Daily Archives: 21 July 2011

A Case for Theater Broadcast Events

I’m hoping that we’re seeing the beginning of what could be a huge trend in the way large theater markets approach the availability of their work. Fathom Events has been broadcasting large concert and opera events to select movie screens for a good while already. You can usually see things like Metropolitan Opera performances or special one-off tribute concerts. This year, however, has seen the addition of theatrical events like plays and musicals.

Back in April, Memphis–the 2010 Tony Award winner for Best Musical–broadcast the entire show in select movie theaters. This was a huge deal for many reasons. One, most recordings of Broadway shows are never released to the general public. They go into the vaults in the New York Public Library and are available for viewing by special request. Two, the few that are released don’t see the light of day until after the show is closed. There is a fear that immediate access to a show while it is running will stop people in the greater NYC area from buying the ticket to see live theater.

I believe this fear is unfounded and outdated. People haven’t stopped watching live TV broadcasts because of DVRs and the Internet. People haven’t stopped going to live concerts because of iPods and DVDs. People haven’t stopped going to live sports events because they’re broadcast on TV. So why would allowing more people to see an edited, mixed, and packaged version of a live theatrical event be the exception to this rule?

Guess what happened to Memphis because of the movie theater screenings? Nothing bad.

TV Theater Promo Performances: Why So Hard?

Yesterday, I talked about how hard it is to get a decent live music performance on TV. Today, we’re going further down the rabbit hole. Why is it so hard to get a big Broadway musical to do a decent TV performance?

It’s rare that a modern musical does not have at least one show-stopping number. The Book of Mormon has–well–most of their numbers, but “Hello,” “I Believe,” and “Turn It Off” could at least be performed on TV without causing an international incident. Catch Me If You Can has “Live in Living Color” and “Don’t Break the Rules.” Even flops like Wonderland still have songs like “Off With Their Heads,” “Through the Looking Glass,” and “The Mad Hatter.” So why do so few shows get it right?

Priscilla: Queen of the Desert should be a slam-dunk hit on Broadway. It’s campy, it’s funny, it’s heartfelt, and it’s staged within an inch of its life with the latest in costume, lighting, set, and sound technology. You could chose almost any number in the show and create a great PR event. So why do we get disasters like the Tony Awards performance?

None of the show is actually like that.