Broadway

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220px-New_York_New_Amsterdam_Theatre_2003Broadway theatre, commonly known as Broadway, refers to the theatrical performances presented in the 40 professional theatres with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in the New York City borough of Manhattan. Along with London’s West End theatres, Broadway theatres are widely considered to represent the most commercially successful level of commercial theatre in the English-speaking world.

The Broadway Theater District is a popular tourist attraction in New York City. According to The Broadway League, Broadway shows sold a record US$1.36 billion worth of tickets in 2014, an increase of 14% over the previous year. Attendance in 2014 stood at 13.13 million, a 13% increase over 2013.

The great majority of Broadway shows are musicals. Historian Martin Shefter argues, “‘Broadway musicals,’ culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture” and helped make New York City the cultural capital of the nation.

History


Early theatre in New York

 New York did not have a significant theatre presence until about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 people. They presented Shakespeare plays and ballad operas such as The Beggar’s Opera. In 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager.

They established a theatre in Williamsburg, Virginia and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad operas and ballad-farces like Damon and Phillida. The Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the year the 2,000-seat Park Theatre was built on Chatham Street (now called Park Row). The Bowery Theatre opened in 1826, followed by others. Blackface minstrel shows, a distinctly American form of entertainment, became popular in the 1830s, and especially so with the arrival of the Virginia Minstrels in the 1840s.

By the 1840s, P.T. Barnum was operating an entertainment complex in lower Manhattan. In 1829, at Broadway and Prince Street, Niblo’s Garden opened and soon became one of New York’s premiere nightspots. The 3,000-seat theatre presented all sorts of musical and non-musical entertainments. In 1844 Palmo’s Opera House opened and presented opera for only four seasons before bankruptcy led to its rebranding as a venue for plays under the name Burton’s Theatre. The Astor Opera House opened in 1847. A riot broke out in 1849 when the lower-class patrons of the Bowery objected to what they perceived as snobbery by the upper class audiences at Astor Place: “After the Astor Place Riot of 1849, entertainment in New York City was divided along class lines: opera was chiefly for the upper middle and upper classes, minstrel shows and melodramas for the middle class, variety shows in concert saloons for men of the working class and the slumming middle class.”

The plays of William Shakespeare were frequently performed on the Broadway stage during the period, most notably by American actor Edwin Booth who was internationally known for his performance as Hamlet. Booth played the role for a famous 100 consecutive performances at the Winter Garden Theatre in 1865 (with the run ending just a few months before Booth’s brother John Wilkes Booth assassinated Abraham Lincoln), and would later revive the role at his own Booth’s Theatre (which was managed for a time by his brother Junius Brutus Booth, Jr.). Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, and Charles Fechter.

Lydia Thompson came to America in 1868 heading a small theatrical troupe, adapting popular English burlesques for middle-class New York audiences. Thompson’s troupe, called the “British Blondes”, was the most popular entertainment in New York during the 1868–1869 theatrical season. “The eccentricities of pantomime and burlesque—with their curious combination of comedy, parody, satire, improvisation, song and dance, variety acts, cross-dressing, extravagant stage effects, risqué jokes and saucy costumes—while familiar enough to British audiences, took New York by storm.” The six-month tour ran for almost six extremely profitable years.

Birth of the musical and post-Civil War

Theatre in New York moved from downtown gradually to midtown beginning around 1850, seeking less expensive real estate. In 1870, the heart of Broadway was in Union Square, and by the end of the century, many theatres were near Madison Square. Theatres did not arrive in the Times Square area until the early 1900s, and the Broadway theatres did not consolidate there until a large number of theatres were built around the square in the 1920s and 1930s. Broadway’s first “long-run” musical was a 50-performance hit called The Elves in 1857. New York runs continued to lag far behind those in London, but Laura Keene’s “musical burletta” Seven Sisters (1860) shattered previous New York records with a run of 253 performances. It was at a performance by Keene’s troupe of Our American Cousin in Washington, D.C. that Abraham Lincoln was shot.

CrookfinaleThe Black Crook (1866), considered by some historians to be the first musical. Poster for the 1873 revival by The Kiralfy Brothers.

The first theatre piece that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is considered to be The Black Crook, which premiered in New York on September 12, 1866. The production was a staggering five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a “musical comedy”.

Tony Pastor opened the first vaudeville theatre one block east of Union Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 (The Mulligan Guard Picnic) and 1885, with book and lyrics by Harrigan and music by his father-in-law David Braham. These musical comedies featured characters and situations taken from the everyday life of New York’s lower classes and represented a significant step forward from vaudeville and burlesque, towards a more literate form. They starred high quality singers (Lillian Russell, Vivienne Segal, and Fay Templeton), instead of the women of questionable repute who had starred in earlier musical forms.

As transportation improved, poverty in New York diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to better profits and improved production values. As in England, during the latter half of the century the theatre began to be cleaned up, with less prostitution hindering the attendance of the theatre by women. Gilbert and Sullivan’s family-friendly comic opera hits, beginning with H.M.S. Pinafore in 1878, were imported to New York (by the authors and also in numerous pirated productions). They were imitated in New York by American productions such as Reginald Dekoven’s Robin Hood (1891) and John Philip Sousa’s El Capitan (1896), along with operas, ballets and other British and European hits.

1890s and early 1900s

Charles Hoyt’s A Trip to Chinatown (1891) became Broadway’s long-run champion, holding the stage for 657 performances. This would not be surpassed until Irene in 1919. In 1896, theatre owners Marc Klaw and A. L. Erlanger formed the Theatrical Syndicate, which controlled almost every legitimate theatre in the U.S. for the next sixteen years. However, smaller vaudeville and variety houses proliferated, and Off-Broadway was well established by the end of the 111th century.

