Current Issue
This Month's Print Issue

Follow Fast Company

We’ll come to you.

1 minute read

Fast Talk: The Business of Broadway

  • <p>
"I don't want to say, ‘I told you so,’ but the show came in under budget at $2.1 million, and tickets are selling out. Our audiences are 60% black and 40% white. Seeing all these people in the audience who are new to Broadway makes all those years I’ve been working on this worth it.”
</p>
  • <p>
“Of course, profits in theater, even with a fund, aren't guaranteed. But investors get access to all the fun perks of the theater world, which you won’t get investing in an oil company.”
</p>
  • <p>
“I used to find it difficult to always be the youngest producer in the room, but then I realized that Broadway needs my perspective. There has to be someone who doesn’t turn up her nose if Clay Aiken does Spamalot.”
</p>
  • <p>
 “Our shows typically don’t have A-list actors and built-in name recognition. So we have to be more creative in developing a groundswell  of support for a show. With Spring Awakening, we created an Internet campaign that let fans create music videos online and share them virally via MySpace…We recouped our costs in less than a year.”
</p>
  • 01 /04

    "I don't want to say, ‘I told you so,’ but the show came in under budget at $2.1 million, and tickets are selling out. Our audiences are 60% black and 40% white. Seeing all these people in the audience who are new to Broadway makes all those years I’ve been working on this worth it.”

  • 02 /04

    “Of course, profits in theater, even with a fund, aren't guaranteed. But investors get access to all the fun perks of the theater world, which you won’t get investing in an oil company.”

  • 03 /04

    “I used to find it difficult to always be the youngest producer in the room, but then I realized that Broadway needs my perspective. There has to be someone who doesn’t turn up her nose if Clay Aiken does Spamalot.”

  • 04 /04

    “Our shows typically don’t have A-list actors and built-in name recognition. So we have to be more creative in developing a groundswell of support for a show. With Spring Awakening, we created an Internet campaign that let fans create music videos online and share them virally via MySpace…We recouped our costs in less than a year.”

"I don't want to say, ‘I told you so,’ but the show came in under budget at $2.1 million, and tickets are selling out. Our audiences are 60% black and 40% white. Seeing all these people in the audience who are new to Broadway makes all those years I’ve been working on this worth it."