Theatre Design & Technology - Feb 1966 - 18

do little for the weak shows that have already been
rejected by the public. Also, much of the idle labor

increases

in

the

consumption

of

theatre.

With

a

same

rather mild increase regi stered for ticket prices,
and gross income also moving up rather gently,
attendance appears to have remained relatively constant. Our computed attendance figure for 1964-65 in

months, the industry has to have at its disposal
more theatres than it can use on the average throughout the season. Thi s does not affect the figures for
utilization of active capacity, for there the "re-

fact is very close to the median for the entire 1954-55
through 1960-61 period. An estimated 8.6 mi II ion
attended the theatre during the past season, while
the median for the earlier period was 8.8 million.

serve" theatres are not taken into account.

So the long-range problem already mentioned appears

The 1964-65 season saw 54 productions opened in

to

Broadway houses.

Despite the image accepted by

significantly, its effect is compounded by the short-

many observers, musical s did not dominate the
scene or even increase their proportionate role
over previous seasons. One change that did occur
was an increase in the average price of admission

range problem of its no longer being able to rely on
price increases as a sure way out. Attendance
patterns continue to reflect stagnation. Theatre
income, with prices no longer showing a marked
upward trend, also has remained relatively con-

and real estate is produced by the seasonal nature
of
few

to

the

industry.

months,

With

and

a musical,

openings

attendance

concentrated

high

in

while non-musicals

those

held

in

a

the price

line. Thus, the narrowing of price between musicals
and other cotegories evident in the earlier period
appears to have halted and reversed itself slightly.
The net result was an increase in average price
between 1960-61 and 1964-65, but by much less than
occurred in earlier years. In 1960-61 $5.04 was
the computed average price of a ticket
which opened during the season. By
average increased to $5.46. The price
to "dramas" held steady at $4.74,
edies"
in

for all shows
1964-65, thi s
of admission
whi Ie "com-

increased slightly in price to $4.85 ($4.74

1960-61).

The

"mi scellaneous"

figure

(not

statistically a very significant figure) also showed
in increase, while "musicals" advanced from 'a
$5.90 average to $6.68. The over-all increase should
surprise no one. The more significant question is,
why is the increase so slight? The years between
1964-65

witnessed

considerable

have

stant.

confronted

With

income

the

Broadway

of the

theatre.

community

More

increasing,

with costs of production rising, and with the number
of productions and the number of theatres also reremaining constant, Broadway theatre is slipping
behind the general economy.

If the "kink"

in the

demand curve has been reached, any marked pri ce
increase wi II negatively affect income.
If our
general thesi sis correct, the attendance is in
danger

of

falling

off

as

Broadway

theatre-going

remains a habit only of an aging population, never
acquired by the young.
Strangely, all of the above reflects in part a healthy
trend in the theatre. In part it reflects a growing
decentralization, with more live theatre available to
a public more scattered geographically than previously
of

existed.

the painful

It is also, however

a

reflection

process of adjustment to changing

1960-61

and

in-

consumer tastes and the development of new "pro-

creases

in personal and per capita income in the

ducts" to attract consumer dollars, to which all
industries are subject in a price-directed society.

country as a whole and in metropolitan New York.
Prices of tickets increased less than proportionate
to the income increases. Obviously there is a belief
by those who set theatre prices that the elastic
portion of the demand curve is now evident. This
belief
the

that

price

a
of

psychological
theatre

tickets,

maximum
beyond

exists
which

for
con-

sumer reactions wi II take place, has been voiced
by many theatre managers. Whether th i s lim i t exi sts
at all or whether it tends to move upwards over
time are both important questions. But just as important

is that,

whether it exists or not, a belief

that the limit does exist inhibits price increases as
one means of increasing one's revenue. The result
is that reported gross income of all shows running
on Broadway amoun ted to approxi mate Iy $47 mi II i on
during the 1964-65 season, while five years previous during the 1959-60 season the gross income
figure stood at $45.3 mi Ilion.

Even with some healthy economic signs eminating
from stock and civic theatre, the entire "live"
theatre industry may face the same economic problems.

But the argument to

"do something" about

theatre cannot rest on an economic basis. Ours,
ideally, is a consumer-directed economy. If the
consumer no longer desires live theatre then the
behavior of pri ce, income and attendance merely
reflects this desire and is the signal of a decline in
the theatre as we know it. In short, we should not
manipulate its economics.

If, how~ver, we believe

as a community that the economi c progress of the
theatre should not be directed by price, that live
theatre has a value which cannot be measured
economically, then there may be a case for interference. The desire to preserve and expand live
theatre as an art form must, however, be accepted as
a goal in and of itself. The presence of economic

Apparently income increases in the community did

ills and problems indicates that one cannot justify

not bring corresponding increases in personal
for theatre. Increased prices in the earlier
prompted increased expenditures on theatre.
that the price increases paralleled to some

the

outlay
period
Given
degree

the income increase, the proportion of income spent

preservation

of

th[s

art

form

on

economic

grounds. Our analysis also suggests what cannot
be done to expand theatre: lowering prices through
subsidy or merely increasing the number of productions will have little or no effect. Whatever the

on theatre remained relatively constant. But income

techn i qoes employed, theatre-goi ng mu s t become a

increases

habit of a much larger community than is presently

18

themselves

do

not

prompt

proportional

IUSITT

THEATRE DfSIGN AND ITGHNOllXlY



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1966

Contents
Theatre Design & Technology - Feb 1966 - 1
Theatre Design & Technology - Feb 1966 - 2
Theatre Design & Technology - Feb 1966 - 3
Theatre Design & Technology - Feb 1966 - Contents
Theatre Design & Technology - Feb 1966 - 5
Theatre Design & Technology - Feb 1966 - 6
Theatre Design & Technology - Feb 1966 - 7
Theatre Design & Technology - Feb 1966 - 8
Theatre Design & Technology - Feb 1966 - 9
Theatre Design & Technology - Feb 1966 - 10
Theatre Design & Technology - Feb 1966 - 11
Theatre Design & Technology - Feb 1966 - 12
Theatre Design & Technology - Feb 1966 - 13
Theatre Design & Technology - Feb 1966 - 14
Theatre Design & Technology - Feb 1966 - 15
Theatre Design & Technology - Feb 1966 - 16
Theatre Design & Technology - Feb 1966 - 17
Theatre Design & Technology - Feb 1966 - 18
Theatre Design & Technology - Feb 1966 - 19
Theatre Design & Technology - Feb 1966 - 20
Theatre Design & Technology - Feb 1966 - 21
Theatre Design & Technology - Feb 1966 - 22
Theatre Design & Technology - Feb 1966 - 23
Theatre Design & Technology - Feb 1966 - 24
Theatre Design & Technology - Feb 1966 - 25
Theatre Design & Technology - Feb 1966 - 26
Theatre Design & Technology - Feb 1966 - 27
Theatre Design & Technology - Feb 1966 - 28
Theatre Design & Technology - Feb 1966 - 29
Theatre Design & Technology - Feb 1966 - 30
Theatre Design & Technology - Feb 1966 - 31
Theatre Design & Technology - Feb 1966 - 32
Theatre Design & Technology - Feb 1966 - 33
Theatre Design & Technology - Feb 1966 - 34
Theatre Design & Technology - Feb 1966 - 35
Theatre Design & Technology - Feb 1966 - 36
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