Author: Anderson, Robert J. Jr.; Baumol, Hilda; Maltezou, Sonia P.; and Wuthnow, Robert

Publication Year: 1977

Media Type: Report

Summary:

This report examines the condition and needs of the live professional theatre in America. It attempts to answer two questions: 1. What is the current economic condition of the theatre in America and how has it developed over the last ten to fifteen years? and 2. What factors account for the economic condition of the theatre?

Abstract:

This report examines the condition and needs of the live professional theatre in America. It attempts to answer two questions:

1. What is the current economic condition of the theatre in America and how has it developed over the last ten to fifteen years?
   
   
2. What factors account for the economic condition of the theatre?

In order to answer these questions we have collected and analyzed data on various aspects of the theatre, including: Activity, audience, earnings, employment, facilities, finances, labor force, innovations.

However, statistics alone can give only a partial picture of the condition and needs of the theatre. They do not necessarily reflect the special insights of those most knowledgeable about the field. To try to complete the picture, we also took steps to obtain the views of a number of people and organizations involved in the theatre. ur findings, based upon the information we have examined, are as follows:

• There is some form of professional theatre activity in every state of the nation. Although it is still true that the theatre is more heavily concentrated in New York, Chicago and Los Angeles, there is significant , and we believe, growing activity outside of these areas.
  
  
• One out of every ten adults attended a live professional theatre performance last year and one in three attended some kind of theatrical performance. In toto, there were approximately 63.8 million attendees at professional performances, and 60.7 million at amateur theatres. Economics is a very potent force in determining what is produced, how it is produced, and how much of it is produced. The theatre suffers from a perpetual cost-revenue squeeze.

All in all, while costs, prices and activity levels are higher than they were a decade ago, the financial condition of the theatre today seems to be reasonably stable. Financial stability has been maintained in the face of inflation and competition by a number of measures undertaken by the theatre that are designed to cut costs and boost revenues.

Another indicator of the economic health of the theatre is the economic health of the people who work in the theatre. The data we examine show conflicting patterns. We observe relatively rapid growth in the size of the theatre labor force as measured by the rates of growth of membership in unions and associations representing theatre artists. ut what of the future? We see three possible alternative (which is not to say mutually exclusive) futures for the theatre. First, the theatre may continue to find ways to control costs and boost revenues earned from the activities in which it engages. If it does this successfully, there is every reason to believe that the next decade will show continued increases in activity levels and financial stability.

The second alternative future is for the theatre to become dependent for its sustenance and growth on increasing public and private contributions. Under this alternative, earnings from activities would cover an ever-shrinking portion of the theatre's budget, with the result that the theatre would become progressively dependent upon philanthropy.

The third alternative future is that, absent cost control, revenue increases, and increases in publicity and/or privately contributed support, financial constraints would cause the level of theatre activity in our country to fall. We do not know with certainty which combination of these futures is most likely. We do know that some of the more obvious and easily implemented measures for controlling costs and increasing earned revenues are already being exploited and are limited in the extent to which they can continue to hold costs and revenues in balance. We also know that under current policy, the alternatives faced by the for-profit theatre are to either control costs and boost revenues or reduce activity levels since for-profit theatre is currently ineligible for philanthropy.

CONTENTS
A. Introduction.
B. Facilities, Activity, and Audiences.
C. Finance.
D. Labor force, employment and earnings.
E. Innovations.
F. Prognosis.

Arts & Intersections:

Categories: Creative Economies