Theatre From the Center Aisle

My Top Three Favorite Musicals: Stage To Screen

noreply@blogger.com (Jeff Linamen) — Tue, 06 Jan 2015 19:04:00 +0000

With the recent release of the film version of Into the Woods, I thought it might be fun to share my top three favorite film versions of musicals that originated on the stage.

A number of adapted musicals have enjoyed big box office success and some are quite good; both for their stand alone entertainment value and in their homage to their source material. My Fair Lady and Grease are two good examples.

For me, there are three that stand above the rest for a variety of reasons. In two of the three cases, I think the film adaptations are actually better than the original stage versions.

Dreamgirls (2006) Directed by Bill Condon and adapted from the Tony Award-winning original 1981 Broadway musical directed and choreographed by Michael Bennett. Dreamgirls was nominated for 8 Academy Awards, winning two Oscars: Sound Mixing and Best Supporting Actress for Jennifer Hudson.

Dreamgirls (2006)

Suggested by the rise of The Supremes, Dreamgirls is an exuberant tribute to the sights and sounds of the 50's & 60's.

I find the film version superior to the stage production because of the visual, on location advantages and smoother scene/time transitions. The screenplay (by Condon) stays true to the original.

Chicago (2002) Directed by Rob Marshall (Into the Woods). Screenplay by Bill Condon (Dreamgirls).

Chicago (2002)

Based on the 1975 Bob Fosse, Kander & Ebb musical, whose stripped-down 1996 revival, far exceeded the success of the original. Still running on Broadway after 18 years.

I'm not a fan of the stage version. I find it drab and dull. On screen though, Chicago is an exciting, vibrant song and dance masterpiece. By far, the best example of a film adaptation being much better than the original.

West Side Story (1961) Based on the classic 1957 stage musical, the film is a true representation of the original stage material and by far, my favorite movie musical of all time.
West Side Story is a contemporary re-telling of the Romeo and Juliet love story, told against the backdrop of the gang-controlled streets of New York.

West Side Story (1961)

Ground breaking in so many ways with some of the best choreography ever created, West Side Story is perfection.

The result was honored with a record 10 Academy Awards-- the most of any other movie musical and the fourth biggest winner, overall in Oscar history.

I've loved West Side Story since I was a kid. When I finally saw it live on stage for the first time, I was completely blown away. It's one of the few works that I wouldn't say one version is better than the other. The film and stage versions are equally brilliant.

I'm always shocked when someone says they've never seen West Side Story. If you've honestly never seen it. Put it on the top of your list now.

Why I Liked But Didn’t Love The INTO THE WOODS Movie

noreply@blogger.com (Jeff Linamen) — Fri, 02 Jan 2015 10:48:00 +0000

The good news is that Into the Woods was the second highest grossing film on Christmas Day and it finished third overall for the weekend.
The bad news is that I didn't love it.

Let me compare Into the Woods to a piece of chocolate cake. Right off, you may either love or hate it because you might like or dislike chocolate, cake, or both. If you've never had chocolate cake before-- this may be the most delicious thing you ever tasted. If you like chocolate cake-- this may be satisfying; but if you love chocolate cake, this may be underwhelming or a complete disappointment. There are still others that will find-- good or bad, dry or moist-- they are just grateful to have a slice of cake.

For me, this version of ITW is missing key ingredients. Or to draw from the script-- the potion is missing it's hair as yellow as corn. It didn't work for me.
The original Into the Woods clearly explores the price that comes with wishes, what is really happily ever after; and the importance of teaching children, wishes as children and the hope that exists in children themselves. Much of this is lost or brushed aside in the film. Instead of a film using fairy tales to tell a bigger story, it's just a film telling fairy tales with a slightly different ending.

The movie is beautifully filmed and features an outstanding cast. BUT-- I found it visually too dark; and with the major plot changes, I was never drawn in or emotional involved.
I have some pretty strong opinions about this particular film because I've had a long personal attachment to the stage version of Into the Woods.

Poster for the original Broadway production of Into the Woods.

I saw the original 1987 Broadway production-- twice, the 1988 first national tour, worked the theater where the second national tour began in Chicago (non-equity), saw the 2002 Broadway revival, designed the set and costumes for a local high school production; and have seen literally dozens of professional and amateur productions over the years.

The stage version of Into the Woods is visually a combination of light (colorful) and dark images, where the movie was visually dark from start to finish. The village and castle scenes in the movie all had a dingy, dirty feel as opposed to embodying color, light or any fairy tale magic. Emotionally, the movie is pretty much gray from start to finish. I didn't feel the passion of the dreams and wishes from the major characters; which is problematic because it leaves no real reason for them to go into the woods to begin with. We never truly see even a glimpse of the happy ever after they are so desperate to achieve.

Even in the worst productions I've seen, no matter how badly acted or staged-- I've always been moved by No One Is Alone. Except in the film. To borrow from another musical, I felt nothing.

Some might feel that it is to Disney and director Rob Marshall's credit that they didn't Disneyfy the look of the film. I see it as a missed opportunity to enhance the story. I really would have appreciated seeing some of the beauty and opulence of the castle, for example. Instead, it was dark and drab, as was the brief wedding imagery.

In adapting for the film, the writers chose to edit and whitewash the deeper, meaningful moments of the story. Combining that with the lack of passion, it left very little to get emotionally involved in.

Without Rapunzel's demise, we lose the witch's profound grief that propels her into a frenzied Last Midnight. Without a larger presence of the Baker's Father (Mysterious Man, or not) and the cut song No More, we lose what is the cathartic moment that leads to the Baker's return to his new family. As a result, the intensity and the pure, desperate passion is lost from characters' motivations.

Cast of Disney's film, Into the Woods.

One of the early moments in the film set the tone for me. Jack's Mother, played by the incredible Tracey Ullman, was directed to be purely a serviceable character on screen. (In the stage version, she is a warm, witty and lovable character.) I believe this was done to lessen the audiences' attachment and thus, later in the film: the reaction to her death; which also seemed somewhat muddled. Jack didn't seem terribly upset when he found out his mother was gone, nor did Little Red over her Granny. (And did it bother anyone else that Little Red suddenly looked like Dorothy in the Wizard of Oz for the remainder of the picture?)

The character of the Witch and Meryl Streep's performance have to be looked at separately. First, I didn't feel like the other characters really feared the Witch and her power as much as they saw her as a means to get what they wanted, or as an obstacle in doing so. Second, since the film chose to let Rapunzel ride off with the Prince, future unknown-- instead of becoming a victim of the giant; it lessened the Witch's loss. These two points affect the whole dynamic of the Witch's antagonistic role in the story, as well as her motivations.

Meryl Streep, easily the greatest American actress of our time, fully embodied what the film set out to portray. Though I hoped for a much more powerful performance, Streep filled the bill the way the story has been adapted, perfectly. One thing I noticed, having listened to the soundtrack since; you don't really grasp the incredible technique and emotion Streep brought to the character-- vocally, in one viewing in a theater. Meryl Streep doesn't just sing musical roles-- her vocalization is a well-crafted extension of her character's development and expression. Every word, phrase and guttural sound is perfection.

I liked the introduction of the blue moon to the story, opposed to just the passing midnights of the stage version. I thought it gave a clearer understanding of why the spell had to be broken now.

For me, the best and only perfect moment in the film was Agony. It was beautifully acted and staged. If the entire film had this energy and attention to detail, it could have been the best stage musical-to-film ever made.

Composer/Lyricist Stephen Sondheim.

I remember thinking about two-thirds of the way through: Where is all the music? A substantial amount was cut and occasionally reduced to underscoring. This is composer Stephen Sondheim’s baby. Though he and original book writer James Lapine were actively involved in the film, I feel they caved in to the studio pressures, too much, just to get this film made.
From all that I read leading up to the film's release, Disney was concerned about the original version being too dark (plot-wise), too many main character deaths and wanted to make it more family-friendly. The result is a watered down story that still, in my opinion, is not a family movie.

Into the Woods, on screen, felt like it was too long. This is ironic since it was 20 minutes shorter than the stage version, not including an intermission. It was more than a little slow and disjointed at times.

I'm sure people completely unfamiliar with ITW will have a completely different reaction to the film. And that's okay. I just hope it's a positive experience. The very best thing that could come out of the film is that it might encourage a new audience for the stage version. The film versions of other more recent movie musicals have done a great service to building and keeping audience interest in live theatre.

I can only hope that this film will contribute to that trend.

Rebooting Creativity: Finding Your Way Back Home

noreply@blogger.com (Jeff Linamen) — Thu, 24 Apr 2014 10:27:00 +0000

Are You Feeling You've Lost Your Creative Direction? Has Life Gotten in Your Way? Stop Making Excuses and Find Your Way Home. Create.

Life gets in the way. It happens to most of us. There are all kind of distractions (and some necessities) that can prevent us from creating art. No matter what the excuse-- it's just that... an excuse. The life choices we make don't have to be a roadblock to creativity.

Here are some thoughts to get you out of that slump and help get those creative juices flowing:

1) No regrets.

Don't think too much. Many of us create unneeded baggage over what we haven't done, or didn't do; and allow that to prevent us from doing what we love. The past is gone... get over it. Do everything you can now with the time you have-- even if it's only for a few minutes. Don't regret what you can't change and change what you can.

2) See everything as an opportunity, not a roadblock.

That job you hate but desperately need to pay the bills... can be a source of inspiration if you look for it. Look around you, network with coworkers, share your passion-- you never know what you might find.

The project you took for someone else to make a little cash or get your foot in the door... don't waste that opportunity. Learn, connect, try new things... open your mind.

3) Every path leads somewhere.

Is your art or career headed in a direction, far from where you wanted to go? Can you see where it's leading? Is it a dead end?

Sometimes we find ourselves getting too far off track or even traveling completely away from our original destination. We have to be willing to adapt, change, or reverse directions sometimes.

Always keep sight of your goals. Don't go on for so long, convincing yourself that you have to do something-- that in reality is preventing you from realizing your full creativity. At the same time, try to be open and experience the journey as it happens. Some paths unexpectedly lead to rewarding destinations. Just make sure you keep moving on.

4) Creativity is not the same as productivity.

No matter what form of art you create, it takes time, skill and connections to make it happen. A project could take you days, weeks, years or even a lifetime to complete. It may take time before you actually produce something worthwhile. Don't fall into the trap of thinking that quantity is as important, or more important than the quality of your work.

Lots of projects under your belt may make you feel productive-- but are you proud of them as well? Do they represent who you are as an artist? Are you learning, growing and really stretching your creative muscles?

5) Stop making excuses.

We're all guilty of this. After awhile it becomes more of a habit. The only honest excuse for not creating art-- is not wanting to create art. There will never be enough time, money or resources-- these are not good excuses.

Think about this-- The excuses you give yourself are always worse than the ones you give to others.

6) Set goals.

Set goals for yourself. Give yourself some benchmarks for achievement. Goals give you a direction and should help motive your progress. Don't allow the failure to meet those goals to discourage you. Reassess and set new ones.

7) Do something.

Do something. Anything. Even for five minutes.

If you're a writer or painter -- put something down on paper, don't just think about it in your head. Scribbled notes or sketches can be great triggers and motivators even if they're incomplete.

If you're a performing artist, sing or dance-- whatever you do. Sing in the car or the shower, if nothing else. Dance a quick step in the empty hall at work or in your living room.

The longer you go without writing, or dancing, or ... creating-- the harder it is to get started again. You'll be glad you did. Even for an audience of one (you).

8) Success comes from failure.

Lots of cliches could go here and the topic of failure could be pretty broad. I want to stick to your own personal measure of failure.

There is no better way to learn and grow than to try and fail at something. Failure can open up new doors and ideas, leading you to successes you never dreamed about. Don't shy away from trying something that you might not get right the first time around.

Art is a process. It develops with time and experience and needs to be constantly molded and reshaped.

Success the first time around? Great! Did you learn anything? And who is measuring the success? You or someone else?

I believe truly creative, artistic people are never completely satisfied with their work but learn when to stop and let it live. It can always be better, clearer, brighter, deeper... but sometimes-- what it is, is just right.

9) Don't give into fear.

Some artists fear failure. Others fear success. Don't let your fears rule your passion. Create and live your passion!

10) CREATE!

The bottom line is:
If you're a writer- write!
If you're a sculpter- sculpt!
If you're a dancer- dance!

The only one stopping you is you.