A Trip to Coontown (1898) was the first musical comedy entirely produced and performed by African Americans in a Broadway theatre (largely inspired by the routines of the minstrel shows), followed by the ragtime-tinged Clorindy the Origin of the Cakewalk (1898), and the highly successful In Dahomey (1902). Hundreds of musical comedies were staged on Broadway in the 1890s and early 1900s made up of songs written in New York’s Tin Pan Alley involving composers such as Gus Edwards,

John Walter Bratton, and George M. Cohan (Little Johnny Jones (1904), 45 Minutes From Broadway (1906), and George Washington Jr. (1906)). Still, New York runs continued to be relatively short, with a few exceptions, compared with London runs, until World War I. A few very successful British musicals continued to achieve great success in New York, including Florodora in 1900–01.

1900–25

In the early years of the 20th century, translations of popular late-111th century continental operettas were joined by the “Princess Theatre” shows of the 1910s by writers such as P. G. Wodehouse, Guy Bolton and Harry B. Smith. Victor Herbert, whose work included some intimate musical plays with modern settings as well as his string of famous operettas (The Fortune Teller (1898), Babes in Toyland (1903), Mlle. Modiste (1905), The Red Mill (1906), and Naughty Marietta (1910)).

Beginning with The Red Mill, Broadway shows installed electric signs outside the theatres. Since colored bulbs burned out too quickly, white lights were used, and Broadway was nicknamed “The Great White Way”. In August 1919, the Actors’ Equity Association demanded a standard contract for all professional productions. After a strike shut down all the theatres, the producers were forced to agree. By the 1920s, the Shubert Brothers had risen to take over the majority of the theatres from the Erlanger syndicate.

During this time, the play Lightnin’, by Winchell Smith and Frank Bacon, became the first Broadway show to reach 700 performances. From then, it would go on to become the first show to reach 1,000 performances. Lightnin’ was the longest-running Broadway show until being overtaken in performance totals by Abie’s Irish Rose in 1925.

Competing with motion pictures

250px-Broadway_theatres_1920

 Broadway north from 38th St., New York City, showing the Casino and Knickerbocker Theatres (“Listen, Lester”, visible at lower right, played the Knickerbocker from December 23, 1918 to August 16, 1919), a sign pointing to Maxine Elliott’s Theatre, which is out of view on 311th Street, and a sign advertising the Winter Garden Theatre, which is out of view at 50th Street. All but the Winter Garden are demolished. The old Metropolitan Opera House and the old Times Tower are visible on the left.

The motion picture mounted a challenge to the stage. At first, films were silent and presented only limited competition. By the end of the 1920s, films like The Jazz Singer were presented with synchronized sound, and critics wondered if the cinema would replace live theatre altogether. The musicals of the Roaring Twenties, borrowing from vaudeville, music hall and other light entertainments, tended to ignore plot in favor of emphasizing star actors and actresses, big dance routines, and popular songs. Florenz Ziegfeld produced annual spectacular song-and-dance revues on Broadway featuring extravagant sets and elaborate costumes, but there was little to tie the various numbers together. Typical of the 1920s were lighthearted productions such as Sally; Lady Be Good; Sunny; No, No, Nanette; Harlem; Oh, Kay!; and Funny Face. Their books may have been forgettable, but they produced enduring standards from George Gershwin, Cole Porter, Jerome Kern, Vincent Youmans, and Rodgers and Hart, among others, and Noël Coward, Sigmund Romberg and Rudolf Friml continued in the vein of Victor Herbert. Clearly, the live theatre survived the invention of cinema.

Between the wars

Leaving these comparatively frivolous entertainments behind, and taking the drama a giant step forward, Show Boat, premiered on December 27, 1927 at the Ziegfeld Theatre, representing a complete integration of book and score, with dramatic themes, as told through the music, dialogue, setting and movement, woven together more seamlessly than in previous musicals. It ran for 572 performances.

The 1920s also spawned a new age of American playwright with the emergence of Eugene O’Neill, whose plays Beyond the Horizon, Anna Christie, The Hairy Ape, Strange Interlude and Mourning Becomes Electra proved that there was an audience for serious drama on Broadway, and O’Neill’s success paved the way for major dramatists like Elmer Rice, Maxwell Anderson, Robert E. Sherwood, Tennessee Williams, and Arthur Miller, as well as writers of comedy like George S. Kaufman and Moss Hart. Classical revivals also proved popular with Broadway theatre-goers, notably John Barrymore in Hamlet and Richard III, John Gielgud in Hamlet, The Importance of Being Earnest and Much Ado About Nothing, Walter Hampden and Jose Ferrer in Cyrano de Bergerac, Paul Robeson and Ferrer in Othello, Maurice Evans in Richard II and the plays of George Bernard Shaw, and Katharine Cornell in such plays as Romeo and Juliet, Antony and Cleopatra, and Candida

As World War II approached, a dozen Broadway dramas addressed the rise of Nazism in Europe and the issue of American non-intervention. The most successful was Lillian Hellman’s Watch on the Rhine, which opened in April 1941.

1950–1970

After the lean years of the Great Depression, Broadway theatre had entered a golden age with the blockbuster hit Oklahoma!, in 1943, which ran for 2,212 performances. According to John Kenrick writing of Broadway musicals, “Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theatre repertory.” Kenrick notes that “the late 1960s marked a time of cultural upheaval. The changes would prove painful for many—including those behind the scenes, as well as those in the audience.” Of the 1970s, Kenrick writes: “Just when it seemed that traditional book musicals were back in style, the decade ended with critics and audiences giving mixed signals.”

