By L. Musch
Broadway in NYC consists of 40 theaters that are visited by over 12 million audience members annually. 80% of all tickets in the 2014–2015 season were purchased by caucasian theatregoers. The average age of the Broadway theatregoer in the 2019–2020 season was 42.3 years old and the average household income of these audience members was $261,000, much higher than the U.S national average of $87,863. The average price of a ticket for a Broadway show has been reported to be $145.60 per ticket. In other words, these audiences are, mostly, old, rich and white. In this essay I’m gonna discuss how social media has been revolutionizing Broadway and the theatre experience over the past few years.
On january 10th, 2009, the Broadway revival of the musical GYPSY was ending it’s run at the St. James Theatre. Broadway icon Patti LuPone (who won her second Tony award for her performance in this production) noticed several camera flashes coming from the audience, causing her to almost trip twice. When another flash went off she stopped the show to yell at the audience member who was taking pictures and had them kicked out. After that she continued her performance. While this event was happening another audience member made an illegal audio recording from this performance. The recording ended up on YouTube and the rant went viral.
Due to the lack of accesibility surrounding Broadway, there’s a huge demand for illegal footage of performances, which is why bootlegs are the perfect solution for fans who wouldn’t be able to experience the shows in person. To fans, bootlegs give the complete picture of the Broadway experience. It includes the parts of the show that aren’t in the official cast recordings, which can be important, because often just hearing lyrics and music cannot justify the plotholes between the songs. Bootlegs give fans all over the world an understanding of the show, even if it’s recorded with a low quality phone and another audience member’s head is in frame for most of the video.
That being said, many theatre people, including actors such as Patti Murin (Anna in Frozen the musical), believe that bootlegs will destroy Broadway forever. Because they believe that people will stop paying for the shows since they can see them online for free.
Personally, I believe this is a very privileged way of thinking. The fans that watch, post and trade these bootlegs are mostly teenagers. Teenagers who constantly tweet about their favourite broadway shows, who stream these cast recordings on spotify and who get shows that are currently on Broadway trending on apps like TikTok and previously Tumblr.
I’d like to use the Broadway hit Hamilton as an example. When the show started it’s run on Broadway it didn’t take long for it to become huge on social media, teenagers quickly started an online fan community on sites like Twitter and Tumblr and the soundtrack was everywhere. Hamilton bootlegs on YouTube got the most views out of all of them, yet it was the second-highest-grossing show (behind only The Lion King). The show set a Broadway box office record for the most money grossed in a single week in New York City in late november 2016, when it grossed $3.3 million for an eight-performance week. The first show to break $3 million in eight performances.
The producers of Hamilton paid less then $10 million shooting the proshot and they sold it to Disney for rougly $75 million. The show was streamed by around 2.7 million households within the first ten days of the release on DisneyPlus.
I also believe Hamilton’s online succes has a lot to do with it’s creator and lead Lin-Manuel Miranda being very active on Twitter and engaging with young fans, posting loads of backstage content and answering many questions about the show.
Another show that has gained a lot of attention because of social media is Beetlejuice the musical. Presley Ryan (Former ensemble member and now currently starring as Lydia Deetz in the show) started sharing videos of her and other cast members on the app TikTok. Beetlejuice didn’t do very well in the first weeks of it’s run, but became a huge hit when the soundtrack started going viral online.
“TikTok was a game changer for Beetlejuice because it allowed our original cast recording to reach millions more young people than Broadway marketing campaigns usually allow,” explains Jennifer Graessle, social media manager for the musical.
Graessle believes the musical’s songs work well on TikTok because of their quick, quirky lyrics. The success on TikTok has helped drive 150 million streams for the cast recording, “and its popularity, both on TikTok and beyond, has had a residual effect on the show’s social media presence and ticket sales,” she says.
It’s also been a savior for the show — even if it’s being kicked out of New York’s Winter Garden Theater, to be replaced by a revival of The Music Man. Initial reaction towards the production when it launched on Broadway in October 2018 was muted. “I think that word of mouth is what has saved the show from the initial critics of the show who are from an older generation and maybe just didn’t ‘get us’,” says Ryan.
An alternative for bootlegs could be streaming services. There is currently one named Broadway HD. For $8,99 a month you can watch proshots of a limited collection of Broadway plays and musicals. Hopefully the streaming service will continue to broaden their collection and open up a whole new world for anyone at home or unable to travel to NYC.
During the recent pandemic there have also been many livestreams of shows that aren’t currently running anymore, like the recent stream of David Bowie’s Lazarus, which was recorded live in 2016 and streamed earlier this month in honor of the icon’s birthday.
So obviously, the theatre industry has been taking steps to broaden the representation of the performing arts on the internet. Despite the fact that we are far from truly accesible Broadway content I do believe that it will eventually evolve to be that. Theatre people are realizing that the public wants to pay for proshots or streams. I believe that accesibility will create more appreciation for the arts amongst younger and more diverse audiences and therefore save Broadway.
Resources used: Research Reports | The Broadway League (6) Patti Lupone stops ‘Gypsy’ mid-show to yell at a photographer — YouTube (3) Patti Murin on Twitter: “No, because then Broadway will never come back” / Twitter Hamilton (musical) — Wikipedia Presley Ryan’s TikToks Have Made Beetlejuice Broadway’s Hottest Ticket | by Chris Stokel-Walker | FFWD (medium.com) BroadwayHD David Bowie’s ‘Lazarus’: London Production Livestreams of Musical — Rolling Stone
