PIT
Production Innovation and Technology
Live stage and theatrical production -
The production innovation and technology program will explore new inroads focusing on audience engagement, lowering production costs without sacrificing quality, and creating new experiences to help lagging ticket sales for live and musical theater in the US (particularly Nevada) and UK.
Soft demand results comes from various factors, including pricing pressures and competing for entertainment dollars against venues like the sphere and experiential programming. Consumer trends are changing, and more expensive productions such as Cirque are having a more difficult time competing,
This is especially important for Nevada, since casinos and other venues across the state are running around 35% capacity. (*Note - not all venues, and capacity fluctuates depending on offerings - high end for some theaters is 65%. This is not inclusive of concert sales, sports and transient Off-Broadway productions).
This downturn is especially concerning, considering the portion of our state’s economy which runs on tourism. It also means countless performers, stage techs, and behind the scenes employees who are residents without new programming to move on to.
How it works:
All preproduction costs come from existing and raised capital. This is a high risk vs. reward consideration, since producers don’t make any revenue until opening night. Costs not only include paying for production facilities, but paying for a “Book” (script and music, which can change during development), actors and rehearsal space, wigs, costumes and makeup, stage techs, rehearsal and performance musicians, visual effects and set pieces, mech and stage hands, lighting and sound technicians, etc.
Lagging ticket sales are happening not just in the US, but countries like England and Australia as well. Shows that would have caught traction in earlier years are being closed early due to uncertainty about audience attendance. This has created a cycle where investors shy away from new productions.
Britain has addressed this problem via a theater tax relief program (TTF), which reimburses 40% of pre-production costs on the West End and 45% for touring productions. It also helps subsidize orchestral productions and museum / gallery displays.
It’s the most generous reimbursement program in the world for live theater, and it’s how they are attracting new productions away from places like New York to keep their theater scene evolving.
That's a huge long term investment, and while it's great for them, not likely to pick up support in the current environment here in Nevada.
Instead, I propose we pull more experiential and theatrical engineering into the mix, lower the overall cost, and put a new spin on the productions that are currently pulling in numbers in Asian territories.
2.5D Plays
Popularized in Japan - they were originally produced as a stage translation of 2D media in a 3D space. However, the source material can be anything at this point, but generally centers around some form of popular IP.
They began with character costumes and wig work to match the genre's aesthetics. However, as the years have progressed, they have become more elaborate and used more varying media to move closer to the experiential space.
The clip above was from a New York engagement for the 2.5D version of Attack on Titan. You'll see the use of projection mapping, oversize puppetry, and moveable stage components slotting into position during choreography or wirework, to keep the momentum going.
Every year, these productions make millions of dollars, but since they target a young audience, they only have engagements for around six weeks out of the year, in line with school breaks . The most popular productions are simulcast into movie theaters, for extra ticket sales, and to entertain the fans who didn't win the ticket lotteries for the most in demand productions.
My proposal: Working in collaboration with the Smith Center (and their state of the art, reinforced stage system, we push this idea further.
For example:
We can use existing technology in new ways to provide the flexibility of animation and interaction with a live cast.
Infographics explaining the first and second application are available via the password protected page.