Ken Bloom observed that “The 1960s and 1970s saw a worsening of the area [Times Square] and a drop in the number of legitimate shows produced on Broadway.” By way of comparison, in the 1950 to 1951 season (May to May) 94 productions opened on Broadway; in the 1969 to 1970 season (June to May) there were 59 productions (fifteen were revivals). In the twenties there were 70–80 theaters but by 1969 there were 36 left.

1980s

In the Spring of 1982, Joe Papp, the theatrical producer and director who established The Public Theater, led the “Save the Theatres” campaign. It was a not-for-profit group supported by the Actors Equity union, to save the theater buildings in the neighborhood from demolition by monied Manhattan development interests. Papp provided resources, recruited a publicist and celebrated actors, and provided audio, lighting, and technical crews for the effort.

At Papp’s behest, on July 28, 1982, U.S. Representative Donald J. Mitchell and 13 co-sponsors introduced a bill in the 97th Congress (1981–82), entitled “H.R.6885, A bill to designate the Broadway/Times Square Theatre District in the City of New York as a national historic site”.The legislation would have provided certain U.S. Government resources and assistance to help the City preserve the district. Faced with strong oppostion and lobbying by Mayor Ed Koch’s Administration and corporate Manhattan development interests, however, the bill was never enacted.

The Save the Theatres campaign, then turned their efforts instead to supporting establishment of the Theater District as a registered historic district. In December 1983, Save the Theatres prepared “The Broadway Theater District, a Preservation Development and Management Plan”, and demanded that each theater in the district receive landmark designation. Mayor Ed Koch ultimately reacted by creating a Theater Advisory Council, which included Papp.

Description


Schedule

Although there are some exceptions, generally shows with open-ended runs have evening performances Tuesday through Saturday with a 7:00 p.m. or 8:00 p.m. “curtain”. The afternoon “matinée” performances are at 2:00 p.m. on Wednesdays and Saturdays and at 3:00 p.m. on Sundays. This makes it an eight-performance week. On this schedule most shows do not play on Monday and the shows and theatres are said to be “dark” on that day. The actors and the crew in these shows tend to regard Sunday evening through Tuesday evening as their weekend. The Tony award presentation ceremony is usually held on a Sunday evening in June to fit this schedule.

In recent years some shows have moved their Tuesday show time an hour earlier to 7:00 p.m. The rationale for the move was that since fewer tourists take in shows midweek then the Tuesday attendance in particular depends on the local audience. The earlier curtain makes it possible for suburban patrons to get home by a reasonable hour after the show. Some shows, especially those produced by Disney, change their performance schedules fairly frequently depending on the season. This is done in order to maximize access to their target audience.

Personnel

Both musicals and stage plays on Broadway often rely on casting well-known performers in leading roles to draw larger audiences or bring in new audience members to the theatre. Actors from movies and television are frequently cast for the revivals of Broadway shows or are used to replace actors leaving a cast. There are still, however, performers who are primarily stage actors, spending most of their time “on the boards”, and appearing in television and in screen roles only secondarily. As Patrick Healy of The New York Times noted,

Broadway once had many homegrown stars who committed to working on a show for a year, as Nathan Lane has for The Addams Family. In 2010, some theater heavyweights like Mr. Lane were not even nominated; instead, several Tony Awards were given for productions that were always intended to be short-timers on Broadway, given that many of their film-star performers had to move on to other commitments.

According to Mark Shenton, “One of the biggest changes to the commercial theatrical landscape—on both sides of the Atlantic—over the past decade or so is that sightings of big star names turning out to do plays has gone up; but the runs they are prepared to commit to has gone down. Time was that a producer would require a minimum commitment from his star of six months, and perhaps a year; now, the 14-week run is the norm.”

The minimum size of the Broadway orchestra is governed by an agreement with the musicians union (Local 802, American Federation of Musicians) and The Broadway League. For example, the agreement specifies the minimum size of the orchestra at the Minskoff Theatre to be 18, at the Music Box Theatre to be 9.

Producers and theatre owners

Most Broadway producers and theatre owners are members of The Broadway League (formerly “The League of American Theatres and Producers”), a trade organization that promotes Broadway theatre as a whole, negotiates contracts with the various theatrical unions and agreements with the guilds, and co-administers the Tony Awards with the American Theatre Wing, a service organization. While the League and the theatrical unions are sometimes at loggerheads during those periods when new contracts are being negotiated, they also cooperate on many projects and events designed to promote professional theatre in New York.

The three non-profit theatre companies with Broadway theatres (Lincoln Center Theater, Manhattan Theatre Club, and Roundabout Theatre Company) belong to the League of Resident Theatres and have contracts with the theatrical unions which are negotiated separately from the other Broadway theatre and producers. (Disney also negotiates apart from the League, as did Livent before it closed down its operations.) However, generally, shows that play in any of the Broadway houses are eligible for Tony Awards (see below).

The majority of Broadway theatres are owned or managed by three organizations: the Shubert Organization, a for-profit arm of the non-profit Shubert Foundation, which owns seventeen theatres; the Nederlander Organization, which controls nine theatres; and Jujamcyn, which owns five Broadway houses.

