These Sets Ain’t Gonna Build Themselves

by:

Joe Patti

There was a big story in American Theater this week that discussed the challenges theaters were having finding tech staff and designers, and to a lesser extent, sourcing the raw materials they need to construct sets.

Put simply, it has become extremely difficult for theatres to find enough competent craftspeople, even to recruit untrained laborers who can hammer sets, paint flats, or sew costumes for professional regional theatres—least of all folks experienced in the sub-specialty of theatre work. Similarly, it has become much harder to find designers who are not overloaded.

I saw a lot of responses to the article on social media. Among them were statements that this should be expected given little some of the jobs were paying. Some designers suggested that theaters may only be calling the same small pool instead of seeking to expand beyond their existing contact list because no one had called them. Others discussed how over designed and over built some theater sets have been in an attempt to wow people with spectacle.

In addition to a number of quotes from those interviewed for the article about shifting to more abstract, less realistic sets that are both easier and cheaper to build was the suggesting that theater may turn to AI to design sets in the future.

As some anecdotal support for some of these social media observations, my staff and I have been interviewing more people to join our production assistant pool because those already in the pool are becoming increasingly busy. A number of those we have spoken with have been highly skilled and experienced and we have been surprised that they were applying for a gig type position. However, some statements made during interviews pointed to burnout and overwork situations.

The other issue mentioned in the American Theater article was that while many theaters sought to keep their technical staffs engaged in other ways during Covid in an attempt to support and retain them, other places laid off their entire staff. In the intervening period, people found their skills were applicable in other situations where they might even be paid better.

Indeed, those skills were highly marketable in a dozen areas: television, theme parks, corporate events, events, cruise ships, Vegas shows, even multi-million-dollar weddings. Carpenters just could build cabinets. For the most skilled, companies serving those other customers snatched up the artisans with higher pay and benefits.

“People who are either welders or carpenters, they’re working in shops now, making 30, 50, whatever, dollars an hour working and building stuff,” Dellaventura said.

As always, I am only brushing over a portion of the issues discussed in the article which discusses the issues, weighs options, and suggests what might be necessary going forward. It seems clear that there will likely be a lot of shake up over the next few years.

Water, Water Everywhere, But Not A Drop To Drink

by:

Joe Patti

A public radio station’s report on the Oregon Shakespeare Festival’s (OSF) finances is a good illustration of how restricted endowments can imperil the health of a non-profit organization. OSF recently had to make an appeal for $2.5 million in order to keep their doors open. This despite the fact the organization has $96 million in assets.  About $32 million of that is in property and equipment which are generally illiquid assets. Of course it would be difficult to mount of festival if they sold off all the property and equipment.

The crux of the problem for OSF is that only 15% of the approximately $39 million endowment fund is unrestricted which is roughly $5.8 million.   The remainder of the assets totaled around $25 million in cash and equivalents, but their annual expenses are around $18 million. Their business model has been to make about 70-80% of revenue from ticket sales according to the article. That worked well enough until Covid hit and audiences were subsequently became less willing to attend as restrictions eased.

While being able to access more of their endowment wouldn’t completely eliminate their woes,  the combination of lower ticket revenue and an inability to access more than $5.8 million from their endowment for unrestricted use have been contributing factors

 

The Bar That Hosts Open Mic Operaoke Nights

by:

Joe Patti

Fun article I think I found on Artsjournal.com.  There is a bar in Portland, OR called Mendelssohn’s, run by a descendant of composer Felix Mendelssohn who has some opera and classical music cred having been executive director of both types of organizations.  The owner has positioned the bar as a place to demystify opera and classical music by programming a wide variety of musicians and hosting Operaoke nights.

Every other Tuesday night, musicians are given the opportunity to step into the dimly-lit bar and take over the stage, enchanting the audience with their best arias and ballads.
[…]
“We spend so much time preparing and working on this craft,” Lipton said. “You don’t often get the opportunity to play or sing or do these pieces that are lesser known. So this is kind of an avenue to do that.”

In addition to being able to perform lesser known pieces, the a Operaoke host/performer, Alex Trull noted another part of the appeal was being able to perform in a low stakes environment in contrast to the audition/training/performance context that comprises so much of the classical or operatic artist’s relationship with the music.

Fix The Tix Coalition Makes Bold Demands To End Exploitative Ticketing Practices

by:

Joe Patti

A little over a month ago, I wrote about the newly formed Fix the Tix coalition which is urging the US Congress to pass legislation to protect ticket buyers from exploitative ticket pricing/manipulation, ticketing scams, and use of bots to purchase high demand tickets.

Last week they released the details of what they are pushing Congress to enact. It is pretty much everything ticket buyers and venue operators have been praying for.

In addition to restrictions on just plain gouging, the plan calls for the end of speculative ticket selling by requiring sellers to legally have physical or virtual ownership of tickets.

● require that resellers and ticket resale platforms legally obtain each ticket and have each ticket in possession, virtually or physically, prior to placing it on sale.
● require that the ticket resale platform has written proof that a reseller possesses a ticket to sell.

Similarly, they ask that attempts to make a ticketing site masquerade as official outlet of a venue be made illegal.

● make illegal the use of deceptive URLs, search engine optimization, or advertising that improves the visibility of secondary sites over primary sales platforms and makes fans believe they are buying tickets from the venue or artist.
● require secondary ticketing resellers and platforms to clearly and conspicuously disclose:
○ a notice that it is not the primary ticket issuer and venue;
○ that a ticket may still be available from the primary ticket seller and link back to the primary ticket seller;
○ the original face value and fees of each ticket; and
○ a certification that the event ticket offered for sale is in the possession of the reseller or secondary ticketing platform.

Note, I haven’t listed everything they are asking to occur in each of these situations. Check out the full document for more info.

As you might imagine, they are also insisting on full transparency for fees up front during the purchasing experience.

In terms of privacy and safety, they are asking the secondary market sellers be required to provide venues with the contact info of ticket purchasers so they can be reached in case of emergency or rescheduling. But they also insist that secondary market buyer information be protected and not used for sales and marketing without purchaser permission.

As mentioned, Fix the Tix also want to prevent tickets from being snatched up by bots and to ensure secondary ticket sales are made at or near face value on a one on one basis rather than by corporations to individuals:

● ensure that artists, working with venues, determine how to get tickets into the hands of actual fans.
● prohibit companies that operate both primary and secondary ticketing platforms from forcing tickets sold for more than face value to only be resold on their platforms.
● encourage ticketing platforms to operate exclusive, no-fee, fan-to-fan exchanges of tickets as long as they are not exchanged on those exclusive platforms for more than the face value (or the original total cost) of the ticket.
● prohibit companies that are primary sellers and secondary resellers from offering secondary resales on the same web page or display where the primary seller also offers tickets for primary sale.