FOr a large part of the last decade, probably longer, Broadway The programs have been a bit like buying a property: yes, some wealthy young people can do so, especially if they have the help of their parents, but for the most part, it is something most frequently appreciated by baby boomers who always live their generational wealth, playing the reason why subsequent generations cannot just do what they do. To a certain extent, this imbalance will be difficult to change, in particular with ticket prices And the attendance of the two records, often in concert with each other. But the last year about Broadway also saw a resurgence in shows that pursue an audience far younger.
One of the greatest successes to date is the Romeo + Juliet The production featured Rachel Zegler and Kit Connor, who emphasized the youth of an often aged story, and brought in a recognizable star with his own vocal fan base – a bit like what Baz Luhrmann did when he threw Claire Danes and Leonardo DiCaprio in the 1996 cinematographic version. According to one of its producersThe play managed to strike the youngest Broadway audience in recorded history, with 14% of ticket buyers within 18 to 25 years, as opposed to an average of the industry of 3%.
This may not look like a record turn number, but 18 to 25 is a narrow demo that excludes real children, who flock to shows like the Lion King and Harry Potter and the cursed child on the penny of their parents (or grandparents). Many of the biggest Broadway productions in recent years have been these family shows or the jukebox rate aimed at the crowd of nostalgia. But this season has experienced an increase in equipment apparently aimed at this younger crowd. Recent openers include a prequel to foreign things, similar to Harry Potter's game, but a little less suitable for children and the least spectacular John Proctor is the villainA piece on teenage girls reading the crucible, with Sadie Saign by Stranger Things. Even more strange and more traditional things SmashBased on a NBC Flop chronicing the making of a musical television series, seems to be younger and fresher than, let's say, last season Barry Manilow-Penned, musical based on the Second World War. A superstar version of Othello, one of Broadway's oldest tickets, probably does not need to offer $ 50 tickets for students, but they are TO DO Nevertheless, probably recognizing both the good perspective of a reduction option and the danger of public pricing of tomorrow. It should also be noted that so many shows targeted by young people are not splashing musicals but straight pieces – always a field that could use commercial boost.
Perhaps the youngest audience can do for a more difficult job what consecrated fans have done for musicals like rent, spring, nasty girls or hamilton. A recent success has proven the value of this dedication: WickedA show that has been taking place for more than two decades, has finally made the jump on the big screen and has become a global smash, apparently less of the nostalgia of the older Oz than the fandom of the younger audience for the spectacle itself, as well asana Grande and Cynthia Erivo. Young and large stars, Sink or Zegler cultivate a level of enraged fandom that does not necessarily greet, let's say, Denzel Washington, despite his best representative.
Thus, even if it may seem counter-intuitive for Broadway to court a younger audience for its events at a price Beyond the scope Many Americans in the middle class, it is also warned of how it is logical to market an exorbitant trip to Disney World as a standard and feasible practice. Although film tickets are much lower, much lower than their Broadway equivalents (which, if you do not live near New York, lead to an additional entry cost via the trip), Broadway begins to seem more before the curve concerning a lesson that Hollywood has taken centuries to learn: you cannot continue to recycle the same properties forever. Although films like Wicked and Minecraft started their own recent young people focused on young people, it took years of studios to consider that perhaps the same mixture of properties from the 80s and 90s (Indiana Jones, Ghostbusters, Star Wars, The Matrix) do not inspire the same excitement among those who came after generation X.
It may not seem so revealing to make an expensive and expensive room based on a large expensive Netflix television series – especially when there was a musical game back to the future on the big white way not so long ago. Without doubt, there will always be musicals from Juke Boxes that will won the public born well before 1975 and films with a hugely converted success on stage. But after years of press on how millennials kill this obsolete industry or industry, do not be surprised if he ends up being the Z generation that helps save Broadway From oblivion to blue hair.