BROADWAY MUSICAL SPRING AWAKENING HITS THE NAPERVILLE, ILLINOIS STAGE

noreply@blogger.com (Jeff Linamen) — Tue, 07 Jan 2014 11:19:00 +0000

FOR IMMEDIATE RELEASE

BROADWAY MUSICAL SPRING AWAKENING HITS THE NAPERVILLE STAGE

Naperville, IL — Surging Films & Theatrics and Introspect Theatre jointly present the Award-Winning Broadway musical Spring Awakening, January 31- February 2, 2014 at the Center Stage Theater, 1665 Quincy Avenue #131, Naperville, Illinois 60540.

Excitement is building in the Chicagoland area as Surging Films & Theatrics and Introspect Theatre gear up for their joint production of the controversial and award winning hit musical, SPRING AWAKENING, with music by Duncan Sheik and book and lyrics by Steven Sater.

Winner of 8 Tony Awards, including Best Musical, SPRING AWAKENING is a rock musical adaptation of Frank Wedekind's controversial 1891 expressionist play. Set in the rigid and repressive late 19th century Germany, SPRING AWAKENING follows a group of students navigating their way through the timeless story of teenage self-discovery and coming-of-age anxiety in a powerful celebration of youth and rebellion. Alternative rock ignites the stage as part of the folk-infused score that fuels the inner angst of the capricious teens. SPRING AWAKENING is rated R for language, violence, and sexual content.

Artistic Directors Jeff Linamen and Billy Surges have assembled a phenomenal cast for SPRING AWAKENING, featuring outstanding talent from all over the Chicagoland area. Surges leads the cast in the role of Melchior Gabor, a smart, headstrong boy who refuses to bow down to society's rules. He is best friend to Moritz Stiefel (Billy Chengary), a troubled and uncertain boy, unable to handle the pressures he receives from his parents and peers to succeed. Rounding out the trio is Katie Meyers as Wendla Bergmann, an innocent young girl, exploring her blossoming curiosity to tragic results.

The large cast features Amara Brady (Martha), Taylor Bright (Thea), Tyler Clayton (Otto), Becca Heitz, Noelle Humbert (Ilse), Marc James, Mark Johnson (Adult Man), Gabi Knoepfle, Alex Knoll (Ernst), Chris Knudsen, Jennifer Lenius, Brandon Piper, Jordan Piper (Anna), Katie Long Piper (Adult Woman), Brandon Pisano (Hanschen), Vince Tolentino (Georg) and Aiyanna Wade.

Following its conception in the late 1990s, SPRING AWAKENING received further development leading to its Off-Broadway debut in May 2006. The original Broadway production of SPRING AWAKENING opened at the Eugene O'Neill Theatre on December 10, 2006. Its cast included Jonathan Groff, Lea Michele and John Gallagher, Jr. with a creative team led by director Michael Mayer and choreographer Bill T. Jones. The original Broadway production won 8 Tony Awards, including Best Musical, Direction, Book, Score and Featured Actor (Gallagher). The production also garnered 4 Drama Desk Awards and a Grammy Award for Best Original Cast Album.

The success of the Broadway production has spawned numerous productions worldwide, including a production in London’s West End that won 4 Laurence Olivier Awards including Best Musical.

Surging Films & Theatrics and Introspect Theatre are presenting the full, uncut version of SPRING AWAKENING, January 31 at 7:30pm, February 1st at 2pm and 7:30pm, and February 2ndat 2pm at Center Stage Theater, 1665 Quincy Ave., #131, Naperville, IL 60540. For ticket information, visit www.surgingfilms.com or call 773-614-7846.

SPRING AWAKENING contains strong language, sexual situations and mature themes and may not be appropriate for younger or sensitive audiences. Recommended for ages 15 and up.

SPRING AWAKENING

Presented by Surging Films & Theatrics and Introspect Theatre

January 31, 2014 at 7:30 PM

February 1, 2014 at 2:00 PM and 7:30 PM

February 2, 2014 at 2:00 PM

Center Stage Theater, 1665 Quincy Ave., #131, Naperville, IL 60540

BOX OFFICE: 773-614-7846

Directors Jeff Linamen & Billy Surges

Music Director Seth Durbin

Choreographer Billy Surges

http://www.surgingfilms.com

http://www.introspecttheatre.com

Why Theatres Fail

noreply@blogger.com (Jeff Linamen) — Fri, 26 Aug 2011 01:58:00 +0000

The Roses of Success

As I reach the end of my master’s program in entertainment business, I thought I’d take a look at reasons why many theatres fail. It happens all the time. Most of us tend to only hear about the major failures. Does this mean live theatre, as we know it, is dying in America? Not hardly.

According to the 2008 National Endowment for the Arts survey, nonprofit theatres with an annual budget of $75,000 or more have doubled in the past 15 years. That’s the good news. The bad news is that audiences for non-musical plays have steadily decreased from 13.5 to 9.4 percent of the general population.

The NEA survey goes on to state that theatres are doing a good job of balancing earned income against contributed income. A good job? The report states that earned income fell 13 percent since 1990. I’m unsure how they see this as a good thing. In fact, I believe the dependence of theatres on contributions is one primary reason some theatres fail.

I am all for public support of the arts... but at what cost? I understand funding new companies, new work, experimental programs and arts education outreach programs. Where or when does it stop? I think it’s time for theatres in America to start being held accountable for their financial responsibility and stop using ART as an excuse for not running their operations as a business.

I know I could take a lot of flack for that statement but it’s true. I’m really sick of hear how the arts are not profitable and can’t sustain themselves. Does this really make any sense? What about the over one billion dollars in Broadway grosses earned by commercial theatres?

Art is everywhere around us. If you breathe, hear, touch or see...then you experience art every minute of the day. Yes, popular art forms change and some disciplines have their ups and downs but all art forms are crucial to our society.

I believe if those in the theatre community would stop lamenting the pending death of live theatre and focus their energies on promoting and celebrating it; the public negative connotations might just disappear.

Here are some of the reasons I think I think theatres fail:

Poor Financial Management

According to the NEA, the majority of theatres in the United States rely on government and private funding for half of the operating costs. I feel this is irresponsible and does not promote the sustainability of the company. Outside funding cannot be depended on, especially in a weak economy. I would term this as “living beyond their means”. Unless it is corrected, the mounting debit will far outweigh the income and lead to the company’s demise.

Bad Programming

Plain and simple: you have to know your audience. Many theatre companies successfully challenge their patrons with one or two productions a season that it outside their normal offerings. I think this is terrific. I think it should be the mission of every theatre to educate and expand their audience’s exposure to unfamiliar work. Unless your entire mission is based on producing new and/or experimental work, to suddenly present a season that moves far away from your established genre can assure your subscribers won’t be coming back.

Ineffective Marketing

Marketing is rapidly changing with new technology and its affects on our daily lives. Theatre companies have to constantly re-evaluate the effectiveness of their marketing and stay with the current trends. Ultimately, I think the area where most theatre fail is creating a personal relationship with their community. Word-of-mouth continues to be the number one reasonpatrons chose to attend specific shows. More theatres need to focus on this.

The Wrong Staff and Board

Staff and board structures are frequently known to be love-hate relationships. There has to be a respect and balance between the two. Theatres can fail when a board suddenly (or finally) decides to clear house and replace the artistic leadership. Obviously, there are times this needs to happen. It is a huge mistake for any theatre company to base its entire future on one individual and their reputation. Board and staff members should be constantly communicating how to better the company. Allowing the focus to shift from the company to an individual is one clear way to destroy a theatre’s future life.

The Elite Effect

Arts organizations, as a whole, have a reputation of being elitist. This persona hinders growth and creates a wall between them and the patrons they purport to serve. Granted, much of this is not intentional, but changing a company’s image once it has been established can be nearly impossible. Companies and the art they produce needs to be completely accessible to the entire community. Branding, image and reputation play a huge role in the success or failure of theatre companies around the world.

CultureBot’s Jeremy M. Barker has written a great response to an article about failed theatres in Seattle. He provides an interesting commentary, as does the original article on which it is based. I do have to disagree with his assessment that theatres should not be more “business-like”. How many business do you know of (yes, theatre is a business) that rely on 50% private and government support?

I believe if the art is good, it can be created and exhibited in a business-like fashion without compromising the art. It may not always be profitable, but that isn’t the point. The point is that sustainability and financial responsibility need to be taken into consideration when deciding how or when art is produced and displayed.

Theatre companies can take risks with works that are outside their normal genre or that may be considered too risqué or experimental; they just need to be balanced with the creation and presentation of work they are familiar with, and their audiences expect of them.

On a somewhat related topic, I found this interesting article on the privatization of community organizations and services you should read. Could this be our future?

Funding Your Dreams: Seeking Out Alternative Financing For Your Business

noreply@blogger.com (Jeff Linamen) — Sat, 13 Aug 2011 21:39:00 +0000

Money, Money, Money

Do you have the perfect business idea? Are you passionate about your product or service? Are you so sure that you can be successful but you don’t have the funds to get started? There is hope.

Before you even think about approaching a bank or alternative source of funding you must have a solid business plan. You need to show potential investors that you not only have a great idea and the passion to bring it to life, but also a well thought out plan of how you will make it happen and that it will be profitable.

Once you have your business plan you need to carefully research all the available sources for potential financing. Banks are usually the first source business owners approach. Understandably, many times they are turned down. All is not lost. There are many other sources of alternative financing out there, you just have to know where to look.

First, let me say, venture capital (VC) is probably not an option for most us. Venture capital firms focuses primarily on big investments in big companies that are high risk, high yield start up companies in the fields of technology, healthcare and more recently green technology. Occasionally, firms have financed smaller companies, and are now openly doing so as Venture Lending for Start Up Capital. Firms are particularly interested in small businesses that could potentially explode in to big businesses. Where VC focuses on big loans with big returns, venture lending for start up capital are often smaller loans where the firm may not require an ongoing piece of the business.

Bootstrap Financing, or self-funding is a common way many small business receive at least partial financing. This can include borrowing from friends and family and bartering products and services. The main advantage to this is that it can eliminate high interest but could also present problems if the financing cannot be paid back in a timely manner. Relying on this type of financing can also limit the company’s growth. First and foremost, never accept a loan from friends or family without drawing up a clear contract. Handle it as you would a bank loan.

Community Banks are another great alternative to the standard bank loan. They often have money to lend particularly to local, community driven businesses that might help build the local community and economy. Some community banks are certified lenders through the U. S. Small Business Administration. Instead of your business being analyzed by a computer, as is done why most of the big banks, community banks give businesses the opportunity to actually present their business plan to see if it might be a good fit.

Angel Investors can be a good resource for many businesses. Most angel investors are wealth individuals, or networks of individuals looking primarily to invest in new businesses, usually seeking lower amounts than those seeking venture capital. Similar to venture capitalists, angel investors are usually looking to own a healthy portion of your business as a result of their investment.

When discussing angel investors, business guru Guy Kawasaki said, “The best investor for your start-up will be the one who cancontribute significant experience, knowledge, and networking opportunities, aswell as the cash you need to grow your business.”

Credit Cards are often used by small businesses needing small loans quickly. With high interest rates, this type of funding should only be considered in emergency situations.

Here are some other types of alternative financing you might want to consider:

Last but not least, there are grants available to small businesses. Especially if you or your business has or creates some relational ties to organizations offering the grants. They may be difficult to find but they are out there. Do your research. In fact, you might want to try searching for grants first. After all, they are valuable assets that don’t have to be paid back.

Here are some additional links you will find useful in your search for funding:

U.S. Small Business Administration: http://www.sba.gov/

Inc.com: http://www.inc.com/

Angel Investor Networks: http://www.businessplanmaster.com/angel-investor-networks.html

For Profit vs. Non Profit Business Plans (Part Two): Which Is Best For You?

noreply@blogger.com (Jeff Linamen) — Thu, 28 Jul 2011 23:27:00 +0000

I Know Things Now

While researching business plans this month I came to an important conclusion: Whether you are considering starting a nonprofit or for profit business, if you’re your plan is solid, you should still be able to break even or show a profit. By their very nature, nonprofits are not allowed to show a profit. This is because usually you are giving or donating a large portion of your services to somehow enrich your community and it is why the government gives you the tax breaks. Most arts organizations, it is assumed, are usually going to be nonprofit.

The question I had to ask myself this month was: “If the only way I can make a new arts organization successful, is as a nonprofit, is it really a good idea?”

