December 27, 2016
Zach Laks, who runs production and theatrical management company Form Theatricals, explains the start-up model behind his business and Michael Urie’s Bright Colors and Bold Patterns.
Click here to read more.
April 7, 2015
Screw emulating existing theater companies and forget about competition. We’re opening up our playbook to show you our predictions for the future of the theater. Take these nuggets and use them to create unique offerings and productions for the audiences of tomorrow. They'll be here before you know it.
Click here to skate where the puck is going.
March 6, 2015
Customers purchase products because they do a job for them. Think of a drill — most people purchase drills because they need a hole in their wall. They’re not buying a drill because drills are awesome or beautiful or items that Caucasian men over 30 own. If there was another way to put that hole in the wall (such as a laser beam) that was cheaper or easier then the customer would buy that instead. When I’m at work in my office I’ll go to the nearest coffee shop for my coffee. I have coffee in the cupboard and I work in Brooklyn where I could literally have an artisanal latte delivered to me. Why do I go to the coffee shop? To socialize with people who aren’t my business partner (sorry Zach!). The job that the coffee shop is doing for me is offering a social outlet NOT offering me a cup of coffee
Click here to learn how to figure out why your audience is coming.
January 30, 2015
Jeremy Gerard reminds us in an NPR piece the other week that, “You cannot make people see a show that they don’t want to see.” Patrick Healy, from the New York Times, consistently points out this fact as well. Rocky, The Bronx Bombers, A Time to Kill, Big Fish and First Date all thought they appealed to men and didn’t. The Last Ship thought it would appeal to middle aged women who were fans of Sting and I’m not really sure who Side Show thought it would appeal to. Total lost capital from these seven shows is over $60 million.
Click here to learn how changing the producing process can drastically change your odds of success on Broadway and off.
October 23, 2014
Forget fixing incumbent theater companies. You might have read in last week’s Detroit Metro Times that, “today, the marketing and management of a theater is of more importance than the artists creating the work.” What follows is information on how that happens and the promise of change that’s in the air.
Click here to learn about the future of artist audience relationship.
June 13, 2014
This summer we're launching an R&D lab to allow artists to rapidly create new work and put it in front of audiences.
Click here to learn about it and how to apply.
May 20, 2014
We interviewed 45 theater companies to discover the rational reasons to start one.
Click here to learn why.
April 9, 2014
The Periodic Performance Agreement allows you to play up to 4 performances per week in a theater up to 199 seats. You can use it to sustainably scale your Showcase production into an open ended run.
Click here to learn how.
April 2, 2014
In our last post we described competitive markets like Broadway as red oceans and non-competitive markets like Sleep No More as blue oceans. In this post we’re going to show you how to construct your own blue ocean. Our end product will be a graph of the value curves so you can see a visual comparison of Broadway and Sleep No More.
Read more to see a value curve and learn how to make one for your production!
March 12, 2014
Over the past few years the attendance on Broadway has fluctuated from a low of 11.57 million patrons to a high of 12.33 million. My hypothesis is that this is the same group of 12 million people who attend Broadway shows each year. Producers such as Ken Davenport think so as well. Each show is in competition for the same pool of 12 million potential audience members.
Read more to learn about this kind of competition and how you can avoid it.
February 26, 2014
A few weeks ago we sat down to write an article about how The Innovator’s Dilemma can be applied to the theater. Then this article about The Roundabout came out in the New York Times and some of you out there started to blog about it as well. All of the sudden the subject of our first blog started receiving a lot of attention. The blog post that follows will explain from an academic perspective how older, established theater companies have gotten to a place where they need to produce mass market productions with high tickets prices that cater to the stereotypical theater audience.
Form was created to bring a scalable, repeatable and sustainable growth framework to the arts. We’ve taken a page from startups and are applying a framework that allows companies to test their business models and scale them in a low-risk and low-cost manner. Together we can build the theater companies of the 21st century.
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