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Post by horton on Dec 21, 2021 10:27:57 GMT
No insurance anywhere for anyone. The landlords and the conglomerates are fine-they can ride the storm-those owned by banks like Sonia F will be fine. Those clever ones with big hits earning millions like Six will also be fine-its the other independents that will be having terrible pain. Friend. Pugh. Lloyd. Etc. All the subsidised houses will be OK..not great-we are talking mass redundancies and cutbacks. It’s lockdown by stealth with no recovery fund and no furlough. 30-40% of those with transferable skills have left or are looking to leave. West End is dead. Half or more than half are closed tonight. Of course a huge number of fit healthy negative testing actors are having to isolate as they have chose not to be vaccinated. Which means the shows cant go on if there are too many of them in the company/crew. Landlords will give Indepedent producers a big break-its all coming-they have to…remember all of them are owned by Billionaires…Max W at Nimax is worth more than ALW and CM combined so dont believe the ‘poor me’ from certain places….its the workers and the crews and the freelancers that will lose and leave and the half dozen independent producers still left in the west end will have to take enormous debts to get through the next 2 months. The inequality in the business has never been so obvious. Please buy tickets for January-February. If you can. Support the independents where you can. It’s awful. I can confirm this, too. Bookings have dropped off a cliff the past 2 weeks. A lockdown would be easier. After 35 years in the business, I've had enough.
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Post by southstreet on Dec 21, 2021 10:56:01 GMT
I have to admit, I had a few trips planned but not yet booked (am always a last minute booker) for this week and one show booked, but won't be attending anything as I just don't want to risk it with the numbers in London as crazy as they are right now. My stepdad is due to come for Christmas, so if I was to catch it in a theatre or on public transport on the way there, it would mean he couldn't come and would have to spend christmas on his own, I just couldn't risk it. Will definitely be going back to it as soon as I can from January and have been going regularly until mid-week last week, but as much as I wanna support the industry, in these couple of weeks I have to put my family first. :-(
If there was stronger enforcement of mask wearing in theatres and on public transport, I might have felt differently, but especially in a theatre, I can't control who sits next to me and decides to nurse a wine for the whole show in order to keep their mask off. :-(
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Post by Deleted on Dec 21, 2021 16:31:07 GMT
What kind of arrangement do theatres have with the likes of Crossroads and Evolution? I think that Theatres will have contracts with one of the Panto producers and stars are contracted to the producer often knowing a few years ahead who will be where although in recent years there has been a move towards a lot of stars playing one particular venue year after year as it used to be in the old days. Other stars might go further afield one year if next year they get somewhere close to home. So London based stars would likely be keen on SE and surrounding area. The late John Challis I know liked Malvern as he lived in Shropshire so could get home each night. What the cut between Producers and Theatres are I have no idea but with Pantos theatres make a load on sweets and drinks for kids and are busiest month traditionally so powerful producers could have favourable terms. But Theatres can change producers once contracts are up.
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Post by Deleted on Dec 21, 2021 16:36:40 GMT
Subsidised Theatres may well have cutbacks but a fair number of their FOH staff are often casual or P/T. I don't know what back office positions are like. The ATG ones can centralise a lot of things and have less staff at the actual venues for back office stuff I'd figure.
With ALW and Cameron the big worry would be them closing the theates and mothballing them or just handing them over to City of London/Mayor. They could in a zero option just decide to cut their losses. Cameron will still have the rights to his shows and might retain a couple of venues to run them in. ALW has his huge back catalogue for publishing royalties and rights for all his shows so neither will be down to their last £100 million.
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Post by Jon on Jan 27, 2022 2:27:39 GMT
I've asked this before but not sure if it was answered but how lucrative is it for a theatre owner to hire out a theatre to a TV or a film production. Thinking shows like Britain's Got Talent or Michael McIntyre's Big Show. I know the New Wimbledon Theatre is used a lot for filming purposes for TV and film.
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Post by Deleted on Jan 27, 2022 15:36:59 GMT
Have shows now got a vaccination mandates for when they start or are recast. Given the issues ALW has had with closures and his keenness with the vaccine trials. I'd doubt he'd cast any anti vaxxers?
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Post by properjob on Jan 28, 2022 7:43:07 GMT
I've asked this before but not sure if it was answered but how lucrative is it for a theatre owner to hire out a theatre to a TV or a film production. Thinking shows like Britain's Got Talent or Michael McIntyre's Big Show. I know the New Wimbledon Theatre is used a lot for filming purposes for TV and film. I don't have a proper answer but I do know that when I worked as crew the Union-Management standard agreement featured double time for all filming work not directly related to publicity for the theatre. This suggests there was more than the normal theatre hire charged for filming.
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Post by inthenose on Jan 28, 2022 10:57:38 GMT
I don't think they do that any more, at least I've never been paid it, sadly. Used to casual on runs of touring shows mostly for the get-out pay, which is still fantastic. You'd get paid a four hour call or a flat show rate all week, then make double that in the space of 2-4 hours striking set. Something I'm sure producers hugely resent! The bigger the show, the better (and longer it takes - AHH that glorious moment when it ticks into a new hour!)
Since moving from crew to SM, you lose a lot of those little perks. Don't ever choose to work in theatre if you want to have money, kids.