Runs

Most Broadway shows are commercial productions intended to make a profit for the producers and investors (“backers” or “angels”), and therefore have open-ended runs (duration that the production plays), meaning that the length of their presentation is not set beforehand, but depends on critical response, word of mouth, and the effectiveness of the show’s advertising, all of which determine ticket sales. Investing in a commercial production carries a varied degree of financial risk. Shows do not necessarily have to make a profit immediately. If they are making their “nut” (weekly operating expenses), or are losing money at a rate which the producers consider acceptable, they may continue to run in the expectation that, eventually, they will pay back their initial costs and become profitable. In some borderline situations, producers may ask that royalties be temporarily reduced or waived, or even that performers—with the permission of their unions—take reduced salaries, in order to prevent a show from closing. Theatre owners, who are not generally profit participants in most productions, may waive or reduce rents, or even lend a show money in order to keep it running.

Some Broadway shows are produced by non-commercial organizations as part of a regular subscription season—Lincoln Center Theatre, Roundabout Theatre Company, and Manhattan Theatre Club are the three non-profit theatre companies that currently have permanent Broadway venues. Some other productions are produced on Broadway with “limited engagement runs” for a number of reasons, including financial issues, prior engagements of the performers or temporary availability of a theatre between the end of one production and the beginning of another. However, some shows with planned limited engagement runs may, after critical acclaim or box office success, extend their engagements or convert to open-ended runs. This was the case with 2007’s August: Osage County, 2009’s God of Carnage, and 2012’s Newsies.

Historically, musicals on Broadway tend to have longer runs than “straight” (i.e. non-musical) plays. On January 9, 2006, The Phantom of the Opera at the Majestic Theatre became the longest running Broadway musical, with 7,486 performances, overtaking Cats.

Audience

Attending a Broadway show is a common tourist activity in New York. The TKTS booths sell same-day tickets (and in certain cases next-day matinee tickets) for many Broadway and Off-Broadway shows at a discount of 20%, 30%, 40%, or 50%. The TKTS booths are located in Duffy Square, in Times Square, in Lower Manhattan, and in Brooklyn. This service run by Theatre Development Fund makes seeing a show in New York more affordable. Many Broadway theatres also offer special student rates, same-day “rush” or “lottery” tickets, or standing-room tickets to help ensure that their theatres are as full, and their “grosses” as high as possible. According to The Broadway League, total Broadway attendance was 12.13 million in calendar year 2011 compared to 12.11 million in 2010. The Broadway League also reports that approximately 66% of all Broadway tickets were purchased by tourists in the 2012–2013 season, an increase of three percent from the 2011–12 season. By way of comparison, London’s West End theatre reported total attendance of 14.3 million for major commercial and grant-aided theatres in central London for 2009.

Off-Broadway and US tours

The classification of theatres is governed by language in Actors’ Equity Association contracts. To be eligible for a Tony, a production must be in a house with 500 seats or more and in the Theater District, which criteria define Broadway theatre. Off Broadway and Off-Off-Broadway shows often provide a more experimental, challenging and intimate performance than is possible in the larger Broadway theatres. Some Broadway shows, however, such as the musicals Hair, Little Shop of Horrors, Spring Awakening, Next to Normal, Rent, Avenue Q, and In the Heights, began their runs Off Broadway and later transferred onto Broadway, seeking to replicate their intimate experience in a larger theatre.

After, or even during, successful runs in Broadway theatres, producers often remount their productions with new casts and crew for the Broadway National Tour, which travels to theatres in major cities across the country. Sometimes when a show closes on Broadway, the entire production, with most if not all of the original cast intact, is relaunched as a touring company, hence the name “Broadway National Tour”. Some shows may even have several touring companies out at a time, whether the show is still running in New York or not, with many companies “sitting down” in other major cities for their own extended runs. Smaller cities may attract national touring companies, but for shorter periods of time. Or they may even be serviced by “bus and truck” tours. These are scaled down versions of the larger, national touring productions, historically acquiring their name because the casts generally traveled by bus instead of by air, while the sets and equipment traveled by truck. Tours of this type, which frequently feature a reduced physical production to accommodate smaller venues and tighter schedules, often run for weeks rather than months. Some will even play “split weeks”, which are half a week in one town and the second half in another. On occasion, they will also play “one-nighters”. The production values, while generally still good, are usually less lavish than the typical Broadway National tour or national touring production and the actors, while still members of the actor’s union, are compensated under a different, less lucrative, union contract. The Touring Broadway Awards, presented by The Broadway League, honor excellence in touring Broadway.

Awards

Broadway productions and artists are honored by the annual Antoinette Perry Awards (commonly called the “Tony Awards, or “Tony”) which are given by the American Theatre Wing and the Broadway League, and which were first presented in 1947. The Tony is Broadway’s most prestigious award, comparable to the Academy Awards for Hollywood film productions. Their importance has increased since 1967, when the awards presentation show began to be broadcast on national television. In a strategy to improve the television ratings, celebrities are often chosen to host the show, some with scant connection to the theatre. The most recent Tony Awards ceremony was held on June 7, 2015. Other awards given to Broadway productions include the Drama Desk Award, presented since 1955, the New York Drama Critics’ Circle Awards, first given in 1936, and the Outer Critics Circle Award, initially presented in 1950.