There are many financial benefits of running a business as a nonprofit. Two of the most obvious are tax breaks or tax-exempt status (if you qualify) and many grants from the government and for profit sector are only geared towards nonprofits. The bottom line: there can be no profit. So then I have to ask, “Is this taking the easy way out?” Sometimes I think there are arts organizations that use nonprofit status as the excuse for not being run better. Is it a bad business plan? Is there no business plan? It can be a great excuse (nonprofit) for poor planning or a poorly run business, letting others pay for bad decisions (in the form of grants and government assistance).

Let me stop here and say that I fully support and understand the necessity of nonprofit companies and the good work they do. There are nonprofits, however, that totally rely on outside assistance to continue to operate. I think this is what needs to change.

For me, I found a more important issue in debating the two types of businesses was personal income and control. If you follow a nonprofit structure by the letter of the law, you cannot run a nonprofit business and profit from it financially. This may mean no paycheck. So unless you are independently wealthy, you must give control of the company to a board of directors if you want to be paid for your services as an employee of the company. There is a huge personal risk here, especially when you are in effect, donating many hours of time, money and your passion.

A nonprofit board of directors, in the best-case scenario, is a group of people that you have assembled because of their passion, drive, knowledge and experience. They are volunteers, donating their time (and often their money) to a common cause. No matter how much you think they support you and your vision, at some point there will be disagreements. Those disagreements could lead to your dismissal. In some cases this might be what’s best for the future of the organization but it could leave you and your vision without a home. If you follow nonprofits in the news, you will find there seems to be an unusually high rate of turn over of the paid leadership.

A good alternative might be to form a for profit LLC or Limited Liability Company. You lose the financial benefits that nonprofits receive, but you can be paid and retain control of the company. Your company can also show a profit.

So back to my question, “If the only way I can make a new arts organization successful, is as a nonprofit, is it really a good idea?” I had to think long and hard about the benefits to the community and why arts organizations are so important. I looked at it both philosophically and financially and came to these conclusions:

• Art is an integral part of society. You can’t wake up in the morning without art somehow influencing your life. Whether its in business, marketing, education or entertainment, the creativity of art is the basic mechanism that drives our interests.

• Changes in society, government and funding for public schools is having a detrimental effect on how future generations will be exposed to, and learn the fundamentals of art. These changes open up the marketplace, at least in the area of education for profitability of a target business.

•Realizing and understanding the importance of art in our daily lives, leads to the assumption that there is a consumer need and desire, thus making a for profit’s ability to be successful a true possibility.

I talked about Guy Kawasaki and William J. Byrnes in my last post. Both men have spent their lives studying and developing ways to build better businesses and make them successful. Both men agree that planning and structure are ultimately the keys to success.

Kawasaki wrote a terrific blog post about writing a successful business plan. In it, he stresses the importance of writing the pitch first and perfecting it before writing the plan. It makes sense, doesn’t it? You are selling an idea, product or service. What is it? Why is it beneficial and who needs it? How can it be profitable? Answer these questions first and then write the business plan for success.

Kawasaki also says the ideal business plan should be 20 pages or less. Eleven pages of crucial information and he allows for 9 pages of what he calls the “fudge-factor”. He says to “make it a solo effort” (usually written by the CEO), “put in the right stuff” and “keep it clean”.

About 6 months ago I worked on writing a team event project as part of my masters’ program. Five people, in different parts of the country, trying to write a business plan for a one-day event. I can describe it in one word: difficult. Not only were we trying to combine five different ideas and perceptions of what the event should be, we also differed in how it would be executed. The end result was 75 rambling pages without a clear focus or voice. Another team of two people wrote a 17-page project, clearer focus and voice and they got the better grade.

Another important factor I discovered was that you have to allow the business plan to evolve. As you research and analyze your market, competition, and plan for execution, you make all kinds of discoveries that can enhance and make your plan stronger. Business plan writing is a long and fascinating process. I used to think that all you needed was an idea and a good budget. It’s not enough. With what I’ve learned, I can’t even imagine trying to start a business or project without a fully analyzed plan that in the very least, increase the chances of real success.

Non Profit Business Plan Advice for Building and Growing Your Organization (Part One)

noreply@blogger.com (Jeff Linamen) — Sun, 10 Jul 2011 13:57:00 +0000

Advice From A Caterpillar

I’ve worked with dozens of non profit organizations over the years, some successful and some not. The one thing they all seemed to have in common: no business plan. Many small businesses think it’s all about the budget. (Most of the non profits I’ve worked have been small to mid-size theatrical companies.) In every community group, amateur theatre company, charity organization and professional non profit theatre I've been involved with, the budget was the thing that mattered most.

No matter what your organization’s focus, it must be run as a (for profit) business in order to achieve longevity and success. Though it might seem like common sense that a new start up should have a well thought out plan, you might ask why an established organization needs a business plan. The answer is pretty simple: to have direction, measure your progress and achieve your goals. The business plan is your blueprint or road-map to success. It is also the most necessary tool your business will need when seeking financial assistance, whether it be investors, grants or loans. All the information you will be asked for should be concisely worded and demonstrated in your business plan.

The U.S. Small Business Administration says, “A business plan should be a work in progress. That's because your business will evolve over time, and be influenced by outside factors such as the economy and local conditions. Even successful business owners should maintain a current business plan to ensure they remain knowledgeable on the elements that can affect continued success.” Truly sound advice.

In this first part, I thought I’d take a look at a couple of business experts. The best place to start when formulating a successful business plan is to examine the philosophies and achievements of those who know it best. In part two, I’ll be discussing how to take their advice and apply it effectively to your business.

Guy Kawasaki is a popular business guru. If you want to be inspired and stay in touch with the current business trends, I highly recommend you follow him on Twitter @GuyKawasaki and Facebook. The author of ten critically acclaimed books, Kawasaki is currently offering three of his older books: The Macintosh Way, Database 101, and The Computer Curmudgeon, FREE in an effort to persuade readers to purchase his latest book, Enchantment : The Art of Changing Hearts, Minds and Actions.

Kawasaki rose from a humble childhood in Hawaii, to attain his BA at Stanford in Psychology, followed by his MBA at UCLA. He was influential at Apple before starting Fog City Software in 1989 and then returned to Apple in 1995 as an Apple Fellow. He left Apple to start Garage.com, which later became Garage Technology Ventures, which serves as a venture capital firm, directly investing in start up tech companies.

Guy Kawasaki is currently a co-founder of Alltop (Innovation.alltop), an “online magazine rack” in addition to continuing with Garage.

Kawasaki’s book, The Art of the Start, is described on his website as “getting down to the real-world tactics of pitching, positioning, branding, recruiting, bootstrapping, and rainmaking”. Important information we all can use when setting up a new business plan.

Kawasaki's charisma and enthusiasm are infectious . It’s no wonder his books and advice are highly sought out around the world. Guy Kawasaki's approach to business focuses heavily on social engagement. He believes in the passionate involvement of the employees and the public (consumers). Branding and connecting your business with your target market, building a strong relationship, are key strategies used by Kakasaki.

William J. Byrnes

The main reason I selected William J. Byrnes was because of his wonderfully detailed book, Management and the Arts (which is actually a textbook) that I having been reading over the past year as part of my own research. An academic scholar, Professor Byrne focuses his life work on educating students and companies on how to successfully set up, run, and manage arts organizations around the world.

Byrnes received his BA in English from the University of New Mexico and his MFA in Design and Production from the School of Theatre, Film, and Television at UCLA. Immediately after completing his education, Byrnes spent the early part of his teaching career working for numerous universities and in various capacities with different arts organizations. This hands-on experience as an administrator, teacher and designer, greatly increased his knowledge and ability to formulate good standards for arts administration and business practices.

Byrnes first notable work was his 22 years with the renowned Oberlin College in Ohio where he started as a lecturer, became a professor of theatre and Assistant Director of the school’s conservatory dance and theatre programs. He left Oberlin to serve as Florida State University’s Director of Theatre Management master’s program where he also taught Arts Administration.

Internationally, Byrnes has taught and lectured at schools and conferences in Tokyo, Singapore, Bejing, and across Germany. He currently serves on the Editorial Advisory Committee for the Asia Pacific Journal of Arts and Cultural Management.

In the U.S., Byrnes is a member of the National Theatre Conference, a director on the ESTA Foundation board, and the Association of Arts Administration Educators (AAAE). He has been actively involved with the United States Institute for Theatre Technology (USITT) since 1985, having served on the board, as Vice President and President (2000-2002); he currently is the editor of Inside USITT.

Byrnes currently serves as Associate Provost and Dean of Graduate Studies at Southern Utah University. William J. Byrnes management concepts for arts organizations are geared toward structure and stability. Quality and community involvement are two of his keys to success; while constantly striving for a strong management and business development, blending the creative goals with the necessary planning and management for continued success.

Your Business Plan:

Here are a few of the critical key components Kawasaki and Byrnes suggest donors and investors are looking for in your business plan:

• Keep it simple. Donors and investors aren’t going to spend a lot of time reading your business plan. Too many unnecessary details may cause them to put your proposal down and go to the next. Keep it simple and keep them engaged.

• Be specific. Vague generalities will make the reader think you haven’t done your homework, or haven’t truly established your niche in the market. Simple, clear and concise wording describing exactly what your business will accomplish is what investors and donors are looking for.

• Prove your ability to provide a unique product. What is your niche? What makes your business or product unique compared to the competition? Make it clear that your business offers something others don’t, showing the value and need for your existence.

• Be profitable in 3 to 5 years. You need to show that your business can make a substantial profit and be self sufficient in a period of no more than 3 to 5 years. This is a little different for non profit organizations (especially charities) but your financial information should show that you have carefully planned for the financial stability and the well-being of your organization. Investors want to see a profit. Donors want to see responsible and substantial results. Loan institutions want to be sure to get their money back with interest.

What is the most important part of your business plan? The Executive Summary.

It is the first thing (possibly the only thing) that investors and donors see. If it isn’t informative, short, concise, well written and attention-grabbing; they probably won’t even look at the rest of your plan. It has to be specific and dynamic. It’s the first thing they see and the last thing you’ll write.

• • • • •

Part Two will explore more details for writing the perfect business plan.

• • • • •

References, recommended reading and links:

•

Alltop website. http://alltop.com/about/

•

Management and the Arts website. http://www.managementandthearts.com/

•

Guy Kawasaki’s Enchantment on Facebook. http://www.facebook.com/enchantment?sk=app_176217385757369

•

Guy Kawasaki on Facebook. http://www.facebook.com/guy

•

Guy Kawasaki on Twitter. http://twitter.com/#!/GuyKawasaki

•

Guy Kawasaki Website. http://www.guykawasaki.com/

•

U.S. Small Business Administration. http://www.sba.gov/category/navigation-structure/starting-managing-business/starting-business/writing-business-plan/essential-elements-good-busines

•

William J. Byrnes Biography. Southern Utah University. http://www.suu.edu/faculty/byrnes/professional.html

•

Real Life Drama Stranger Than Fiction: Casey Anthony Found Not Guilty

noreply@blogger.com (Jeff Linamen) — Fri, 08 Jul 2011 10:58:00 +0000

Sue Me

Having spent the past month closely following the Casey Anthony trial, I felt the need to voice my opinion on it. If this had been a stage drama or movie it would have been a flop-- with all the unexplained twists and turns, leaving the audience confused, angry and unfulfilled.

To get it out of the way, my gut tells me she did it. Luckily for Casey, judgments in America are not made based on gut feelings or appearances of guilt. Our Constitution and laws were set up to protect and provide for a fair trial: Innocent until proven guilty. We have to remember those words. Unfortunately, I have to agree with the jury: I don’t think the evidence proved beyond reasonable doubt that it was Casey that killed her daughter.

What the Evidence Proved:

· Casey Anthony is a compulsive, if not calculating liar.

· Casey Anthony is an irresponsible, self-centered young woman.

· George and Cindy Anthony are both liars.

· The Anthony family is extremely dysfunctional.

· Caylee Anthony is dead and was either murdered, or horrifically disposed of, in an unthinkable cover up.

· The body or remains of Caylee Marie Anthony were disposed of like garbage.

The defense admitted in their opening statement that Casey knew her daughter was dead from the beginning. Still, no evidence was presented to prove or disprove whether the death was a homicide or an accident.

Casey Anthony: Tears for Caylee or for Casey?

What the Evidence Didn’t Prove:

· Who killed Caylee.

· When (date/time) Caylee died.

· Where Caylee died.

· What circumstances caused Caylee’s death.

· Who knew about the death and participated in the cover up.

