Official - Avenue Q lost money in Australia.
Thu, 9 Sept 2010, 10:33 amJack.Reid25 posts in thread
Official - Avenue Q lost money in Australia.
Thu, 9 Sept 2010, 10:33 amA while back, there was quite a debate on this site regarding Avenue Q - would the musical work commercially down under.
The results are in.
According to the show's local producer, it didn't.
Full article below.
It was on page 4 for people with a hard copy of The Australian.
http://www.theaustralian.com.au/news/nation/behind-this-american-puppet-is-michael-butel/story-e6frg6nf-1225914508191
Behind this American puppet . . . is Michael Butel
* Michaela Boland * From: The Australian * September 06, 2010 12:00AM
FOR the past year, Mitchell Butel has toured the nation as the lead puppet in the quirky US musical Avenue Q His performance earned the musical, produced by Adelaide company Arts Asia Pacific, one of eight nominations for the national performing arts industry's Helpmann Awards, which will be announced at the Sydney Opera House tonight. But for all the accolades and strong word-of-mouth, the show with a Sesame Street bent found itself competing for audiences with a slew of musicals when the musical theatre industry re-energised in the latter half of last year.
The surge of activity not only in musicals but also in the concert industry and other performing arts resulted in a total $1.1 billion at the box office last year. Across 10 distinct live performance sectors, 15.2 million tickets were sold to December, according to new figures released by industry body Live Performance Australia. Overall, ticket sales were down 4 per cent on the previous year but LPA president Andrew Kay said last year was better than expected.
"The reason live entertainment doesn't necessarily suffer is because we can respond to the economy by changing the product," he said. Australia's showbiz industry peaked with the broader economy in 2007 when 20.1 million tickets generated $1.2bn at the box office. Ticket sales then fell by 25 per cent in 2008. Mr Kay said the growth in ticket prices reveals the strength of the live entertainment economy.
Avenue Q producer Torben Brookman said a breakdown of the figures would reveal a much-stronger second half compared with early last year when some shows were cancelled and others sold weakly because of the grim broader economy. High School Musical, for example, was cancelled early last year, which led to empty theatres in some cities.
"Before the really big shows like Wicked and Jersey Boys kicked in, there was a lull," Mr Brookman said. Avenue Q opened last year, and audiences brave enough to buy a ticket to a musical by puppets loved it. It toured for more than a year before it closed in June, yet it failed to return a profit, a fact hidden by LPA's figures.
"The most dramatic impact was sponsorship dollars dried up so it was harder to offset additional marketing costs, which all flows on to lower gross sales," Mr Brookman said.
Hi crgwllms.Actually, it
Tue, 14 Sept 2010, 12:42 pmWalter Plinge
Hi crgwllms.
Actually, it was Naomi Guss who initially - when this debate started, defined "success" in terms of commerce. Scroll up for the quote, and link to full thread.
Your comment re. producers earning money on bankable shows, and using the funds on riskier products is an interesting idea, but isn't how commercial musical theatre is produced today.
Was in David Merrick's day, but not in 2010.
These days, producers issue a prospectus to potential investors. Several pass my desk each year. Not a one tries to obtain funds by highlighting how risky the show is. Quite the opposite.
You see, it isn't the producer's money that's at risk, it's the investors - usually there are plenty. I know of two who got their fingers burnt with Spamalot - produced in Melbourne by the experienced Louise Withers - even talented theatre makers shepherd financial bombs.
It's not a case of the production making back 70% of it's capitilization, and paying the investors back 70% of what they put in. The way each prospectus is structured, unless the production makes back it's capitilazation, the investors get nothing.
Nothing.
Once investors (known in the trade as "angels" - so called as it's likely the only time they'll benifit is in the afterlife!) loose big on a show, it makes it that much harder to attract funding for the next - whether that's the next show from that producer, or another.
As for doubts regarding Naomi's propencity to moderate posts that point out her failings, people might find the following exchange insightful.
Previously, NA was accussed of being Theatre Australia's chief censor. Naomi objected to this description, and demaded proof.
It was provided.
She'd written that any post made by a certain writer, or anyone Naomi thought could be that person, ran the risk of having all his/her posts moderated.
All.
Not because of content (which would be fair enough, in the instance of abuse, for example). This proclamation was made before said posts had been written!
8-)
The post poiting this out was then itself moderated down!
People can read the full thread here -
http://www.theatre.asn.au/theatre_reviews/avenue_q_australian_premiere
just look for the minimised posts!
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