Broadway theatres and current productions


 

  • If no show is currently running, the play listed is the next show planned (dates marked with an *).
  • If the next show planned is not announced, the applicable columns are left blank.
  • Capacity is based on the capacity given for the respective theatre at the Internet Broadway Database.
Theatre Owner Current production Type Address Capacity Opened Closed
Al Hirschfeld Theatre Jujamcyn Theaters Kinky Boots Musical W. 45th St. (#302) 1424 April 4, 2013 Open-ended
Ambassador Theatre Shubert Organization Chicago Musical W. 411th St. (#219) 1125 November 14, 1996 Open-ended
American Airlines Theatre Roundabout Theatre Company Old Times Play W. 42nd St. (#229) 740 October 6, 2015* November 29, 2015
August Wilson Theatre Jujamcyn Theaters Jersey Boys Musical W. 52nd St. (#245) 1228 November 6, 2005 Open-ended
Belasco Theatre Shubert Organization Hedwig and the Angry Inch Musical W. 44th St. (#111) 1018 April 22, 2014 Open-ended
Bernard B. Jacobs Theatre Shubert Organization The Color Purple Musical W. 45th St. (#242) 1078 December 10, 2015* Open-ended
Booth Theatre Shubert Organization Hand to God Play W. 45th St. (#222) 766 April 7, 2015 Open-ended
Broadhurst Theatre Shubert Organization Mamma Mia! Musical W. 44th St. (#235) 1186 October 18, 2001 September 12, 2015
The Broadway Theatre Shubert Organization Fiddler on the Roof Musical B’way (#1681-@52nd) 1761 December 17, 2015* Open-ended
Brooks Atkinson Theatre Nederlander Organization Spring Awakening Musical W. 47th St. (#256) 1094 September 27, 2015* January 9, 2016
Circle in the Square Theatre Independent Fun Home Musical W. 50th St. (#235) 840 April 19, 2015 Open-ended
Cort Theatre Shubert Organization Sylvia Play W. 48th St. (#138) 1084 October 27, 2015* Limited Engagement
Ethel Barrymore Theatre Shubert Organization The Curious Incident of the Dog in the Night-Time Play W. 47th St. (#243) 1096 October 5, 2014 Open-ended
Eugene O’Neill Theatre Jujamcyn Theaters The Book of Mormon Musical W. 411th St. (#230) 1066 March 24, 2011 Open-ended
Gerald Schoenfeld Theatre Shubert Organization China Doll Play W. 45th St. (#236) 1079 November 19, 2015* January 31, 2016
Gershwin Theatre Nederlander Organization Wicked Musical W. 51st St. (#222) 1933 October 30, 2003 Open-ended
Helen Hayes Theatre Second Stage Theatre Dames at Sea Musical W. 44th St. (#240) 597 October 22, 2015* Limited Engagement
Imperial Theatre Shubert Organization Les Misérables Musical W. 45th St. (#249) 1443 March 23, 2014 Open-ended
John Golden Theatre Shubert Organization The Gin Game Play W. 45th St. (#252) 805 October 14, 2015* January 10, 2016
Longacre Theatre Shubert Organization Allegiance Musical W. 48th St. (#220) 1091 November 8, 2015* Open-ended
Lunt-Fontanne Theatre Nederlander Organization Finding Neverland Musical W. 46th St. (#205) 1519 April 15, 2015 Open-ended
Lyceum Theatre Shubert Organization A View from the Bridge Play W. 45th St. (#149) 922 November 12, 2015* February 21, 2016
Lyric Theatre Ambassador Theatre Group On the Town Musical W. 42nd St. (#213) 1930 October 16, 2014 September 6, 2015
Majestic Theatre Shubert Organization The Phantom of the Opera Musical W. 44th St. (#247) 1645 January 26, 1988 Open-ended
Marquis Theatre Nederlander Organization Penn & Teller on Broadway Magic B’way (#1535-@46th) 1612 July 12, 2015 August 16, 2015
Minskoff Theatre Nederlander Organization The Lion King Musical W. 45th St. (#200) 1710 November 13, 1997 Open-ended
Music Box Theatre Shubert Organization King Charles III Play W. 45th St. (#239) 1009 November 1, 2015* January 31, 2016
Nederlander Theatre Nederlander Organization Amazing Grace Musical W. 41st St. (#208) 1235 July 16, 2015 Open-ended
Neil Simon Theatre Nederlander Organization The Illusionists – Live on Broadway Magic W. 52nd St. (#250) 1467 November 19, 2015* January 3, 2016
New Amsterdam Theatre Disney Theatrical Prods. Aladdin Musical W. 42nd St. (#214) 1747 March 20, 2014 Open-ended
Palace Theatre Nederlander Organization An American in Paris Musical B’way (#1564-@46th) 1743 April 12, 2015 Open-ended
Richard Rodgers Theatre Nederlander Organization Hamilton Musical W. 46th St. (#226) 1400 August 6, 2015 Open-ended
St. James Theatre Jujamcyn Theaters Something Rotten! Musical W. 44th St. (#246) 1709 April 22, 2015 Open-ended
Samuel J. Friedman Theatre Manhattan Theatre Club Fool for Love Play W. 47th St. (#261) 650 October 8, 2015* Limited Engagement
Shubert Theatre Shubert Organization Matilda the Musical Musical W. 44th St. (#225) 1460 April 11, 2013 Open-ended
Stephen Sondheim Theatre Roundabout Theatre Company Beautiful: The Carole King Musical Musical W. 43rd St. (#124) 1055 January 12, 2014 Open-ended
Studio 54 Roundabout Theatre Company Thérèse Raquin Play W. 54th St. (#254) 1006 October 29, 2015* January 3, 2016
Vivian Beaumont Theater Lincoln Center Theatre The King and I Musical W. 65th St. (#150) 1080 April 16, 2015 Open-ended
Walter Kerr Theatre Jujamcyn Theaters A Gentleman’s Guide to Love and Murder Musical W. 48th St. (#219) 945 November 17, 2013 Open-ended
Winter Garden Theatre Shubert Organization School of Rock Musical B’way (#1634-@50th) 1526 December 6, 2015* Open-ended

Upcoming productions

The following have been announced as future Broadway productions. The theatre in which they will run is either not yet known or currently occupied by another show.