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Post by firefingers on Jan 28, 2022 13:20:42 GMT
I don't think they do that any more, at least I've never been paid it, sadly. Used to casual on runs of touring shows mostly for the get-out pay, which is still fantastic. You'd get paid a four hour call or a flat show rate all week, then make double that in the space of 2-4 hours striking set. Something I'm sure producers hugely resent! The bigger the show, the better (and longer it takes - AHH that glorious moment when it ticks into a new hour!) Since moving from crew to SM, you lose a lot of those little perks. Don't ever choose to work in theatre if you want to have money, kids. Ahhhh TMA get outs, minimum four hour call, paid at about £50 an hour now. I miss them. EDIT: I was once told it the pay was done like that so the crew stuck around for the out and didn't just leave early and only lose out on a few quid.
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Post by inthenose on Jan 28, 2022 13:32:53 GMT
I don't think they do that any more, at least I've never been paid it, sadly. Used to casual on runs of touring shows mostly for the get-out pay, which is still fantastic. You'd get paid a four hour call or a flat show rate all week, then make double that in the space of 2-4 hours striking set. Something I'm sure producers hugely resent! The bigger the show, the better (and longer it takes - AHH that glorious moment when it ticks into a new hour!) Since moving from crew to SM, you lose a lot of those little perks. Don't ever choose to work in theatre if you want to have money, kids. Ahhhh TMA get outs, minimum four hour call, paid at about £50 an hour now. I miss them. EDIT: I was once told it the pay was done like that so the crew stuck around for the out and didn't just leave early and only lose out on a few quid. That's very interesting, I didn't know that. I was told it was because of some weird clause in the rental agreement where they pay hourly for the venue after curtain down, so want everything out quickly as possible. That doesn't make much sense to me, yours sounds more likely! It's BECTU now and the rates remain! Striking a AAA tour is like all your Christmases coming at once! 🤣 Alternatively doing a little two-hander or something with tiny sets, getting out after an hour and putting your statutory four on the time sheet made everything worthwhile!
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Post by ronnette on Jan 29, 2022 0:32:34 GMT
I have a question about rights and licences for shows.
Companies such as MTI I assume pay a lot of money for the rights to a show, let’s say Shrek.
Do the creatives of Shrek sign over any say in the matter Of what can or can’t be done with a show? So say I get the rights to Shrek and I pay my fee, and then pay 15% on my box office sales, how much do the creatives get?
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Post by Jon on Jan 30, 2022 15:01:58 GMT
If ALW were to sell his theatres, how much would you do need to acquire them?
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Post by TallPaul on Jan 31, 2022 10:50:29 GMT
If ALW were to sell his theatres, how much would you do need to acquire them? Had you bought them on 28 June 2020, they would have cost you £179,569,000. A year earlier you could have bought them for *only* £159,528,000. find-and-update.company-information.service.gov.uk/company/06958072It's exactly two months until the next set of accounts is due, when we'll perhaps get a better idea of what impact the pandemic has had on theatre valuations.
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Post by Jon on Jan 31, 2022 15:49:54 GMT
Had you bought them on 28 June 2020, they would have cost you £179,569,000. A year earlier you could have bought them for *only* £159,528,000. find-and-update.company-information.service.gov.uk/company/06958072It's exactly two months until the next set of accounts is due, when we'll perhaps get a better idea of what impact the pandemic has had on theatre valuations. I wonder if Andy could be tempted by an offer of £107m should I win the Euromillions on Friday?
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Post by Jon on Feb 11, 2022 12:45:47 GMT
When will Nimax's new theatre open and more importantly what will it be called?
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Post by Jon on Apr 23, 2022 14:49:08 GMT
With Mike Bartlett having three plays currently on in London, I wonder how this comes about? It is timing, scheduling or just a mix of the two and do theatres communicate with each other over it? James Graham was in a similar situation a few years when Ink, Labour of Love and Quiz played in London and Chichester at the same time.
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Post by Dave B on Jun 24, 2022 21:59:37 GMT
Why would a show that has been constantly on seatfilling, from pretty much the first show, through till the set end of it's run... then extend for another few weeks? Assume solid reviews (3 or 4 stars) and not a full house even with seatfilling. The only things I can think of are something Arts Council or grant related, or possibly nothing else coming into the theatre and *some* bar/programme sales are better than nothing... Been wondering this a while but recently seems to be happening more often so thank you in advance for anyone who can answer
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Post by Dr Tom on Jun 24, 2022 22:43:34 GMT
Why would a show that has been constantly on seatfilling, from pretty much the first show, through till the set end of it's run... then extend for another few weeks? Assume solid reviews (3 or 4 stars) and not a full house even with seatfilling. I would agree with what you said. It costs money for a theatre to be empty and there are still bills to pay, so it can actually be more profitable to run a show at a loss than close. Plus, there will be some tickets sold (even if seat filling services are used) and there are merchandise and bar sales. There is also the perception of what an empty theatre means. There are also subsidies for theatres, which can be lost if the theatre is closed.
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Post by Matt on Jun 24, 2022 23:13:36 GMT
Why would a show that has been constantly on seatfilling, from pretty much the first show, through till the set end of it's run... then extend for another few weeks? Assume solid reviews (3 or 4 stars) and not a full house even with seatfilling. The only things I can think of are something Arts Council or grant related, or possibly nothing else coming into the theatre and *some* bar/programme sales are better than nothing... Been wondering this a while but recently seems to be happening more often so thank you in advance for anyone who can answer Which show 👀.
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Post by partytentdown on Apr 9, 2024 6:35:56 GMT
Apologies if this has been asked before, but how do ticket agents make money? Is it just the booking fees they charge the person buying the ticket, or do they also charge the producer/theatre for their services?
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Post by producerfacts on Apr 9, 2024 9:34:27 GMT
Apologies if this has been asked before, but how do ticket agents make money? Is it just the booking fees they charge the person buying the ticket, or do they also charge the producer/theatre for their services? Booking fee and varying levels of inside commission
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