Without those answers, how can you prove guilt beyond reasonable doubt?

Accusations Made By the Defense That Were Not Proved:

• Caylee Marie Anthony’s death was accidental.

• Casey Anthony was sexually abused by her father and brother, George and Lee Anthony.

• George Anthony disposed of, or found someone to dispose of Caylee’s remains.

In my opinion, accusations made by the defense, not proven, in an attempt to establish reasonable doubt, were in themselves a criminal act. The court system exists to seek out and uncover the truth. I think the defense acted recklessly and should be held accountable.

Casey Anthony: American mother.

Innocent Until Proven Guilty. Important words. The media doesn’t uphold them. They are quick to judge long before any of the evidence is presented. As a society, I believe we are all so quick to judge, especially when any horrific crime is committed. We want immediate answers and don’t want to be left pondering an unsolved crime that leaves us feeling vulnerable. We want to feel safe. We want to be able to identify and lock up someone for a crime, allowing us to feel safe again.

Crimes Were Committed

No matter how you look at this case, or what scenario you believe, crimes were committed. Not just one, but many crimes were committed. A death, a cover up, evidence tampering, and perjury just to name a few. I’m unclear why the prosecution chose not to charge Casey Anthony with failure to report the disappearance and criminal neglect of a child. The evidence shows she is at the very least guilty of that.

Caylee Marie Anthony

No Justice for Caylee

Despite Jose Baez’s statement that there was justice for Caylee by the jury returning a not guilty verdict, “ Caylee would never have wanted to see her mother suffer this way” he told Barbara Walters, for ABC News.

There has been no justice for Caylee. Her young life is over and no one is being held accountable.

People across American and the world are outraged over the verdict, angry with the jury and issuing death threats toward the jurors and Anthony family. Is this any way for a civilized society to react?

Porchlight Event honoring Caylee. 1.7 million people signed up in less than 12 hours. At the time of this publication, it stands at over 2.5 million participants.

Some people have united in several ways to channel their frustration and grief in a positive way. In the hours following the verdict, a Facebook event was created, Porchlights on for Caylee Marie Anthony, as a way for people around the world to honor Caylee’s memory. In less than 12 hours, nearly 1.7 million people had joined the event.

There are also several petitions available online to encourage state and federal legislation to be know as Caylee’s Law.

Final Thought

I think we will all find, as more and more of the main and fringe players in this drama speak publicly, there are so many pieces to this puzzle that may change many of our opinions and beliefs in this case. Casey Anthony faces years of civil suits based on her actions, which may prevent, or at least put a damper on her new celebrity and profiting from her daughter’s death. There is talk of prosecuting George and Cindy Anthony for perjury, and other charges have been discussed. Until the truth is revealed, there will never be justice for Caylee Marie.

If you want to explore this case further, ID Discovery has an excellent site devoted to facts, timelines and evidence at:

http://investigation.discovery.com/blogs/criminal-report/casey_anthony_full_coverage/caylee_anthony.html

Tragedy at Broadway’s How to Succeed Cancels 100th Performance Celebration

noreply@blogger.com (Jeff Linamen) — Thu, 23 Jun 2011 08:58:00 +0000

Brotherhood of Man

I became transfixed with Twitter last night as news started coming through, first of a delayed performance: 20 minutes…. then 45 minutes; followed by word that the performance had been cancelled due to tragedy.

'How to Succeed' at the Al Hirschfeld Theatre. Credit: Walter McBride/Retna Ltd.

Last night was to be the 100^th performance of the acclaimed H2$ revival. The show’s star Daniel Radcliffe, gave out 100 free tickets to lucky fans earlier in the day to mark the occasion.

Shortly after 9pm, visibly shaken, John Larroquette and Radcliffe took the stage to inform the audience that due to a tragedy, the performance would not take place.

Official Press Release: "This evening's performance of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING was canceled as a stagehand on the production unexpectedly passed away backstage just prior to the 8pm curtain. The name of the deceased and any further details are being withheld by the authorities pending notification of the family. The incident was not caused by an accident related to the production. The cast, crew and theatre staff mourn the loss of this member of their theatrical family. No further information is available at this time.

Patrons of tonight's audience who purchased with a credit card will receive an automatic refund. All others should go to their point of purchase to obtain an exchange/refund."

According to Twitter posts by an investor in the show, 'unofficially' quoting one of the producers, the word broke that a stagehand had tragically died backstage, prior to the start of the show. The tweet, “RIP to the crew member at the Al Hirschfeld. My prayers are with everyone” caused Twitter, Facebook and theatre message boards to light up with concern and alarm.

It was later reveal by the New York Times, “According to the police, the stagehand, a 29-year-old man, was found unconscious and incardiac arrest backstage shortly before 8 p.m. He was rushed to St. Luke’sRoosevelt Hospital nearby, where he was pronounced dead on arrival. A policespokesman said that there was no criminality suspected and that investigatorsbelieved the man died from an overdose.”

At this point, there is a lot of speculation whether the death was accidental or suicide; in either case, a tragic night for the cast, crew and fans of H2$ and theatre aficionados everywhere.

Broadway Social Media Marketing: Bang or Bust?

noreply@blogger.com (Jeff Linamen) — Sun, 19 Jun 2011 12:56:00 +0000

A Bushel and a Peck

How has Broadway adapted to the wonderful world of social media? It’s everywhere. You’d be hard pressed to find a Broadway or Off Broadway production that doesn’t have it’s own website, Facebook fan page, Twitter account and YouTube channel shouting, "Buy our tickets now!"

What is the social media influence on actual ticket sales? That depends on whom you talk to about it.

According to a recent New York Times article, Good Tweets Are Nice, but Group Sales Fill Seats, it’s not what you think… or is it? The prime focus of the article is about the strong sales of the marketing group, Group Sales Box Office. The assumption is made that because there are hard numbers to prove sales, that group sales is successful and social media is not.

Broadway director Jerry Zak, currently represented on the Great White Way by the musical Sister Act, said, “You hope these sites generate good word of mouth, but they’re not the thing that is still, in this day and age, the best measure of our show’s potential popularity and financial return; that’s group sales.” According to the article, networking sites are getting the word out there but not necessarily selling tickets.

Where are the statistics? Apparently, if anyone in the theatre biz is measuring the influences of social network marketing, they aren’t sharing the results. The technology is still relatively new, but if social media was ineffective, why has everyone jumped on the bandwagon?

Many shows not only make use of the free advertising social sites provide but also purchase “keywords” and place display ads in hopes of boosting visibility and ticket sales. The free advertising through social media isn’t really free. Someone has to write the copy, maintain the connections with the fans, answer questions and most importantly: build an ongoing relationship that may eventually turn in to sales.

Of course group sales continues to remain strong and is an important ingredient in the recipe that fills the theatre. They can still claim a stronger marketing position over social media efforts by their reported numbers. One problem: If you hear about a show on Facebook and want to take a group to see it, where do you purchase the tickets? From a group sales company hired by the show’s producers. You don't purchase tickets from Facebook. Just as most single ticket sales are handled through Ticketmaster and Telecharge, most group sales are handled by an agency (there may be the rare exception). So aren’t social networking sites making it easier for group sales representatives to sell a show?

The best source of statistical information I could find was through The Broadway League. The free information they provide on their site leaves the analyst to make many assumptions. Hopefully, their next survey will ask specifically, how influential social media has been on the patron’s decision to purchase tickets for a particular show.

According to the League’s 2007-2008 survey, online tickets sales accounted for 40% of all tickets sold and then dropped to 34% in the 2009-2010 season. It still remains the most common method people use to purchase tickets.

I would like to make the assumption that one of the reasons for the drop in online sales is due to the difficulty in navigating ticketing sites to find the best availability for dates and tickets. If you’ve ever searched tickets online, you know that you basically have to start your search over, every time you search for different seating locations or try a different date. It is very time consuming and most people would rather call the ticket agents and have them do the work for them.

I have spent many hours trying to find the best seats. If I’m going to pay as much as $140 a ticket to see a show, I want to see the show. I don’t want partially obstructed view and I don’t want to be in the back or crammed all the way over on the side. Another problem is that theatres don’t always make their entire inventory of seats available online. If Ticketmaster and Telecharge would make buying tickets simpler, I think online sales would skyrocket.

Measuring the success of converting social media efforts into ticket sales is complicated. First, you have to be able to track someone’s path from say, Facebook, to the show’s website and then to the ticketing site. One factor to consider: I may hear about a show and be interested enough to want to buy tickets but may not do so immediately. If I purchase tickets a week or so later, the tracking is lost. The only way to know how I heard about the show is to ask. The big ticket brokers don’t usually do that.

Year after year, word of mouth continues to be the most influential reason audiences choose a specific musical. The most recent League survey showed 48% attended based on a personal recommendation. Based on those facts, we know that social media helps ticket sales. But how much?

Review - Stephen Sondheim’s Company is BRILLIANT! A MUST SEE!

noreply@blogger.com (Jeff Linamen) — Sat, 18 Jun 2011 13:09:00 +0000

Note 6/22/11: Additional screenings added June 23-26! If you missed it- here's your chance!

Side By Side By Side

Don’t miss your chance to see the definitive version of Stephen Sondheim’s Company with the NYPhilharmonic at a movie theater near you! Hurry because the limited-release, filmed version of this staged concert is only playing a few more days.

I’ve seen numerous productions of Company over the years, and this edition is by far the best. Featuring an all-star cast that includes Neil Patrick Harris, Patti LuPone, Martha Plimpton and Stephen Colbert; this version is conceived and immaculately staged by the brilliant director Lonny Price.

What makes this production so special? Aside from the cast, the dynamic orchestrations by Jonathan Tunick (conducted by Broadway-great Paul Gemignani) and solid choreography by Josh Rhodes; this production tells composer/lyrist Sondheim and book writer George Furth’s story better than any I’ve seen.

Cast of Company Photo by Chris Lee

According to the press release, Company is the story of "five married, once-married, and soon-to-be-married couples and their mutual friend, Robert, a bachelor who has been unable to connect in a long-term relationship. The relationships are presented in a series of vignettes, primarily through Robert's eyes." The show's songs include "Company," "Side by Side by Side," "The Ladies Who Lunch," "Another Hundred People" and "Being Alive."

This may not be the best vocal production ever performed, but by far, director Price has assembled a talent cast of actors that bring the best to life on the stage. Emmy Award winner Neil Patrick Harris plays Bobby with empathy and understanding, unequalled, in his struggle for self-discovery and search for commitment. There is a joyous truth and honesty in this production that I have never witnessed before. Price helps make these characters real and not just caricatures as is often done.

One of the standout moments for me personally, was Stephen Colbert’s “Sorry-Grateful” which normally bores me to tears. His sincerity and skilled handling of the song gave me a new appreciation for its depth and humanity. Also, Jim Walton finally made me like the easily forgettable character, Harry. His style and charisma fully brought the character to life.

Chryssie Whitehead as one of Bobby’s girlfriends, Kathy, gave what was to me, the most impressive performance. Her grounded, understated characterization was countered by her amazing dancing in the often cut dance number, “Tick, Tock”. This was the first time this number made any sense to me and Whitehead was stunning. It was one of the highlights of the show. (I’ve seen some incredibly bad and embarrassing renditions of this song.)


Neil Patrick Harris and Patti LuPone. Photo by Joseph Marzullo/WENN

Patti LuPone’s “Here’s to the Ladies Who Lunch” is perfect here. Anyone who tackles the role of Joanne will forever be compared to Elaine Stritch’s immortal performance. LuPone’s unique vocal stylization here, is at its best.

I was a little disappointed in Tony winner Anika Noni Rose’s rendition of “Another Hundred People”. This is one of my all-time favorite songs written for the theatre and her well-sung performance felt void of any true emotion. Equally disappointing was Katie Finneran’s rendition of “Getting Married Today”. If there is any number in the show to be overplayed, this is the one. I wonder if her understated performance had anything to do with not wanting to be compared to her riotous Tony-winning role in Promises, Promises.

The original Broadway production of Company opened in 1970 and ran 705 performances, garnering 12 Tony nominations and 6 wins including Best Musical. It was revived in 1995 and again in 2006 for which it won the Best Revival of a Musical under director John Doyle’s unique conception.

Stephen Sondheim with director Lonny Price. Photo by Chris Lee

This 2011 version presented through Screenvision and Fanthom Events will be presented one more time, Sunday June 19^th nationwide, and in some locations June 21, 2011. The press release says it best. "This is a special, limited engagement that brings the very best of Broadway to movie theatres across the country and is a once in a lifetime opportunity to see this great show from New York." Check your local theater listing for details.