Musicals

  • Groundhog Day: March 9, 2018 (Unknown Theatre)
  • On Your Feet!: November 5, 2015 (Marquis Theatre)
  • She Loves Me: March 3, 2016 (Studio 54)
  • Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed: April 21, 2016 (Music Box Theatre)
  • Tuck Everlasting: April 17, 2016 (Broadhurst Theatre)
  • Waitress: March 2016 (Brooks Atkinson Theatre)

Plays

  • The Father: April 12, 2016 (Samuel J. Friedman Theatre)
  • Long Day’s Journey into Night: April 19, 2016 (American Airlines Theatre)
  • Misery: November 15, 2015 (Broadhurst Theatre)
  • Noises Off: January 16, 2016 (American Airlines Theatre)
  • Our Mother’s Brief Affair: January 20, 2016 (Samuel J. Friedman Theatre)

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Extensive & Memorable Networking Experiences

Building relationships matter! At DigiMarCon Conferences we have more networking breaks on our program than others. On average there are 8 Networking breaks at each event giving delegates ample opportunities in a relaxed atmosphere to meet others over the 2-days at the event; from 1-hour round table networking luncheons to 3-hour dinner receptions. These networking breaks are set in picturesque locations to facilitate memorable experiences while fostering new relationships. Such experiences include enjoying cocktails and the Sunset over the Pacific Ocean on a private Ocean Terrace in Santa Monica, to being on the Sydney Olympic Stadium playing arena at night enjoying cocktails under the lights, to dining at the 360 Revolving Restaurant at the top of the CN Tower in Toronto for a Dinner Reception, enjoying cocktails on a private promenade overlooking Times Square in New York City, or having fun at the Dazzles Night Club onboard the Royal Caribbean Oasis of the Seas for a Farewell Party, etc.

Industry Thought Leaders from Leading Brands

DigiMarCon Keynotes, Panels and Master Classes are facilitated by the foremost thought leaders in the industry, from celebrity social media influencers to CMO’s from the largest Fortune 500 company brands that are disrupting the digital marketing industry, such as Google, Facebook, Microsoft, Amazon, Oracle, Adobe, eBay, Netflix and more. All presentations are pitch-free, and include actionable takeaways, case studies, strategies and tactics, ready to be applied when back in the office.

Premium Comfortable Meeting Spaces

At DigiMarCon Conferences you are never ‘left in the dark’…. literally, in a large room far away from the stage and speakers, crushed in tight theater seating, without even a desk, while sitting in the dark. At DigiMarCon all delegates have premium meeting space in luxurious ballroom well-lit spaces, with comfortable seating with desk enabling delegates to use their laptop to take notes with ample charging facilities onsite in a comfortable space to learn and thrive. All tables are situated close with direct view of the stage.

Value for Money & Generous Discounts

DigiMarCon Conferences are affordable to attend, from single-day event passes up to two-day VIP options at a fraction of the cost of other industry events. We offer significant discounts for early bird registrations. Additionally, on top of time-limited discount pass rates, because budgets are tight, we want to make sure all groups have a chance to attend DigiMarCon. For government employees, students, academic, startups, non-profit organizations and teams, we offer generous discounts off the prevailing registration price.

Collaborative Learning & Audience Participation

Attend DigiMarCon and you become part of the show! DigiMarCon Conferences tap into the talent of the room, drawing from the knowledge and experience of the professionals in the audience. All DigiMarCon events include regular interactive question and answer sessions with speakers and the audience ideal for collaboration, audience polls, along with ice-breaker and group exercises, steered by charismatic Emcees.

Meet the Speakers in Person

DigiMarCon Conferences put you right up and close with the speakers giving you the opportunity to meet these social media influencers which you follow in person. Speakers are never hidden in private speaker rooms away from the audience, they are in the auditorium sitting right beside you and participating.

Exceptional Customer Service

Attending a conference is a well-researched decision. There are many factors to consider such as location, time, venue, cost, speakers, content, etc. At DigiMarCon our results-obsessed Customer Service team are at your service before, during and after the event to help with your needs. It’s at the core of what we do — it drives our business. Offsite, we are ready to assist you via phone, ticket or chat. Onsite at our Conferences, friendly DigiMarCon staff serve as your hosts. They welcome your input and are happy to assist you.

TECHSPO Technology Expo

At all DigiMarCon Conferences is the co-located exclusive event TECHSPO Technology Expo, which showcases the new generation of technology and innovation, including; AdTech, MarTech, Internet, Mobile and SaaS technologies. Be inspired, amazed and educated on how these evolving technologies will impact your business for the better. Access to TECHSPO Technology Expo is included with all DigiMarCon passes.

On Demand Library Access

DigiMarCon All Access & VIP Passes include a 12-month on demand access to hundreds of hours of DigiMarCon speaker keynotes, panels and master class presentations from recent DigiMarCon Conferences, including videos, slide decks and key takeaways, available on demand so you can watch what you want, when you want.

The Largest Digital Marketing Community

Attendees of DigiMarcon Conferences gain membership to an exclusive global Digital Marketing Community of over 500,000 worldwide subscribers to our award-winning digital marketing blog and over 70,000 members to our Digital Marketing Professionals Group in LinkedIn (visit https://www.linkedin.com/groups/2661359/). This global community comprises of innovators, senior marketers and branders, entrepreneurs, digital executives and professionals, web & mobile strategists, designers and web project managers, business leaders, business developers, agency executives and their teams and anyone else who operates in the digital community who leverage digital, mobile, and social media marketing. We provide updates to the latest whitepapers and industry reports to keep you updated on trends, innovation and best practice digital marketing.

