The Show

The producers of Anastasia approached us in early fall 2018 to take over their street team marketing. Anastasia had opened on Broadway in April 2017.

The Challenge

While it had a strong start, Anastasia faced some challenges going into its second year. New big name shows had opened and were presenting very stiff competition. Broadway Crew faced the unique challenge of keeping the show relevant and maintaining sales at TKTS while also taking over TKTS promotional duties in the middle of the show’s run.

The Solution

After we took over promotional team responsibilities in September, we created a unique sales strategy tailored to Anastasia’s needs to promote the show at TKTS. In our analysis of the shows strengths and comparison to its competitors, we determined two key target-audiences:

Families with young children

• For daughters, we focused on how the show was a Disney-esque princess story. For sons, we focused on Anastasia historical relevance-specifically the bits about revolution and the military characters.

Visitors to the City

• Anastasia was the perfect musical for both domestic and international visitors to NYC who were looking for a big musical with amazing spectacle. For international tourists, we utilized the international touring productions of Anastasia, which were highlighted on the flyer for the show.

We also utilized several sales tactics that were effective at selling Anastasia:

Citing Anastasia’s “Authentic Broadway Feel.”

• Anastasia is a classic musical in both its story and its styling. Using sweeping and visually stunning sets, beautiful costumes, and epic dance numbers, Anastasia fits the profile of a traditional Broadway musical. We emphasized this to appeal to audiences looking for that “authentic Broadway experience,” which especially helped distinguish it in a market that was crowded with less-traditional Broadway shows.

A team sales strategy

• For all of our shows, we use a team sales strategy to maximize effectiveness and affordability for clients. We had a dedicated promoter on the line for Anastasia, but we also briefed the entire team about the show details, sales tactics, and target audiences. This meant that every Crew Member was able to sell the show if they encountered a patron who was in the target demographic or was interested in the show and could reinforce other Crew Members’ sales pitches. This kind of team reinforcement is an incredibly effective method for completing sales.

Developing both a TKTS strategy for both the Line and Post-Line

• There are two distinct phases to TKTS: the period when the booth opens and there is a long line of patrons waiting to buy tickets and the post-line. Surprisingly, many patrons who are waiting in line often don’t know which show to see, and that’s where we come in. As show promoters, we were able to use the selling points for Anastasia in combination with our team sales strategy to often make Anastasia one of the top selling shows “on the line.”

• “Post line” is the phase that occurs after the initial line dissipates. This phase typically looks like patrons “window shopping” and talking to promoters about what to see before they go to the TKTS window to buy it. This phase presents an amazing opportunity to meaningfully engage with patrons. This is the time when we are able to explain all the aspects of the show and close sales.

Utilizing the South Street Seaport TKTS Location

• Often overlooked, South Street Seaport provides a great opportunity to have an exclusive presence with ticket buyers. The booth sells same day matinees, evening shows, and next day matinees. This means audiences can plan ahead and buy tickets for multiple TKTS shows at once. We jumped at this opportunity for Anastasia and provided a presence at this booth on Tuesdays, Fridays, and Saturdays, meaning we could cover 3 performances per shift. Additionally, because only one other promotional team utilizes the Seaport location, we were often the only show promoters at Seaport, which allowed us to promote Anastasia with limited competition.

The Results

Ultimately, Broadway Crew raised Anastasia’s TKTS sales by 10% compared to the same time period from the previous year. This resulted in Broadway Crew generating an 86x return on investment. That’s enough to really impact the bottom line and, hopefully, contribute to the lifespan of amazing shows like Anastasia.

The Show

Broadway Crew was hired by the producers of Puffs in the summer of 2018 to take over the street team duties for Puffs’s off-Broadway production. The show had been running for a few years and had built up a solid fanbase, partially thanks to a professionally shot full-recording of the show that was available online.

The Challenge

Puffs was a show that was inspired by the popular Harry Potter series, acting as an alternate story to what was happening during the mainline books. Because of this, however, one of the big challenges of selling Puffs was avoiding any of the copyrighted verbiage. The goal was to make it clear to audience members that the  show was connected to a beloved piece of intellectual property without infringing on that intellectual property

The Solution

After we were hired on to be the street team for Puffs, we created a unique sales strategy tailored to Puffs’s needs to promote the show, both at TKTS and elsewhere. In our analysis of the shows strengths and comparison to its competitors, we determined three key target-audiences:

Families

• Puffs was the perfect show for families. It was a laugh-a-minute comedy that appealed to both boys and girls as well as adults. In addition, because Puffs performed some performances every week with a specifically ‘family friendly’ version of the show, it was very easy to sell to families on those days. Puffs also typically had very good availability at TKTS which meant that families could find a block of tickets together and, because it was an Off-Broadway show, it had a price point that was very appealing for families!