All in all, the production is fantastic. It proves once again, that a well-written show with a capable cast does not need high-tech sets, lighting and effects to make an enjoyable and moving theatrical experience. I highly recommend it to everyone. If you are a Sondheim fan, it can’t be missed!

Check ticket availability here: http://nyphil.org/concertsTicks/companyonscreen.cfm

Theatre From the Centre Aisle Blog Survey

noreply@blogger.com (Jeff Linamen) — Thu, 16 Jun 2011 12:27:00 +0000

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Theatre From the Centre Aisle Blog Survey

noreply@blogger.com (Jeff Linamen) — Thu, 16 Jun 2011 12:04:00 +0000

Fill in the Words

Have a comment or suggestion? Here’s your chance to tell me what you’d like to read about in the Theatre From the Center Aisle Blog!

I am currently in the final months of finishing my master’s degree in entertainment business at Full Sail University. This survey is part of my digital market class and will help me to improve the quality and content of my blog. There are only eight questions in this mostly multiple-choice survey and it will only take a moment of your time. Your assistance is greatly appreciated!

To access the survey, click here: https://spreadsheets.google.com/spreadsheet/viewform?formkey=dHhLMnhUbkdzOUVVRWQ1SFliWlJ3NWc6MQ

2011 Broadway Tony Awards- Book of Mormon and War Horse Are Big Winners

noreply@blogger.com (Jeff Linamen) — Mon, 13 Jun 2011 12:15:00 +0000

Give My Regards To Broadway

In case you missed it, here are this year's Tony Award nominees and winners. The award ceremony was held June 12, 2011 at the Beacon Theater in New York City. Congratulations to everyone for a remarkable season.

The Book of Mormon wins nine Tony Awards.

Best Musical
The Book of Mormon - WINNER
Catch Me if You Can
The Scottsboro Boys
Sister Act

Best Play
Good People
Jerusalem
The Motherf—er With the Hat
War Horse - WINNER

Best Performance by an Actress in a Leading Role in a Play
Nina Arianda, Born Yesterday
Frances McDormand, Good People - WINNER
Lily Rabe, The Merchant of Venice
Vanessa Redgrave, Driving Miss Daisy
Hannah Yelland, Brief Encounter

Best Performance by an Actress in a Leading Role in a Musical
Sutton Foster, Anything Goes - WINNER
Beth Leavel, Baby It’s You!
Patina Miller, Sister Act
Donna Murphy, The People in the Picture

Best Performance by an Actor in a Leading Role in a Play
Brian Bedford, The Importance of Being Earnest
Bobby Cannavale, The Motherf—er With the Hat
Joe Mantello, The Normal Heart
Al Pacino, The Merchant of Venice
Mark Rylance, Jerusalem - WINNER

Best Performance by an Actor in a Leading Role in a Musical
Norbert Leo Butz, Catch Me If You Can - WINNER
Josh Gad, The Book of Mormon
Joshua Henry, The Scottsboro Boys
Andrew Rannels, The Book of Mormon
Tony Sheldon, Priscilla Queen of the Desert

Best Direction of a Play
Marianne Elliott and Tom Morris, War Horse - WINNER
Joel Grey & George C. Wolfe, The Normal Heart
Anna D. Shapiro, The Motherf—er With the Hat
Daniel Sullivan, The Merchant of Venice
Best Direction of a Musical

Rob Ashford, How to Succeed in Business Without Really Trying
Kathleen Marshall, Anything Goes
Casey Nicholaw and Trey Parker, The Book of Mormon - WINNER
Susan Stroman, The Scottsboro Boys

Best Performance by an Actress in a Featured Role in a Play
Ellen Barkin, The Normal Heart - WINNER
Edie Falco, The House of Blue Leaves
Judith Light, Lombardi
Joanna Lumley, La Bête
Elizabeth Rodriguez, The Motherf—er With the Hat

Best Performance by an Actor in a Featured Role in a Play
Mackenzie Crook, Jerusalem
Billy Crudup, Arcadia
John Benjamin Hickey, The Normal Heart - WINNER
Arian Moayed, Bengal Tiger at the Baghdad Zoo
Yul Vázquez, The Motherf—er With the Hat

Best Performance by an Actress in a Featured Role in a Musical
Laura Benanti, Women on the Verge of a Nervous Breakdown
Tammy Blanchard, How to Succeed in Business Without Really Trying
Victoria Clark, Sister Act
Nikki M. James, The Book of Mormon - WINNER
Patti LuPone, Women on the Verge of a Nervous Breakdown

Best Performance by an Actor in a Featured Role in a Musical
Colman Domingo, The Scottsboro Boys
Adam Godley, Anything Goes
John Larroquette, How to Succeed in Business Without Really Trying - WINNER
Forrest McClendon, The Scottsboro Boys
Rory O’Malley, The Book of Mormon

Best Revival of a Play
Arcadia
The Importance of Being Earnest
The Merchant of Venice
The Normal Heart - WINNER

Best Revival of a Musical
Anything Goes - WINNER
How to Succeed in Business Without Really Trying

Best Book of a Musical
Alex Timbers, Bloody Bloody Andrew Jackson
Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon - WINNER
David Thompson, The Scottsboro Boys
Cheri Steinkellner, Bill Steinkellner and Douglas Carter Beane, Sister Act

Best Orchestrations
Doug Besterman, How to Succeed in Business Without Really Trying
Larry Hochman, The Scottsboro Boys
Larry Hochman and Stephen Oremus, The Book of Mormon - WINNER
Marc Shaiman & Larry Blank, Catch Me If You Can

Best Original Score Written for the Theater
Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon - WINNER
John Kander and Fred Ebb, The Scottsboro Boys
Alan Menken (music) and Glenn Slater (lyrics), Sister Act
David Yazbek, Women on the Verge of a Nervous Breakdown

Best Choreography
Rob Ashford, How to Succeed in Business Without Really Trying
Kathleen Marshall, Anything Goes - WINNER
Casey Nicholaw, The Book of Mormon
Susan Stroman, The Scottsboro Boys

Best Sound Design of a Musical
Peter Hylenski, The Scottsboro Boys
Steve Canyon Kennedy, Catch Me If You Can
Brian Ronan, Anything Goes 
Brian Ronan, The Book of Mormon - WINNER

Best Sound Design of a Play
Acme Sound Partners & Cricket S. Myers, Bengal Tiger at the Baghdad Zoo
Simon Baker, Brief Encounter
Ian Dickinson for Autograph, Jerusalem
Christopher Shutt, War Horse - WINNER

Best Costume Design of a Play 
Jess Goldstein, The Merchant of Venice 
Desmond Heeley, The Importance of Being Earnest - WINNER
Mark Thompson, La Bête 
Catherine Zuber, Born Yesterday

Best Costume Design of a Musical 
Tim Chappel and Lizzy Gardiner, Priscilla Queen of the Desert - WINNER
Martin Pakledinaz, Anything Goes 
Ann Roth, The Book of Mormon
Catherine Zuber, How to Succeed in Business Without Really Trying

Best Scenic Design of a Play
Todd Rosenthal, The Motherf—er With the Hat
Rae Smith, War Horse - WINNER
Ultz, Jerusalem
Mark Wendland, The Merchant of Venice

Best Scenic Design of a Musical
Beowulf Boritt, The Scottsboro Boys
Derek McLane, Anything Goes
Scott Pask, The Book of Mormon - WINNER
Donyale Werle, Bloody Bloody Andrew Jackson

Best Lighting Design of a Musical
Ken Billington, The Scottsboro Boys
Howell Binkley, How to Succeed in Business Without Really Trying 
Peter Kaczorowski, Anything Goes 
Brian MacDevitt, The Book of Mormon - WINNER

Best Lighting Design of a Play 
Paule Constable, War Horse - WINNER
David Lander, Bengal Tiger at the Baghdad Zoo
Kenneth Posner, The Merchant of Venice
Mimi Jordan Sherin, Jerusalem

Are Coupon Companies Like Restaurants.com and Groupon Bad for Consumers and Businesses?

noreply@blogger.com (Jeff Linamen) — Sat, 11 Jun 2011 03:53:00 +0000

Food Glorious Food

Are coupon companies helping or hurting business?

My friend (who is still ranting about the situation in the background as I write this) purchased a $50 gift certificate for $25 from Restaurants.com to the restaurant where we had already planned to have dinner with friends from out of state. We met our friends in the parking lot, entered the restaurant, to stare at a small sign posted that read:

As of June 1^st we will no longer accept or honor gift certificates from Restaurants.com.

Keep in mind, this is June 10^th and my friend purchased and printed the certificate minutes before we left for dinner. We asked to speak to the manager (who was not there) and we were told they were sorry but they had been trying to get Restaurants.com to take them off their site for some time. The staff was friendly enough, but they did not appear overly concerned with our frustration over the matter.

If it had just been the two of us, we would have walked out, never to return. Our friends from out of state, really wanted to go there so we stayed. Dinner was fine, the service was good, but there were never more than three other tables filled at any point during our visit.

Our bill was $130 for six people. (I forgot to mention, the certificate stated that the check had to be a minimum of $100. This information was NOT on the Restaurant.com site, either. You did not find this out until AFTER the certificate was purchased and printed.) We paid our bill, tipped our waitress 20% and left. We’ll never go back. Not because there was any problem with the food or the service, but because of the way they refused to do anything to make up for the inconvenience over the certificate, nor did they make us feel like our business was important.

All the way home I got to listen to my friend saying, “This is why I don’t shop on the Internet!” and “All these companies are a bunch of scams to take your money!” Immediately, stepping out of the car, he was on the phone with the credit card company to dispute the charge and file a complaint. The credit card company transferred him to Restaurants.com where he had to sit on hold for 8 minutes, waiting to speak to a customer service rep. that of course, couldn’t do anything to help. A manager was called, who stated they would give credit, but no refund.

The story was explained and the manager, Jonathan, said our problem was with the restaurant, not them… but they would give us a certificate to another restaurant but exchange only, no refund. My friend hung up, called the credit card company back and filed the dispute.

Needless to say, Restaurants.com lost six customers in the span of three hours. My friend said, “I will NEVER buy another coupon or certificate online again!”

I started searching online and found pages and pages of complaints from consumers and business owners about bad experiences with Restaurants.com. This is a huge problem for consumers and businesses alike. I read several cases of people purchasing gift certificates, driving to the restaurants, only to find they had been closed for several months. (Keep in mind, these certificates supposedly never expire.) The only one benefiting is Restaurants.com. Why are they not responsible?

This afternoon I had just read Rocky Agrawal’s article, Groupon Was “The Single Worst Decision I Have Made As A Business Owner” and in it, Jesse’s Blog about how her café’s relationship with Groupon cost her business $10,000 in losses and created many aggravated customers.

If you are not familiar with how the coupon sites work, it goes something like this: A coupon or certificate is listed for say, “get $20 for $10”. You pay the coupon company $10 and the business that will provide the service gets, at most, $5 in return for providing you $20 of their food or product.

Depending on the business, this might be a beneficial arrangement, especially if it results in repeat customers. For many small businesses, if they are not extremely careful with their arrangement with the coupon company, it could force them to close.

Companies such as Restaurant.com and Groupon need to be required to include all restrictions that might be associated with the coupons they are offering, up front, before the purchase, not afterward. They should also be required to return a customer’s money when the coupon is not honored by the business. (Especially if the business has closed.) The consumer is paying money to the coupon company, not the business.

Resulting refusals to honor coupons and certificates or hidden restrictions hurt all of us. They hurt the business, the consumer and potentially many other businesses when consumer trust is violated. Even if this only happens in a small percentage of the cases—how many negative experiences can your business really afford to endure? How many times will consumers (=YOU) pay for services they do not receive?

Through the power of social media and the Internet these ‘isolated’ incidents aren’t so isolated anymore.

Considering buying a coupon or certificate? I highly recommend calling the business before making the purchase to see it will be honored. I know I will.

http://www.xydo.com/toolbar/21900888-groupon_was_%E2%80%9Cthe_single_worst_decision_i_have_ever_made_as_a_business_owner%E2%80%9D_-_techcrunch

Theatre From the Center Aisle: Our Time

noreply@blogger.com (Jeff Linamen) — Mon, 06 Jun 2011 12:43:00 +0000

Theatre From the Center Aisle: Our Time

Digital Marketing Leads Theatre and the Entertainment Industry Into the Future

noreply@blogger.com (Jeff Linamen) — Sun, 05 Jun 2011 23:01:00 +0000

Our Time

Broadway and theatres around the country have really begun to jump on the digital marketing bandwagon. Discounts, blogs, Twitter, video teasers, Facebook ads and fan pages are all at our beck and call. A few brilliant theatre professionals have even experimented with streaming live productions. It’s most definitely a new age.

