Some of our subscribers and media members ask: “How can we get shows to come to Dayton sooner?” One of our active strategies to get Broadway musicals to play Dayton as early as possible in their touring schedule is to periodically make modest investments in those touring shows. The most common way we do this is to work with the Independent Presenters Network (IPN), a group of 45 Broadway presenters who work together to “pool” investment funds in selected shows. If the IPN selects a show to invest in, we have the opportunity of putting $15,000 – $25,000 towards an investment that between 20 or 30 theatres adds up to a significant amount of money and “clout” with producers as to where a show tours. This strategy has paid off with The Color Purple, Legally Blonde: The Musical, and this coming season’s 9 to 5: The Musical–where we are getting the tour in its first year on the road.

One other way we are involved in Broadway productions is through our participation in a producing entity called Elephant Eye Theatricals (EET). If you know your Broadway songs, you get the reference from Oklahoma where “the corn is as high as an elephant’s eye.” A few years ago, we were given the opportunity to invest in EET, whose goal was to develop productions for Broadway–the actual producing of shows including optioning or developing original properties, hiring artists, and doing everything else that a commercial Broadway producer does. There were 13 performing arts centers that made initial investments into Elephant Eye. On last Thursday, I was pleased to attend the opening night of EET’s first project: The Addams Family.

After a sold out preview engagement in Chicago for 11 weeks, the production moved to Broadway for previews and opened at the Lunt-Fontanne Theatre last April 8, 2010. I was there to represent Victoria Theatre Association and the Arts Center Foundation at the opening along with my fellow EET performing arts center investors and others.

It was quite a night! The street outside the theatre was closed off and the full cadre of New York media was out in force. Lesley and I walked the red carpet and generated little or no interest from the paparazzi! It must have been because Elaine Stritch, Hugh Jackman, the cast of the “Today Show,” Matthew Broderick and Tommy Tune were all behind us. We settled into our seats–in the front row– and waited for the show to start about 15 minutes later than scheduled due, no doubt, to all those celebs being fashionably late. When the orchestra began the familiar theme from “The Addams Family” TV series, the audience immediately added the double finger snap and you could just tell it was going to be a good night. When the curtain went up to reveal the assembled cast–headed by Nathan Lane as Gomez and Bebe Neuwirth as Morticia–there was an ovation that went on for literally minutes.

The show is campy, very funny, heartfelt and quite silly in a good way. Nathan Lane is fantastic, as is Bebe Neuwirth. There is an interesting set, good lighting, appropriate costumes, and some great special effects. There was a lot of laughter, lots of applause, and a long standing ovation at the end of the evening. And it all was followed by a fantastic opening night party in the true Broadway tradition.

The reviews the next morning were mixed, especially The New York Times and The Wall Street Journal. And this, for me at least, is where it starts to get interesting.

Despite the reviews, the show sold an amazing $850,000 on the opening weekend. It has consistently been sold out and is posting revenues in excess of $1,000,000 a week. It is reported to have a $15,000,000 advance on sales.

And in April 14’s New York Times there is a story about how well the show is selling–despite the terrible reviews. It looks like it may turn into a terrific hit, which, of course, is pretty close to winning the lottery in terms of probability.

All this speaks well of our association with EET. While there may be financial returns in the future (it’s early yet and there is a $16 million show to pay off), Elephant Eye will be considered as a viable producing player on the Broadway scene, making it easier to find investors for its other projects that are in earlier stages of development. It also points to the unique collaboration between a commercial Broadway producer and a group of not-for-profit performing arts centers. And this helps to promote Victoria Theatre Association and the Arts Center Foundation as one of a group of leading theatres in the country that are actively involved in the industry and helping to find new models for Broadway producing and touring in the future.

-Ken