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

Publication Year: 1977

Media Type: Report

Summary:

Abstract:

CONTENTS
1. Introduction and summary. 

A. Introduction. 
      1) Overview.
      2) The scope of our study.

B. Summary of our findings and reader's guide to the report.

2. Theatre organization and activity.

A. Introduction and overview.

B. Basic statistical data on facilities and activity.
       1) Not-for-profit theatres with annual budgets of $250,000 and over. 
       2) Broadway.
       3) Beyond Broadway.
       4) Dinner Theatre.
       5) Summer Theatre. 
       6) Off-Broadway.
       7) Not-for-Profit theatre with budgets under $250,000.
       8) Black and Chicano Theatre; 
       9) Children's, Women's, Ethnic, Native American and Street Theatre; 
     10) School and Community Theatre. 

C. Additional indicators of theatre activity. 
       1) Summer theatre - growth since 1969.
       2) Number of plays available for use.
       3) New plays by new authors.

D. Relationships between the For-Profit and Not-for-Profit theatre.

3. Theatre Finances.

A. Introduction and overview.

B. Theatre for-profit: Broadway. 
      1) Capitalization: Raising money to produce a show.
      2) Production costs. 
      3) Operating costs.
      4) Other costs.
      5) Revenues.
      6) Profits and Losses.
      7) Conclusions. 

C. Larger Not-for-Profit-Theatre.
      1) Operating costs.
      2) Income.
      3) Conclusions.

D. Smaller not-for-profit/Developmental Theatres.
      1) Introduction.
      2) Budgets.
      3) Budget shares: Operating expenditures.
      4) Relationship between budget and activity.
      5) Income.
      6) Conclusion.

      Appendix to Section D: Ethnic (earned/unearned total expenditures).

4. Audiences.

A. Introduction and overview.

B. Sources and data.

C. Theatre attendance.
      1) Total U. S. theatre attendance.
      2) Attendance by theatre type.
      3) Other characteristics by theatre type.
      4) Recent trends.
      5) Information, tickets, and travel.

D. Social characteristics of theatre audiences.
      1) Sex differences.
      2) Age composition.
      3) Education.
      4) Income.
      5) Occupation.
      6) Region.
      7) Place of residence.
      8) Metropolitan area.
      9) Differences between frequent and infrequent attenders.

E. Attitudes toward the theatre.
      1) Commitment to the theatre. 
      2) Reasons for not attending.
      3) Support of the theatre.

F. The effect of price on ticket demand.

G. Summary and conclusions.

5. Theatre labor force and employment.

A. Introduction and overview.

B. Labor force. 
      1) Actors Equity Association.
      2) Membership in other unions. 

C. Employment.
      1) Employment of Equity members under Equity contracts.
      2) Employment in other unions. 

D. Compensation. 
      1) Wage rates in the theatre occupations.
      2) Union members' annual income.
      3) Wage bills in the theatre.

E. Conclusions.

6. Innovations in theatre operations. 

A. Ticket Sales. 
      1) Subscription and group sales. 
      2) Advertising.
      3) Credit instruments.
      4) Discounts on theatre tickets.

B. Technological advances.
      1) Lighting boards.
      2) Computerized box office.
      3) Ticketron.

C. Management and Finance.
      1) Mixed for-profit and not-for-profit production.
      2) Ford Foundation cash reserve program.
      3) Arts Councils.
      4) United Arts Funds.
      5) Tax programs.
      6) New York State Council.
      7) Cluster and collective management. 
      8) Costume collections.

D. Summary.

Appendix A: Scope of the study.
Appendix B: Thirty larger-not-for-profit theatres.

Arts & Intersections:

Categories: Creative Economies