Remember the early days of the Internet, when the movie and film industry would spend huge amounts of money to make sure tantalizing video trailers would appear before our eyes every time we logged on? Well, we’d have to wait several minutes for it to download, but we waited because it was something new and exciting.

Now we have YouTube and many other ways all of us can now share video content with a few simple clicks of the mouse. We now live in a digital society. Television, radio, cell phones, mobile devices, Internet, social media… all digital. Just to think, I can still remember when the only reference to something “digital” was my Mom and Dad’s alarm clock.

Credit: futureandnow.com

In a 2008, New York Times (NYT) article, Gregory Schmidt explored Broadway’s step into the online marketing and digital arena. At that time, MySpace was all the rage and a small number of producers began using the new social media outlet to market their shows. Sample songs, video and anything to tease the senses are more effective than old school print advertisements. It’s all about making a connection.

The article went on to feature clever ways Broadway productions were attempting to stand out. Lin-Manuel Miranda, the star and genius behind In the Heights produced some highly effective parody videos to draw attention to the show. Www.legallybrownonbroadway.com offers one series, capitalizing on the popular MTV series, Legally Blonde the Musical: The Search for Elle Woods. Spring Awakening was another Broadway show that capitalized early in the new market.

Broadway Theatre and Digital Marketing

A few ways digital marketing has changed the way theatre’s inform and sell us their product include:

• Targeted Ads and Email Lists Based on Consumer Habits

• Twitter Updates, Live Actor Q&A’s, Special Last Minute Deals

• Facebook Fan Pages and Ads

• Company and Show Websites Featuring Unique Engaging and Interactive Content

• Pictures, Video and Streaming Live Content on Websites, Through Social Media Sites Like YouTube

• Quick and Easy Evaluation of Digital Content for Theatre Marketing Through Free and For-Pay Services such as www.GoogleAnalytics.com and Alexa.com

• Links, Contests, Giveaway Promotions, Databases, and so much more

Social Media is the NEW Thing, not EVERYTHING.

Jim Glaub, Creative Director of Art Meets Commerce, made some great observations about using social media at a recent Theatre Resources Unlimited (TRU) panel discussion. He pointed out that targeting social media for advertising was the wrong approach. It should be used for developing relationships and building the brand. Glaub said, “Think of your product as a person and remember that this person has a voice”.

Glaub went on to say that show websites are different from theatre companies’ main websites. He said, “theater companies want to be the brand, but each show also has its own brand.” Moderator Bob Ost reminded that theatres needed to brand the company at the same time as the show, making the most of the opportunity.

The TRU panel also discussed the importance of behavioral targeting on Facebook and through other forms of social media. This is accomplished by the scanning of a consumer’s profile, activities and likes and dislikes, allowing for targeted marketing opportunities. In most cases, people are sharing their preferences without even knowing it.

Live Theatre Streaming Over the Internet

The latest frontier is streaming digital live theatre, for pay, over the Internet and to select movie houses around the country. One of the first projects to experiment, merging live theatre with technology, was Better Left Unsaid in January and February 2011. Shot with multiple cameras and mixed live in front of a studio audience, it was streamed to Internet audiences for $8 per view.

Taping and streaming live performances for broadcast in movie theaters is a relatively new marketing tactic. The Metropolitan Opera has successfully done this for a few years. Rent: Live On Broadway became the first Broadway show to try this new method of reaching potential audiences across the country. A handful of other productions have followed suit.

Nothing beats a live theatrical performance and nothing will ever replace it. Still, with a nationwide market for Broadway shows and the skyrocketing costs of national tours, streaming live content is a necessary and viable option that can’t be overlooked.

Until teleportation is possible…it’s the next best thing.

Boyett, J. (2010, March 17). New Trends in Marketing for the Arts and Effective Uses of the Internet. Theatre Resources Unlimited. Retrieved June 3, 2011 from http://www.truonline.org/TRUArticle.htm#newtrends

Jacobs, L. (2010, September 22). The Era of Live-Streaming Live Theater Has Arrived. The Clyde Fitch Report. Retrieved June 4, 2011 from http://www.clydefitchreport.com/2010/09/the-era-of-live-streaming-live-theater-has-arrived/

Schmidt, Gregory. (2008, December 25). Broadway’s Marketing Turns Interactive. The New York Times. Retrieved June 2, 2011 from http://www.nytimes.com/2008/12/26/business/media/26adco.html

Live Theatre Starts With The Book

noreply@blogger.com (Jeff Linamen) — Mon, 23 May 2011 01:01:00 +0000

Write What You Know

Everyone has a story….

I tried to Google who was credited for that quote and 180,000,000 results came up. I clicked on a few, and it seems everyone takes credit for the saying, even a 17 year old in Nebraska. The saying is as old as time and it’s true. Everyone has at least one good story tell. The question is: How, or will they tell it?

About 15 years ago, I had the idea that maybe I’d try to become a published author. I’d written several plays and had some story ideas that I was interested in pursuing. It was also the beginning of the dot com phase of the internet and I obsessed with it. I did a lot of research and found if I had thousands of dollars to spend and a warehouse for storage, I could self-publish my own book. Vanity presses were the only real possibility. That didn’t mean I could necessarily market or sell my book but I could definitely get it printed. I’m happy to say that times have changed and there are many options, some even free, for future new authors.

Today, so many new possibilities have flooded the literary world. Social media, especially blogging, is giving writers an outlet to be heard. Ebooks are all the rage and coffee shops are full of patrons sipping lattes and staring intently at their portable reading devices. Now, newer, more cost effective methods of publishing are available to everyone. It might be time to write that ‘great American novel’.

Print On Demand (POD) self-publishing is a far better scenario for the would-be writer than the vanity press options of 10 to 15 years ago. There are many companies to choose from and they can range from completely do-it-yourself-- to editing, cover design and marketing for hire. They can range from free to thousands of dollars depending on the needs or services you choose to format and market your book. Some companies have required services and others have a completely open framework with optional choices for assistance.

The basic premise is simple, you upload your finished book and format it with the assistance of your chosen POD company, choose the size, cover (you can submit your own design- recommended), etc. and it is all stored by the company in a digital format and only printed on request. That’s the over simplified version, but you get the idea-- and no more boxes of unsold books! Most companies also have the option of selling copies in print form as well as ebook format.

How do you actually sell your book? That’s another wonderful advantage of Print On Demand services. Most companies also offer marketing and distribution channel options. Some come with a cost, some with a lower royalty, but the bottom line is you need to be prepared to market your book yourself. Don’t forget, if you want to sell your book through distribution, an ISBN identifier is a must. Again, many companies offer a free ISBN but depending on where you want to market it, you may need to file for your own unique publishing ISBN.

There are many stories of authors that have found modest, even phenomenal success marketing their books through social media channels, websites, fan pages and even Twitter. The important thing is to establish a presence and a brand and make connections. Blogs are a wonderful way to build followers and market your book, especially if you somewhat of an expert on a subject, or have a unique story to tell.

Can you actually make any money selling your book? That depends on you. The amount of time you are willing to spend marketing, speaking to niche interest groups and getting the word out there, will have a huge impact on your success. Keep in mind that the average POD pays a royalty of 40%, which is a vast increase over traditionally published books that only net the author an average 15% of the sale.

In 2006, the average of all POD or self-published books sold was 75. In 2010, the number was up to nearly 200 copies. As a comparison, the average number of all traditionally published books in the US, as of last year, had dropped to 200. In sales, the balance between traditional publication and self-publishing seems to be leveling. What the big publishers have that self-publishers don’t are their established distribution and marketing channels.

Currently, my two favorite POD companies are CreateSpace, which is tied directly to Amazon, and Lulu Publishing. They offer a wide variety of options and easy to use platforms for publishing (and marketing) your book. Lightning Source and Dog Ear Publishing are two other highly recommended companies. If this is something you decide to pursue, you should always use caution and research the company and any costs involved. Take your time and make a wise and educated decision. There are literally thousands of publishing companies out there to choose from; and beware of companies that require large investments or book purchases. Check out the company’s reputation thoroughly before entrusting them with your book. Try to retain all publishing rights whenever possible.

Since theatre and particularly educational theatre are such a specific niche market in publishing terms, POD seems like a smart avenue for my endeavors. I would rather focus my energies marketing my own book, than sending out endless query letters to agents and publishers that have mild to little interest in such a niche market. I’ll keep you posted on my progress as I continue to explore this exciting opportunity.

What's your story?

Sources

Book Spine photo. Retrieved May 22, 2011 from http://www.denisemarcilagency.com/images/author1.jpg

CreateSpace website. https://www.createspace.com/

Dictionary photo. Retrieved May 21, 2011 from http://topbusinesswriter.com/wp-content/uploads/2010/04/professional_business_writer.jpg

Dog Ear Publishing website. http://dogearpublishing.net/

Lightning Source website. http://www.lightningsource.com/

Lulu Publishing website. http://www.lulu.com/

Pen and Paper photo. Retrieved May 21, 2011 from

http://api.ning.com/files/eHhH0wF8G5BNjRM5Rbsn987290lQP8K2CSXpH0Et7Bq*Z-8Nsfv97bO2tfLsITQNcnTZxH7QMq2Z6sSCcfAV40jdM81wcLvZ/penpaper1.jpg

Self Publishing Resources website. http://selfpublishingresources.com/

Typewriter photo. Retrieved May 21, 2011 from http://filmandmoviemaking.com/wp-content/uploads/2008/11/typewriter.jpg

When One Woman’s ‘Creativity’ Oversteps the Bounds of Legality: A Cautionary Tale

noreply@blogger.com (Jeff Linamen) — Thu, 19 May 2011 22:45:00 +0000

Rose's Turn

Once Upon A Time… in Baltimore…

Last month, Towson University opened their production of Jonathan Larson’s RENT. Or was it? It looked pretty much the same… set, costumes, lighting… all very similar to the original Broadway production…. but something was missing. Five lines. Director Diane Smith-Sadak decided to ‘cut’ the final five spoken lines in the show to make it better.

First of all, this is illegal. The contract that is signed by every group licensing the grand rights for this, or any show, clearly states that the script cannot be altered without the written consent of the copyright holder. Second, the deletion of those five lines completely changed the end of the story. Larson wrote RENT as a story of hope. In the end, Mimi reawakens from unconsciousness (and a dream), for a second chance at life. The deletion of the five lines leaves Mimi dead. There is no other way to interpret this… the hope is gone.

Following the April 21 preview of the Towson production, news of the change and the perpetrators started appearing on theatre websites and blogs. People clearly had opinions and were making them known. The news quickly made its way to Music Theatre International, who licensed the show and issued Towson a ‘cease and desist’ order. They were told to put the lines back in or close the production.

The lines were reinstated by the next performance.

That easily could have been the end of the story. Unfortunately, Smith-Sadak decided to make the issue a platform for her creative ‘rights’ as an artist, ending up with more than a little egg on her face. She openly declared in the press that she knew nothing of the contract or copyright protections and challenged the issue as a decree against artists. Smith-Sadak touts her years as an artist, director and playwright and yet still claims to have no knowledge of contracts or copyright law. This is dishonesty at its best.

“This whole giant mess comes down to the bottom line of dollars and cents,” Smith-Sadak told the school paper, The Towerlight. “And that is the biggest irony: that Jonathan Larson wrote passionately about the integrity of the artist following their voices against the commercial onslaught … and yet I keep wondering what he would think now having watched this thing grown over the last 15 years. What would he think of what has happened to this production, being in the hands of corporations and attorneys?”

Smith-Sadak’s caustic remarks show her complete disregard for Jonathan Larson’s work and the law put in place to protect it. "When you look at what really happens in people's lives, the end wasn't really ringing as true to me as I wanted it to. I struggled with it," Smith-Sadak said. So she changed it. Forget RENT’s accolades, forget the Tony Awards, ignore the Pulitzer Prize forget the law—Smith-Sadak knows better.

