Omnibus Ups the Ante
Tue, 24 Aug 1999, 10:57 pmGrant Malcolm4 posts in thread
Omnibus Ups the Ante
Tue, 24 Aug 1999, 10:57 pmA couple of months ago an online survey here on the ITA website showed that 88% of respondents would not pay more than $25 for a ticket to a community theatre production. Omnibus Productions appears to think otherwise.The survey was a response, in part, to some "community theatre" companies charging ticket prices up to $27.I was personally critical of Prompt Corner for charging so much for a production featuring an unpaid cast and, by several accounts, mediocre production values. I went on to suggest that whilst Prompt Corner claimed not-for-profit Incorporated status, i couldn't see how they weren't generating very considerable profits relative to any other community theatre company.Omnibus Productions have not been around as long as Prompt Corner in it's various incarnations. However, that hasn't prevented them acquiring a considerable following for their productions of popular musicals. Like Prompt Corner, Omnibus to the best of my knowledge uses exclusively unpaid cast. The company relies on a large entourage of unpaid volunteers performing many other roles within each production.Tickets for Omnibus' latest offering at the Regal are $34. Anyone care to calculate the potential profits? I'm curious whether Omnibus will be claiming incorporated status too.Cheers
Grant
Grant
Re: Omnibus - Ante's the up's
Wed, 25 Aug 1999, 11:33 amI don't know the set up of Omnibus, @$$$$$ cost - I was not prepared to buy their programme and find out, as I have only been to one of their shows 'Oliver' and that was a matinee ( just a poor pensioner - ready for the bag) .Having done a few musicals and with the restrictions placed upon the production by the rights agents, of having live musicians (possibly another oxy-moron)and their reluctance of synthesised music. It makes it extremely hard to find muso's to do it for the love of IT. This I have always regarded as a primary mounting costs in most production budgets, unless it can be got for free? (free LoveŠ.ah "Yes, I remember itŠŠwell!").Taking a quick t¹ink on what Grant said. I can¹t remember what the Regal Holds, but it must be about 1000 seats @ $27 averaging out with cons and matinee¹s ($27 - $15) on a ratio of about 1 full - 3cons
With, I assume, 80% patronage = $144 000.00 gross. They would have spent a good $110 000.00 on the production, rights & fees, venue, muso¹s, promotion and advertising ( taking a fair chunk of this with TV and Newspaper ads). Not forgetting the recovery of grants, support and underwriting that may have occurred. Possibly they would have retained about $70 000.00 as a net for 10 performances - But as I have no idea how long the season was, if it went on longer the initial mounting costs are reduced per performance, so long as the house percentage of BOS¹s was kept up they could be up to $250 000.00 for a 6 week season - this usually not the case as it tends to drop to about 60%/show.Which ever way you look at it, they must be pulling a good whack!On a 'same' $note.
There is a tendency, creeping in, for Performing Arts Centre¹s ( for want of a better description), to initiate their own productions, using amateur performers and volunteer crews (beyond their own staff levels) to generate funds and maximise their resources. Unfortunately, while it great for the Centre Management and boost their job security, in the eyes of the Board and/or City Councils. This does not do a lot for community theatre groups as a whole, the individuals gain a tremendous experience and undoubtedly enjoy doing it. But, they loose that important club identity. Inevitably, the dollar raises it¹s mug and they start to voice things like "what do we achieve as a whole body" - nothing much, sure the community rates and whatever may not be raised to support a Venue of this type. But, in my experience, all it does create are Empires for the Venue Management and helps their CV¹s to step into a better paid Job.This is totally cynical and I am sure not indicative of all Venue Management - all I can suggest is when you step up from the Little Theatre to the Local Big Theatre - count your fingers after you shake their hand!> They also like to hire expensive theatres which may explain their
> high ticket prices. They have also been trying to get longer seasons
> going, but paying for the theatre for longer periods gets quite expensive.
> Another reason?> I don't want to appear to be Defending Omnibus (even though I
> am) but there may be very good reasons (other than profit) for these
> high prices.one must think of the future?> Jeff "Tip-toe through the Tulips" WatkinsActor - singer - dancer? (with those famous legs)- now a 'uke' muso as well!
The CV's looking good Jeff - I hope when it all clicks for you, technicans will carry your case in to the Theatre for you!?!? I can realy see that know ........ sorry! it was my only the smoke and steam from my caffeine 'n nicotine machines that created this illusion!Joe>
With, I assume, 80% patronage = $144 000.00 gross. They would have spent a good $110 000.00 on the production, rights & fees, venue, muso¹s, promotion and advertising ( taking a fair chunk of this with TV and Newspaper ads). Not forgetting the recovery of grants, support and underwriting that may have occurred. Possibly they would have retained about $70 000.00 as a net for 10 performances - But as I have no idea how long the season was, if it went on longer the initial mounting costs are reduced per performance, so long as the house percentage of BOS¹s was kept up they could be up to $250 000.00 for a 6 week season - this usually not the case as it tends to drop to about 60%/show.Which ever way you look at it, they must be pulling a good whack!On a 'same' $note.
There is a tendency, creeping in, for Performing Arts Centre¹s ( for want of a better description), to initiate their own productions, using amateur performers and volunteer crews (beyond their own staff levels) to generate funds and maximise their resources. Unfortunately, while it great for the Centre Management and boost their job security, in the eyes of the Board and/or City Councils. This does not do a lot for community theatre groups as a whole, the individuals gain a tremendous experience and undoubtedly enjoy doing it. But, they loose that important club identity. Inevitably, the dollar raises it¹s mug and they start to voice things like "what do we achieve as a whole body" - nothing much, sure the community rates and whatever may not be raised to support a Venue of this type. But, in my experience, all it does create are Empires for the Venue Management and helps their CV¹s to step into a better paid Job.This is totally cynical and I am sure not indicative of all Venue Management - all I can suggest is when you step up from the Little Theatre to the Local Big Theatre - count your fingers after you shake their hand!> They also like to hire expensive theatres which may explain their
> high ticket prices. They have also been trying to get longer seasons
> going, but paying for the theatre for longer periods gets quite expensive.
> Another reason?> I don't want to appear to be Defending Omnibus (even though I
> am) but there may be very good reasons (other than profit) for these
> high prices.one must think of the future?> Jeff "Tip-toe through the Tulips" WatkinsActor - singer - dancer? (with those famous legs)- now a 'uke' muso as well!
The CV's looking good Jeff - I hope when it all clicks for you, technicans will carry your case in to the Theatre for you!?!? I can realy see that know ........ sorry! it was my only the smoke and steam from my caffeine 'n nicotine machines that created this illusion!Joe>