PM
#171
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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!
May 15th, 2010, 07:24 AM
#172
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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 paying full price. No more. All the good seats are blocked out no matter how far in advance we plan.
It has 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 longer 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.
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 paying full price. No more. All the good seats are blocked out no matter how far in advance we plan.
It has 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 longer 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.
May 15th, 2010, 10:38 AM
#173
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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.
May 15th, 2010, 11:31 AM
#174
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"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.
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.
May 15th, 2010, 12:14 PM
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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.
May 15th, 2010, 12:32 PM
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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.
There will always be people who are willing--and can afford--to spend the big bucks.
May 26th, 2010, 11:35 AM
#179
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One more comment about Premium seats: it doesn't look like they're going away anytime soon.
Fewer People but More Money for Broadway in the NY Times Arts Beat Blog
http://artsbeat.blogs.nytimes.com/20...-for-broadway/
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.
Fewer People but More Money for Broadway in the NY Times Arts Beat Blog
http://artsbeat.blogs.nytimes.com/20...-for-broadway/
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.
May 26th, 2010, 12:58 PM
#180
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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.
“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.”
http://www.nytimes.com/2010/05/23/ar...%20seat&st=cse
“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.”
http://www.nytimes.com/2010/05/23/ar...%20seat&st=cse