In an open letter responding to the infraction, MTI President, Drew Cohen called Smith-Sadak’s comments, “arrogant and presumptuous”. He went on to say, "You can make directorial changes, you can make scenic and design changes, and interpret the text and the score how you want to. But what you can't do is add, delete or modify the music or the text. In this instance this production deleted some of the text without permission."

Blatantly changing the script, the very art, Smith-Sadak claims she wants to create and protect, then crying “foul!” when she gets caught, is teaching her students to have no regard for the law, or other artists for that matter. She was hired as an educator to instill moral right from wrong in her students, as well as professional etiquette and respect. Ms. Smith-Sadak is supposed to be a guardian of art not the back alley (script) doctor and dishonest person she has turned out to be.

If Smith-Sadak wanted to smear her fingerprints all over the production, she could have done it legally. First, she could have insisted on original set and costume designs, not put the band on stage in the exact position it was on Broadway and she could have placed the setting in outer space for that matter. To top it off, she claims she wasn’t ‘killing Mimi’ she was leaving it for the audience to decide. Yet in the end, when Angel joined the cast for curtain call, she had him touch Mimi and she got up and joined the cast. Unless she changed something else in the script, Angel dies halfway through the second act.

A dead character ‘reviving’ another…hmmm… can we say Les Miserables? How original.

Sources

Bauer-Wolf, J. (2011, April 27). ‘Rent’s’ script edits violate copyright. The Towerlight. Retrieved May 11,2011 from http://www.thetowerlight.com/2011/04/%E2%80%98rent%E2%80%99s%E2%80%99-scipt-edits-violate-copyright/

Hetrick, A. (2011, April 29). University Production of Rent Stirs Controversy With Altered Script. Playbill.com. Retrieved May 11, 2011 from http://www.playbill.com/news/article/150394-University-Production-of-Rent-Stirs-Controversy-With-Altered-Script

JasonC (2011, April 28). MTI Responds to University’s RENT Script-Changing Violation. MTIBlog. Retrieved May 12, 2011 from http://mtiblog.mtishows.com/mti-responds-to-universitys-rent-script-changing-violation

Smith-Sadak, D. (2011, April 26). Letter: Our leap of faith. The Towerlight. Retrieved May 11, 2011 from http://www.thetowerlight.com/2011/04/our-leap-of-faith/

Getting Legal Advice From An Entertainment Industry Expert

noreply@blogger.com (Jeff Linamen) — Sun, 24 Apr 2011 12:44:00 +0000

We Didn't Start the Fire

We all have questions about legal issues that affect our industry. The fact is that as society and technology change, so do the laws that are established to protect our work and us, as individuals. I always get excited (and admittedly, a little obsessed) when I come across a new source of information that particularly addresses my interests. Discovering the Entertainment Law Update Podcast (http://www.entertainmentlawupdate.com/) and Gordon Firemark’s website (http://firemark.com/) have certainly fueled that obsession over the past couple weeks.


Gordon P. Firemark

Gordon P. Firemark, Esq. is a fascinating entertainment attorney, author and teacher. He has a background in television, film and theatre and is CEO of his own production company, Fierce Theatricals. He is actively involved with the Los Angeles Stage Alliance and The Academy for New Musical Theatre where he serves on the Boards of Governors. Firemark is a frequent lecturer, as well as stage producer and investor. In his free time, he shares his knowledge and expertise through his expert blog and entertainment law podcast.

I’ve found special connection to Mr. Firemark because his career was greatly influenced as a young student, by an educator that encouraged him to channel his energy through involvement in technical theatre. As the auditorium manager and technical director in a public high school, I’ve had the honor and privilege of witnessing what happens to students that find their calling, discovering a whole new world where their creativity and abilities are unleashed. I strongly believe that it was this gift, given to Firemark at a young age that inspires him to share his wealth of knowledge with the masses.

Firemark’s Entertainment Law Update Podcast (ELUP), which he co-hosts with Texas attorney, Tamera H. Bennett, is an excellent resource of information regarding entertainment law. Together they discuss and review current disputes and court decisions that have profound effects on the ever-changing issues in the entertainment industry. The particular focus of the podcast deals with copyright and intellectual property law.

What I find most stimulating about these discussions, is the way Bennett and Firemark break down the issues and court decisions in plain English, discussing their current and future effects on the industry. One particular area of entertainment law that they discuss frequently, is the right of publicity. Briefly, it is defined as “the right to control the commercial use of one’s identity” (http://rightofpublicity.com). It is a rapidly changing area of law that is complicated by differing state laws and court rulings on the matter. As is the case with intellectual property law, the right of publicity is rapidly evolving due to the way we entertain and communicate through the many advancements in technology over the past twenty years. The discussions on the ELUP help decipher court decisions and appeals of cases, as the courts try to uniformly protect and uphold the law as it applies in the varies jurisdictions.

In the most recent ELUP episode (episode 19), there is a fascinating discussion about the case, Golan v. Holder, which will be heard by the Supreme Court in an upcoming session. The main issue involves reinstatement of copyrights for foreign works that had become part of the public domain. Some of the works included are those by Picasso, Stravinsky and films and books by Alfred Hitchcock and Virginia Woolfe. The show notes for the episode provide links to articles and court documents regarding this and other cases discussed on the podcast.

I also highly recommend Gordon Firemark’s website, The Theatre Lawyer (http://firemark.com/pages/theatre-lawyer/). You’ll find excellent discussions and reviews of legal issues unique to the theatrical world as well as some pertinent question and answer discussions. These are excellent resources to visit, time and again, to stay current on legal issues that affect theatre and the entertainment industry as a whole.

Resources

Firemark, Gordon. (2010, August 25). Entertainment Law Update Podcast Episode 13. copyrights, trademarks, fair use and net profit suits. Retrieved April 8, 2011 from http://www.entertainmentlawupdate.com/

Firemark, Gordon. (2010, September 29). Entertainment Law Update Podcast Episode 14. Mockumentaries, Downloads, Licenses, and First Sales. Retrieved April 21, 2011 from http://www.entertainmentlawupdate.com/

Firemark, Gordon. (2011, April 8). Entertainment Law Update Podcast Episode 19. Boop Boop Be Doo! Retrieved April 21, 2011 from http://www.entertainmentlawupdate.com/

Website & Images: Entertainment Law Update Podcast. http://www.entertainmentlawupdate.com/

Website: The Theatre Lawyer. http://firemark.com/pages/theatre-lawyer/

Intellectual Property Rights: Stage Controversies

noreply@blogger.com (Jeff Linamen) — Mon, 04 Apr 2011 03:14:00 +0000

Everybody Has the Right

Most people are aware that if you want to produce or perform a theatrical play or musical you have to acquire a licensing agreement and pay royalties in order to get the rights. The work of the authors: the playwright (or book writer), the composer and the lyricist are the Intellectual Property owners of the work. Sometimes ownership is shared with producers or regional theatres if the work was subsidized while in development with the organization. In either case, no one has the right to use or perform the artists’ work without their permission.

Do productions happen without acquiring a license? Of course they do. If the person or organization is caught they could face hefty fines and devastating lawsuits. Who does it harm? The artists. The lost income from illegal productions could be the money that puts food on the artist’s table or funds their next masterpiece. In the end, it affects us all.

The Broadway production of Bombay Dreams. Photo: Jan Marcus.

In January 2011, a Pakistani production of A.R. Rachman’s musical Bombay Dreams was illegally staged without appropriate licensing from Andrew Lloyd Webber’s Really Useful Group (RUG). They were sent a cease and desist letter, accused of violating Intellectual Property law (Mahmood, 2011). When the production did not close immediately, accusations of plagiarism and copyright fraud were also introduced. Since this is an international issue, it is unclear how or if RUG will proceed with legal measures but it is evident that the negative press it is receiving will affect the reputation of the show’s director, Shah Sharahbeel, and Center Stage Productions that is illegally presenting the work (Mahmood).

Fela! on Broadway.

In another current case, Charles Moore, author of the biography on which the acclaimed musical Fela! was based, has filed a copyright infringement lawsuit against Fela Broadway, LLC. The lawsuit charges that whole sections of his book were used as part of the script without his permission or compensation (Otori, 2010). Moore’s case is strengthen by the fact he was the only authorized biographer of Fela Anikulopo-Kuti and a fictional character he created, Afa Ojo, as narrator in his book also appears in the stage version (Otori). The future of the suit is uncertain. Kuti’s son, Femi, has asked Moore to settle the suit so future productions can go on and educate audiences about Africa’s political climate (Otori).

A third case recently causing a stir is less clear and of questionable merit. Actor and playwright, Mark Sam Rosenthal, received a cease-and-desist letter from The University of the South, representing their ownership of Tennessee Williams’, A Streetcar Named Desire. In a New York Times article, Patrick Healy reveals the steps the university was taking in what they are considering, “infringement on the university’s valuable intellectual property rights” (Healy, 2009).

Mark Sam Rosenthal as Blanche. Photo: Stephen Gelb.

Rosenthal’s one-man show, Blanche Survives Katrina in a FEMA Trailer Named Desire, performed off-Broadway, models his lead character after Williams’, Blanche DuBois character. In the article, Healy represented the University’s complaint from the legal brief: “It seems at best to be a comedic political commentary directed at the events surrounding the Katrina catastrophe in New Orleans,” wrote Christopher J. Marino, a lawyer representing the university. “As you may know, in order for a parodist to take advantage of a fair-use defense, a parodist’s criticism must target the copyrighted work at least in part” (Healy).

The extent of Intellectual Property rights goes beyond the written word. For example, take the case of Urinetown, which sued producers in Akron, Ohio and Chicago for plagiarizing the staging from the artists that created the Broadway production. Both productions were accused of copying all the creative elements staged in the Broadway production. In a 2008 Variety article, Gordon Cox reveals that both productions settled, agreeing to pay the Broadway creative team, including director, choreographer, lighting, sound, costume and set designers, fees for use of their original work.

Intellectual Property rights should and must be protected. It relies heavily on the ability and willingness of the owners and the legal system to protect their work. In the cases of Bombay Dreams and Fela!, there are clear violations of the law. Unfortunately for Bombay Dreams, copyright infringement on foreign soil is often difficult, if not impossible to prosecute. It depends heavily on local laws and and how willing a country is to cooperate with foreign copyright laws. Moore has a strong case regarding Fela!, if he proceeds with his lawsuit, he will likely win at least some compensation and credit for his work.

The charges against Rosenthal seem almost absurd. The character of Blanche DuBois is a cultural, if not literary icon. Rosenthal's use of the character in no way affects the integrity of the original work. If anything, he is merely playing on a popular and widely used stereotype.

Urinetown Photo: Joan Marcus

The most important and interesting case involves the Urinetown lawsuit. For years, directors and creative team members have tried to establish copyright protection for their work with little support of the courts. In this situation, with two major unions behind the suit, the defendants had enough pressure against them to force them to do the right thing (Cox). Both productions blatantly reproduced the complete original work without credit or compensation. If this is a realistic concern of the creative team, they need to negotiate the use of there work as part of the shows theatrical licensing. The duplication of an original creative team's work can be seen in nearly every theater across the country amateur and professional alike. It seems that either the law needs to be better stated and consistently enforced, or artists need to negotiate the coverage of their work in future productions as part of their initial contracts with the original production.

Sources

Cox, Gordon. (2008, July 2). Broadway’s ‘Urinetown’ lawsuit settled: Ohio production accused of plagiarizing. Variety. Retrieved April 3, 2011 from http://www.pryorcashman.com/attachments/282/Variety+Urinetown+Settlement.pdf.

Healy, Patrick. (2009, February 4). One Man’s Blanche Is a University’s Infringement. The New York Times. Retrieved April 2, 2011 from http://www.nytimes.com/2009/02/05/theater/05ceas.html?_r=1&ref=theater.

Mahmood, Rafay. (2011, February 4). Bombay Dreams: The nightmare. The Express Tribune. Retrieved April 2, 2011 from http://tribune.com.pk/story/114185/bombay-dreams-the-nightmare/.

Otori, Hauwa. (2010, November 16). Fela! Under Fire: Author of Biography Files Copyright Infringement Suit Against Show’s Production Company. Intellectual Property Brief.net. American University Washington College of Law. Retrieved April 3, 2011 from http://www.ipbrief.net/2010/11/16/fela-under-fire-author-of-biography-files-copyright-infringement-suit-against-show%E2%80%99s-production-company/.

Broadway Choreography: Telling the Story

noreply@blogger.com (Jeff Linamen) — Sun, 27 Mar 2011 05:42:00 +0000

(I’m dedicating this week’s blog to Mike Davis. A talented young dancer/choreographer/teacher that is on our directing team for Hairspray.)