Teens and Young Adults

• Many teenagers and young adults come to TKTS looking for  a show to see but have a pretty tight budget for how much they can spend. Puffs was typically one of the most affordable shows for sale which made pitching to teens and young adults fairly simple. Add on to that the fact that Puffs was one of the only comedies available that appealed to a younger generation and Puffs was consistently a winner among this demographic!

Fans of the Source Material

• Fans of Potter were almost universally huge fans of Puffs. We would pitch the show and highlight the connection to the popular series. As soon as they realized what the show was, the faces of Potter fans would light up and they would grab the flyer. As we explained the premise of the show, fans would immediately start laughing and insist to their families and friends that they go and check out Puffs.

We also utilized several sales tactics that were effective at selling Puffs:

Finding Potter related words that weren’t copyrighted

• Our greatest challenge was finding ways to connect Puffs to Potter without violating copyright laws. What we found, however, is that we could find words that were related to Potter but were not copyrighted. For example, Harry Potter is copyrighted, but Potter is not. So we would say “any Potter fans?” which would immediately connect us with the fans of the series but without violating anyone’s intellectual property. Finding these work arounds were a vital part of our strategy to sell Puffs.

Selling the funny

• Puffs was, first and foremost, a comedy and we found that pushing that was an incredibly effective sales strategy. Many people come to TKTS looking for a show that can help them escape the, at times, chaotic state of the ‘real world.’ Because of this, comedies are always very appealing to patrons. By pitching Puffs as the premiere Off-Broadway comedy, we were able to make Puffs very appealing to a broad sector of patrons.

A team sales strategy

• For all of our shows, we use a team sales strategy to maximize effectiveness and affordability for clients. We had a dedicated promoter on the line for Puffs, but we also briefed the entire team about the show details, sales tactics, and target audiences. This meant that every Crew Member was able to sell the show if they encountered a patron who was in the target demographic or was interested in the show and could reinforce other Crew Members’ sales pitches. This kind of team reinforcement is an incredibly effective method for completing sales.

Special event flyering

• We also did special event flyering for Puffs at NYC Comic Con, a Harry Potter exhibit, and other events that appealed to the target demographics of Puffs. What these events provided was a concentrated group of patrons who were likely fans of the . By getting flyers in their hands, we were able to build buzz for the show, try out different sales strategies, and sell tickets.

The Results

Through our work, Puffs was able to have a very strong performance in the same-day ticket market for its run Off-Broadway.

The Show

Broadway Crew was hired by the producers of King Kong in early fall 2018 to be the street team for King Kong’s inaugural Broadway production. The show had never been seen in America before the Broadway production.

The Challenge

King Kong was one of the biggest productions to ever come to Broaway, both in terms of scope and in terms of technology. However, because it was known for its spectacle, there was a (sight-unseen) scepticism towards the show from the industry before previews even began with the thought that, because the show was so spectacle heavy, that it was unserious. Once the show opened, it was the recipient of a spate of unfair reviews that resulted in many theatregoers being apprehensive of seeing the show.

The Solution

After we were hired on to be the street team for King Kong, we created a unique sales strategy tailored to King Kong’s needs to promote the show, both at TKTS and elsewhere. In our analysis of the shows strengths and comparison to its competitors, we determined three key target-audiences:

Families

• King Kong was the perfect show for families. It had elements that appealed to both boys (action sequences, a giant monkey puppet) and girls (a strong female lead, amazing dancing) as well as adults (a strong storyline with social commentary, great acting). In addition, because King Kong was performed in such a large theater, there was typically very good availability for the show at TKTS which meant that families could find a block of tickets together — and at a price point that wouldn’t break the bank!

Men

• Traditionally, at TKTS, many men can be apprehensive about seeing a Broadway musical. Wives will often ask show promoters if their husbands will enjoy this or that show. With King Kong, we had an amazing opportunity to pitch a musical directly to a typically underserved sector of the audience. By referencing both the beloved source material as well as the action and spectacle of the production, we were able to often flip the typical TKTS dynamic and have husbands convince their wives to go see a show.

International Tourists

• International tourists are a major section of the market at TKTS. They are anxious to see a show but, often, have a language barrier that can present a challenge. King Kong was the perfect show for international tourists because it was such a well-known story and also so visually compelling. We were easily able to target international tourists and sell them on the show.

We also utilized several sales tactics that were effective at selling King Kong:

Selling the Spectacle

• The biggest unique selling point for King Kong was the pure spectacle of the show. It was not only unlike anything that was on Broadway in its season, it was unlike anything that had ever been on Broadway. Mentioning the gigantic Kong puppet, the stunning projection work, or the way that the show was able to combine puppetry with special effects would break down even the most resistant patron. The spectacle created both excitement and curiosity, which we used to close sales.