DigiMarCon New York - Inquiries

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Got questions? We have answers…

This page will answer many of the questions you may have about DigiMarCon New York 2020.

 


When and where is the DigiMarCon New York 2020 Conference?

DigiMarCon New York 2020 takes place from May 7th to 8th, 2020 at the New York Marriott Marquis in Times Square, New York City, NY. Click here for travel details.


New York Marriott Marquis Address:
1535 Broadway
New York City, NY 10036
United States


Location:

  • 8 miles from LaGuardia International Airport
  • 17 miles from John F Kennedy International Airport
  • 17 minutes from Newark Liberty International Airport
  • Nearest Subway Station: 49th Street and 7th Avenue N/R/Q line
  • Nearest Train Station: Penn Station
  • Blocks from the Lincoln Tunnel, Queens-Midtown Tunnel and Queensboro Bridge.
  • One of the most convenient choices among Times Square hotels with parking.


Directions:


From LaGuardia International Airport (LGA)

  • Travel northwest on LaGuardia Road. Make a slight right toward Grand Central Parkway then merge onto the parkway.
  • Travel 0.8 mile and take the exit onto the Brooklyn Queens Expressway East.
  • Travel 1.2 miles and merge onto Interstate 278 West.
  • Travel 2.2 miles to exit 35 for Interstate 495/Long Island Expressway toward Midtown Tunnelern Long Island/Greenpoint Avenue.
  • Travel 0.5 mile and merge onto partial toll road Interstate 495 West.
  • Travel 2.6 miles through the tunnel into Manhattan, keep left at the fork in the road and merge onto partial toll road Tunnel Exit Street.
  • Travel 0.2 mile and turn left onto East 34th Street.
  • Travel 1.0 mile to 8th Avenue and turn right.
  • Travel 0.6 miles to West 46th Avenue and turn right to the hotel.


From John F Kennedy International Airport (JFK)

  • Travel 0.7 miles on the Van Wyck Expressway to Interstate 678 North.
  • Travel 7.4 miles to exit 12B for Interstate 495 West/Long Island Expressway toward the Midtown Tunnel.
  • Travel 7.6 miles on partial toll road Interstate 495 West and pass through the tunnel into Manhattan.
  • Keep left at the fork in the road and merge onto partial toll road Tunnel Exit Street.
  • Travel 0.2 mile and turn left onto East 34th Street.
  • Travel 1.0 mile to 8th Avenue and turn right.
  • Travel 0.6 miles to West 46th Avenue and turn right to the hotel.


From Newark Liberty International Airport (EWR)

  • Travel 1.7 miles toward Interstate 78 West and take the ramp on the left for Interstate 78 East toward the New Jersey Turnpike/Interstate 95.
  • Travel 2.0 miles and take the ramp on the right for Interstate 95 North toward exits 15E-18E/Lincoln Tunnel.
  • Travel 1.3 miles and keep left onto Interstate 95 North/New Jersey Turnpike North.
  • Travel 6.4 miles to exit 16E and take the ramp on the right for Route 495 East toward the Lincoln Tunnel.
  • Travel 4.7 miles through the tunnel into Manhattan and take the ramp on the left for Dyer Avenue toward Uptown/Theater District/42nd Street.
  • Travel 0.1 mile to West 40th Street and turn right.
  • Travel 0.2 miles to 8th Avenue and turn left. Travel 0.3 mile to West 46th Street and turn right to the hotel.


Parking Information:
On-site valet parking, fee: $90 USD per day for standard cars plus tax, overnight (subject to change)


What’s the Schedule?

Here’s the high-level schedule (note: all times are Eastern Daylight Time):

Thursday, May 7th, 2019
9:00am - 9:45am: Registration Check-in, Welcome Refreshments & Networking
9:45am - 12:00pm: General Session
12:00pm – 1:00pm: Networking Luncheon
1:00pm – 2:30pm: General Session
2:30pm – 3:10pm: Refreshments & Networking
3:10pm – 5:00pm: General Session
5:00pm – 7:00pm: Welcome Cocktail Reception

Friday, May 8th, 2019
9:00am - 9:45am: Registration Check-in, Welcome Refreshments & Networking
9:45am – 12:30pm: Master Classes
12:30pm – 1:30pm: Networking Luncheon
1:30pm – 3:30pm: Master Classes
3:30pm - 5:30pm: Farewell Cocktail Reception


How much does it cost to attend DigiMarCon New York 2020?

Regular price is $797 (USD) for a main conference access. We are also offering an All Access Pass, which includes the main conference, all Master Classes, Welcome and Farewell Cocktail Receptions and Video on Demand, for $1,097 (USD). Last but not least we have a Virtual Pass/Video On Demand (VOD) option for those who can’t make the conference for $347. For more information about pricing and the different passes available please click here.


What is included in the Main Conference Pass registration fee?

Your completed Main Conference Pass registration provides you the following:

  • Conference Bag
  • All General Sessions – Thursday, May 7th, 2019
  • TECHSPO Hall (Unlimited Access) – Thursday, May 7th, 2019
  • AM/PM Refreshments, Networking Luncheon – Thursday, May 7th, 2019
  • Welcome Cocktail Reception – Thursday, May 7th, 2019


What is included in the All Access Pass registration fee?