You Can't Stop the Beat

Touring cast of the Broadway musical, Spring Awakening. Choroegraphed by Bill T. Jones.

Good choreography has to tell a story. In musical theatre, it not only needs to entertain but also tell the story and move the plot. It’s not enough to put a bunch of dance steps together; it’s how the movement enhances the story’s vision. Great choreography moves and connects us to the performers. Brilliant choreography stays in our hearts forever.

As new groundbreaking shows on Broadway find innovative ways to refine the art, so do choreographers. One more recent example is Bill T. Jones, 2007 Tony Award winning choreographer of Spring Awakening. His work is earthy and raw, telling the story of teen angst in a thrilling combination of movement and style.

http://www.youtube.com/watch?v=xEYV5bNMZVo&feature=related


Bill T. Jones Photo: Joseph Moran

Jones is the founder of the Bill T Jones/Arnie Zane Dance Company and has more than 100 original works to his credit. In 2010, he won the Tony Award for his choreography for the musical Fela! and was also one of five recipients of the 2010 Kennedy Center Honors. Jones is best known for his works' focus of social issues.

The most moving choreographed work I have seen in years was sent to me by a friend on Facebook. It was from the Canadian production of So You Think You Can Dance, the song, Will I? from Jonathan Larson's musical, RENT. Choreographed by the brilliant, Mia Michaels.

I have never experienced a work that so embodied the depth and meaning of a song's lyrics. Michaels fully developed the passion and anguish of the piece in a stunning presentation.

Will I? from the musical, RENT, featured on So You Think You Can Dance. Choreographed by Mia Michaels.

I had the pleasure of directing the first amateur production of RENT in 2009, closely following the original Broadway staging. I knew at some point I would want to stage it again, using a totally original concept and reinvent it. When I saw Michaels staging, it was like a light bulb turned on, "THIS is how I want to interpret this!"

http://www.youtube.com/watch?v=VCK_fJXdSeo

Mia Michaels Photo: Kelsey McNeal/FOX

Though not a Broadway choreographer (yet), Mia Michaels is known around the world for her innovative work combining all dance styles into original works of passion and beauty. She is best known for her work with pop and contemporary artists and has won numerous Emmy Awards for her work.

Aspiring Broadway choreographers need so much more than training and technique. They must have and share the director's overall concept and vision for the production and tell the story. It's not enough to say, "this is jazz or modern piece....". The movement has to not only interpret the dancer's character and emotions, it has to be visual and intricately relate to the rest of the staging and the story being told. A showy dance number may be entertaining, but what does it have to do with the plot? Great choreography blends a seamless transition between dialogue and song in a way that appears effortless and full of life. It's all in the interpretation and artistry.

Sources

Bill T Jones Arnie Zane Dance Company Official Website: http://www.billtjones.org/.

Broadway Database. Bill T. Jones. Retrieved from: http://www.ibdb.com/person.php?id=448814.

Mia Michaels Official Website: http://www.miamichaels.com/.

Spring Awakening Official Website: http://www.springawakening.com/.

Photo: Bill T. Jones by Joseph Moran. Retrieved from: http://www.bam.org/view.aspx?pid=207

Photo: Mia Michaels. By Kelsey McNeal/FOX. Retrieved from: http://www.eonline.com/uberblog/watch_with_kristin/b152581_good_news_mia_michaels_will_be_back_on.html

Photo: Touring Cast of Spring Awakening. Press Photo. Retrieved from: http://losangeles.broadwayworld.com/article/Bloomingdales_South_Coast_Plaza_Hosts_Performance_by_SPRING_AWAKENING_Cast_Members_1119_20091110

Photo: Touring Cast of Spring Awakening. Press Photo. Retrieved from: http://www.fanpop.com/spots/spring-awakening/images/3669368/title/touring-cast-photo

Photo: Will I? Choreographed by Mia Michaels. Retrieved from: http://www.homorazzi.com/tag/mia-michaels/

Agent vs. Manager vs. Self in the Entertainment Industry

noreply@blogger.com (Jeff Linamen) — Mon, 21 Mar 2011 02:03:00 +0000

How To Succeed

Theatre artists have a difficult time establishing themselves in the highly competitive, low-paying Broadway arena. Auditions, classes, workshops, staged-reading, interviews, housing, jobs to pay the bills—there is an endless list of ongoing necessities for actors living in New York. You often hear from performers that return home, having failed to get that lucky break, “I just got burned out”. What if they had some assistance? What if they had hired someone to look after the mundane activities, seek out the best opportunities and schedule their life? Maybe they could have had a better chance.

Paul Weber, Paul Weber Casting

In the old days, everyone had, or was looking for an agent. If you wanted to get the job you had someone to represent you with connections to get you a shot at those coveted opportunities. As with everything, times change. According to an article in Variety several years ago, there are fewer and fewer agents and agencies than there used to be and their focus has changed. You seldom find a dedicated agent battling the rigors of the industry for a small number of clients. Today, one agent may represent forty or more actors and the focus is all on the almighty dollar, not the interest of the client. In the 1980’s the work previously done by agents was suddenly being consumed by a dedicated band of individuals known as personal managers.

What is a personal manager and why do actors need them? According to the National Conference Of Personal Managers (NCOPM) website, “A personal manager advises and counsels talent and personalities in the entertainment industry. Personal managers have the expertise to find and develop new talent and create opportunities for those artists which they represent. Personal managers act as liaison between their clients and both the public and the theatrical agents, publicists, attorneys, business managers, and other entertainment industry professionals which provide services to the personal manager's clients.”

Many performers can’t afford the services of a support team. Many of the same performers can’t afford to not have one. Hiring a personal manager is an investment. Initially, actors can benefit from the knowledge and experience a personal manager can offer to shape their image and persona and focus their efforts toward sound potential opportunities. Once an actor is established, they need the benefits of someone who can look after their daily schedules, work toward future projects and keep things rolling while the actor does what he does best: Eight shows a week.

Resources

Hofler, Robert. (2005, September 12). N.Y.'s stage managers: H'w'd phenom invades legit, changing face of biz deals. Variety. Retrieved from http://www.variety.com/article/VR1117928852?refCatId=

National Conference Of Personal Managers Website http://www.ncopm.com/index.htm

Photo: Paul Weber from http://www.daisyjade.com

Negotiating the Entertainment Industry Contract: Broadway and Beyond

noreply@blogger.com (Jeff Linamen) — Mon, 21 Feb 2011 13:04:00 +0000

I Hope I Get It

Some aspiring performers dream of nothing but making it to Broadway or getting a national tour. They take classes, hone their technique, develop their style--- and they audition… and audition… and audition. If they have that special something, catch the director and producer’s eye, then maybe they get a callback… then another… and another. If luck is on their side, they may finally get the call they’ve waited for all their lives. They’re cast in a show. They’ve finally made it! They’re going to be rich and famous and buy that place overlooking Central Park, right? Probably not.

Did you know that many Broadway performers have other jobs? What about performers that go on tour? Did you know that many of them have to sublet their apartments (while they’re on the road) to make ends meet? So you ask yourself, “How can this be? A single ticket to a Broadway musical is $150. A touring show ticket is $100. The performers must make a fortune!” Right? Wrong.

Some performers actually do quite well. Some do better than others. Most struggle to keep working in this highly competitive field.

I spoke with two Equity actors about their careers, what it was like working in the business and how negotiating contracts worked, from their perspective, in the professional theatre world. Both had different experiences as you can imagine. What they have in common is that they live outside of New York, except when they are working there.

One actor was fortunate enough to have a fairy tale start to his career. He grew up in a community with many performing opportunities and by the time he was in high school he had already landed a national commercial. He earned his Actor’s Equity membership through numerous dinner theater productions and by the time he was in his early twenties, he landed a coveted role in the first national tour of a now classic musical.

He said in the early stages of his career, he pretty much took whatever offer was on the table. He was so excited to be working in the business that negotiating a better deal never crossed his mind. It wasn’t until he had been working for a while and made the move to New York, that he found out the importance of negotiating contracts. He said that he learned it never hurts to ask, even for some small addition like an extra vacation day or a few extra dollars per week. He didn’t always get what he asked for, but it made asking easier when it really mattered.

He was offered a job that would take him on the road for eight months, leaving behind an apartment that he couldn’t sublet and didn’t want to break his lease. So in addition to the decent salary and benefits he was offered, free room and meal stipends out of town; he asked for money to cover half his rent for the duration of the tour. In the end, he got enough to cover a quarter of his rent expense.

He finally made it to Broadway, in his late twenties, an ensemble member of a long-running, legendary show. One of the lead actors was taking a hiatus and he was offered the role for six weeks. Through the negotiations, he was led to believe that the role was to become his permanently and so he accepted a lower salary than he should have received, in anticipation of negotiating a long-term contract with the producers following the brief stint in the role. As it turned out, the actor he was replacing had been released from his contract, never returned to the show and another actor was brought in as the permanent replacement. Our actor was to return to the ensemble, no discussion or explanation. Feeling he had been taken advantage of, he chose to take his option and left the show.

He said, had he known he was not stepping into the role permanently; he would have negotiated for a higher salary. The experience left him bitter, he felt he had been tricked into accepting a lower salary and felt it was time to move on. As it turned out, several months later, the producers re-cast the entire production, including the lead role he played for six weeks. He never regretted his decision.

Another actress I spoke with didn’t begin her acting career until she was in her late 20’s. The mother of two young children, it was necessary to balance any work with her growing family. She started to build a name for herself, joined Equity and was content performing regional theatre roles that she could juggle while caring for her children. Twice before, she had come very close to being offered a leading role in a production running in New York and on national tour. For a year, she was on standby and was paid a small amount to be ready to step in to the show if they called. Three years went by and the call finally came. They wanted her to go on the road with the national tour. Before she sat down to negotiate the contract, she figured there was no way she could accept the role. She couldn’t abandon her family and go on the road for a year, leaving her children and husband behind.

When it came time to negotiate the terms of the agreement, she brought up her concerns and was surprised by what she was offered. In addition to her standard salary and benefits package, the producers offered to fly her family to her, anywhere the tour was performing, twice a month and pay for their hotel while they were there. As difficult as it was to make the decision, she accepted the role, with her husband’s encouragement, and a new stage of her career was born.

In both cases, the actors felt they didn’t have much leverage when approaching the negotiation stage of their contracts. With so many unemployed actors waiting for their big chance, the producers hold most of the power. Both said it still doesn’t hurt to ask for things, especially when it comes to the length of the contract or requesting specific days off.

Both actors also discussed the fact that Actors’ Equity (AE) has a huge impact on the negotiation process. The union has a tiered level of contracts and salary minimums for performers. The established minimums are beneficial, but don’t leave too much room for performers to bargain at the negotiations table. They also both expressed the frustration with Equity when it comes to controlling how and where they perform. Once you are a member of AE, you have to get permission for any live performance, including benefit appearances. This often limits or prevents them from supporting causes and limiting their performances if the venue or event doesn’t meet union standards. Violation of the rules can mean hefty fines for the actor and/or the sponsor of the event.

The first actor always uses an agent/manager when entering negotiations. He feels it takes some of the pressure off and allows them to ask for more without coming across as having an ego or being difficult. He also said he wished he had known more about the negotiations process earlier in his career. After the experience with the Broadway show, he felt he had been tricked, misled into believing he was being guaranteed the better role. He said if he were to do it again, he would have negotiated a higher salary for his time as the replacement for the role and would never again operate on a promise without some provisions in writing. When he was not offered the role, he felt his best alternative to a negotiated agreement was to leave the show. It was better to leave on good terms than to deal with negative emotions or resentment if he stayed.

The second performer said she doesn’t normally use representation when negotiating but does have a union representative go over any contract before she signs it. She said she has been lucky, for the most part, in the offers she has received. In the case of the tour, she has known other actors in similar situations that did not get the kind of deal she did. She attributed the producer’s willingness to accommodate her family concerns, largely due to the affiliation that had developed between them over the time prior to her actually being offered the role.

In the end, there isn’t a lot of room for negotiating on the side of performers. The union guarantees minimum salaries but the producers hold the power and the ability to set wages above the minimum. As difficult as it is for productions to break even in New York, let alone provide a return to investors, actors are lucky to have a union in place to help guarantee a base standard of living. There are only a handful of actors that have reached a status where they truly have any power at the negotiations table. Most actors are just happy to be able to make a living doing what they love.