Personal Anecdotes

• Because there was some apprehension from theatre goers about King Kong, based upon the reviews, we found that an effective tactic to counteract this was to utilize personal anecdotes. The vast majority of our crew are working theatre professionals so they were able to speak to the concerns of both industry professionals and more seasoned theatre goers about why the reviews of King Kong were unfair representations of what the show was. We referenced other beloved shows that received poor initial reviews — Wicked was a great example for this — and spoke about our own experiences of seeing King Kong to show that serious theatre lovers would still enjoy the show. This tactic worked very well and we were able to successfully challenge the initial biases of many theatre fans and professionals!

A team sales strategy

• For all of our shows, we use a team sales strategy to maximize effectiveness and affordability for clients. We had a dedicated promoter on the line for King Kong, but we also briefed the entire team about the show details, sales tactics, and target audiences. This meant that every Crew Member was able to sell the show if they encountered a patron who was in the target demographic or was interested in the show and could reinforce other Crew Members’ sales pitches. This kind of team reinforcement is an incredibly effective method for completing sales.

“Off-Island” Flyering

• In the lingo of street teams, “On Island” refers to show promotion that takes place at TKTS while “Off-Island” refers to show promotion that takes place away from TKTS. In the case of King Kong, we used Off-Island flyering to increase the brand visibility of the show. Through a combination of rush hour flyering and flyering in Times Square, we were able to get thousands of flyers in the hands of both local New Yorkers and tourists.

Comic-Con

• We also did special event flyering for King Kong at NYC Comic Con. Comic Con took place a few weeks before the show began its previews but it allowed us to start building buzz for it leading up the opening, with special discounts for Comic Con attendees. What Comic Con provided was a concentrated group of patrons who were likely fans of the original King Kong. Additionally, many people who attend Comic Con are trendsetters who are very excited to post and talk about the pieces of entertainment that they enjoy. By getting flyers in their hands, we were able to build buzz for the show and try out different sales strategies before the show’s run even began.

The Results

Through our work, King Kong was able to have a very strong performance in the same-day ticket market for its entire run on Broadway!

The Show

The producers of Slave Play hired us to work as their street team before they began previews for their Broadway production in September 2019. Prior to that, the show had a very well selling Off-Broadway run at New York Theatre Workshop in 2018.

The Challenge

The challenges of Slave Play were largely due to its title and subject matter. The play’s plot revolved around interracial couples engaging in sex-play based around Antebellum scenes of slavery. This subject matter made it a quite controversial show during its Off-Broadway run. While both critics and audiences tended to be very positive about the show, a movement online had sprung up during the New York Theatre Workshop run that was deeply opposed to the show. This meant that our job for the Broadway run of the show was to pitch the show in a way that didn’t turn off potential patrons while also informing patrons of the potentially triggering material.

The Solution

Our strategy for combating these challenges took on a few different forms. At TKTS, we utilized almost entirely a ‘soft-sell’ strategy. This was because the content of the show was potentially triggering for some patrons, we didn’t want to lose a sale by being too intense. We also made sure that we had a crew member of color being the primary sales representative for Slave Play, though, of course, all of our crew members would promote it. By having the designated promoter for Slave Play be a person of color, we allowed for them to open up more complex and nuanced discussion with non-white patrons about the play.

One of the one-line pitches that we find worked very well for Slave Play at TKTS was “Check out the most controversial show on Broadway.” This would typically draw patrons in and lead to them asking for more information about the show. In general, the trick to making a sale at TKTS is to get the patrons asking questions about a given show. Using the controversy of Slave Play as a selling point turned what could have been a challenge into an attribute.

Similar to the Off-Broadway run, the Broadway production of Slave Play received very positive reviews from the critics. We then used these positive reviews to drum up interest in the show at TKTbS. We would frame Slave Play as one of the shows to see before the Tony Awards and quote the glowing reviews. At one point, we even handed out copies of the New York Times’ glowing review of Slave Play. This critical support helped validate the show in the eyes of patrons and helped differentiate Slave Play from a crowded line-up of plays on Broadway in the fall of 2019.

Additionally, our presence at TKTS allowed us to give the producers valuable feedback about the ways that different marketing strategies were working. This enabled us to change tactics if a certain strategy wasn’t working. As one example, at one point the flyer that we were using at TKTS got re-designed to be more effective, based on feedback that we gave the producers and marketing team.

Outside of TKTS, we worked a variety of targeted events for the show. These events included events that were aimed directly at the Black community as well as pop-up events. One of the most fun events we worked was when the playwright of Slave Play, Jeremy O. Harris, held an impromptu dance party in Times Square and we were on-hand to give out flyers for Slave Play to interested passers-by.

The Results

The sales numbers for Slave Play at TKTS were an incredible success! We would frequently sell the show out at TKTS and have to send patrons straight to the theatre to look for tickets. At our highest point, we sold enough tickets to cover the cost of our services 59 times over. In fact, we never went a single week of the contract where we did not pay for our own services through ticket sales. All in all, Slave Play was a smashing success, so much so that it extended it’s limited run!