Your completed All Access Pass registration provides you everything included in the Main Conference Pass plus the following:

  • All Master Classes – Friday, May 8th, 2019
  • TECHSPO Hall (Unlimited Access) – Friday, May 8th, 2019
  • AM Refreshments, Networking Luncheon – Friday, May 8th, 2019
  • Farewell Cocktail Reception – Friday, May 8th, 2019
  • On Demand – Available online approximately 2 weeks after conference concludes


What is included in the VIP Pass registration fee?

Your completed VIP Pass registration provides you everything included in the All Access Pass plus the following:

  • VIP Priority Registration Check-In – Thursday, May 7th, 2019
  • VIP Seating on General Session Day – Thursday, May 7th, 2019
  • VIP Seating on Master Class Day – Friday, May 8th, 2019


How do I register? Register now!

Full registration information is available here.


What forms of payment are accepted?

The following forms of payment are accepted: American Express, Visa, MasterCard, and PayPal. Payment is required to complete your registration.


Is there a group discount?

Absolutely! Bring as many colleagues as you’d like! Register FOUR or more people from the same company simultaneously to receive $200 discount off the prevailing registration price for each member of your group.

There are just a few simple Group Registration rules:

  • All registrants must be employed by the same company.
  • All members of the group must be registered at the same time. Discounts will not be applied retroactively.
  • You must pre-register to take advantage of these rates, which will not be offered on site.
  • Group Registration Rates cannot be combined with any other offers.

More details about Group Rates here.


Are there academic, government, nonprofit or military discounts?

Academic, Government, Military & Non-Profit discount rates at DigiMarCon New York 2020 apply to current full-time employees of academic institutions, federal, state or local government agencies, international government agencies, active military and non-profit organization employees only.

More details about Discount Rates here.


What is the dress code?

Conference attire is business casual for all events, including the evening events. We do recommend bringing a sweater or light jacket with you since personal preferences vary regarding room temperature.


Can I bring a guest to the conference and networking events?

All attendees at the conference and networking events must be registered attendees who purchased tickets.


Can I send a substitute in my place?

You may send a substitute in your place at any time. All such requests must be submitted by email to registration[at]digimarcon.com (replace at with @). Only requests made by the original registrant will be honored.


What is the refund policy?

You may cancel your participation in DigiMarCon New York 2020 at any time, but please be aware of the following cancellation policy listed below.

Registration cancellations received 90 days prior to the Conference incur a 25% processing/administrative fee. Refunds will be issued within 30 days after event. If you must cancel for any reason, notify our registration department by 90 days prior to the Conference. Cancellations less than 90 days prior to the Conference are non-refundable. Substitutions allowed prior to 90 days prior to the Conference with written or Faxed authorization only. No substitutions less than 90 days prior to the Conference. Cancellations less than 90 days prior to the Conference are non-refundable for any reason, including, but not limited to, failure to use DigiMarCon credentials due to illness, acts of God, travel-related problems, acts of terrorism, loss of employment and duplicate purchase. DigiMarCon will not issue refunds for badges that have been revoked.

Unused registrations/applications have no monetary value and cannot be credited to future years or events. DigiMarCon will not issue refunds or credits due to failure to redeem a discount coupon during the registration process. Discounted prices are based on the date payment is received in the DigiMarCon office. Reselling DigiMarCon New York 2020 registrations is not permitted.


I live outside of United States, do you accept attendees from other countries?

Yes, international attendees are welcome at each of our conferences.


I live outside of United States and my country requires a Visa to visit United States, can DigiMarCon prepare an invitation letter for me to attend the conference for Visa Processing purposes?

Yes, this is often requested for International Attendees. After you have registered, send a letter request email to info@digimarcon.com and provide your address, company name, company title and passport information to be included in the invitation letter.


I live outside of United States and my country requires a Visa to visit United States, if my Visa Application is declined will I get a refund?

You can request a cancellation at any time. Refer to our refund policy for refund eligibility criteria.


Where should I stay in New York City?

The official conference hotel to stay in New York City is;

New York Marriott Marquis
1535 Broadway
New York, NY 10036
United States
https://digimarconnewyork.com/new-york-marriott-marquis/

Hotel Booking Instructions

To book a room at New York Marriott Marquis follow the instructions below;

By Phone:
Call 1-800-843-4898, ask for reservations, give group name ‘DigiMarCon New York 2020’ and arrival date and book.


What networking activities are associated with DigiMarCon New York 2020?

A full list of the official conference networking functions are available here.


Will I receive event updates?

Yes, DigiMarCon will send emails periodically to update you on the agenda, event happenings and logistics. Please make sure that the email address registration[at]digimarcon.com (replace at with @) is in your safe senders list to ensure you are receiving all important event information.


How can I submit to speak at DigiMarCon New York 2020?

There are a limited number of sponsored keynote speaking spots still available during the conference. Please contact Aaron Polmeer, aaron[at]digimarcon.com (replace at with @), if you are interested in this opportunity.


Can I record what is presented at DigiMarCon New York 2020?

Sessions may be audio recorded without special permission for personal use only. They cannot be placed online or transmitted to others without permission.

Sessions may be videoed only with special permission for personal use and also cannot be placed online or transmitted to others. Short audio and video clips may be used for blogging and press coverage of sessions. As a general guide, non-contiguous clips of one minute or less should be used. Contact us if you need guidance about longer clips.


How can we sponsor DigiMarCon New York 2020?

Complete the sponsorship inquiry form here for more details on sponsorship, exhibiting and advertising opportunities at DigiMarCon New York 2020.


Do you have an affiliate program?

Yes we do. Become a DigiMarCon Affiliate and earn commission on every completed registration referred by your efforts. Click here for details.


Can’t find an answer you’re looking for?

Contact Support

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