Hartford Business Journal

10 Hartford Business Journal | February 22, 2021 | HartfordBusiness.com Arts Biz By Frank Rizzo Special to the Hartford Business Journal F or more than a half-century, the subscription model was the classic business framework for regional theaters, giving nonprofit institutions the security of cash- in-advance funds and an assured audience base to start each season. Though buying habits have shifted over the years with audiences increasingly favoring ticket purchases for individual shows, the subscription model has remained theaters' financial foundation — but one with diminishing fiscal security. Now the pandemic, and resulting ban on indoor shows, is causing some theaters to look at another business model to keep earned income flowing for ad-hoc and virtual programming. TheaterWorks Hartford has adopted — at least for now — a membership model that allows fans to purchase monthly or year-long memberships, for either individuals or entire households, that offer access to content presented in any form: online, outdoors or eventually back inside its newly-renovated, 188-seat basement theater in downtown Hartford on Pearl Street. Pre-pandemic, the 36-year-old producing theater had more than 5,000 subscribers for its five- show season, one of the highest subscription counts among the state's regional performance venues. "Membership is something we talked about a lot before the pandemic," says Freddie McInerney, TheaterWorks' director of marketing and communications, "but we could never reconcile it with the ease of our subscription model." While some theaters have produced little online work since last spring, TheaterWorks has debuted a steady stream of content to keep audiences engaged and entertained. That has included virtual concerts, readings, watch parties and even an at-home series, "Get Sauced With Rob," which features the theater's producing artistic director, Rob Ruggiero, as he prepares pasta sauce in his kitchen while informally chatting with theater pals. Those virtual offerings resulted in more than 90% of the theater's 2019- 2020 subscribers waiving refunds for the three shows that were canceled last spring. Even still, the theater couldn't recoup single-ticket or concession sales and revenues were 18% below budget (to about $1.9 million) causing TheaterWorks to furlough more than half of its staff last summer (11 employees) while all other employees were furloughed for two-week periods. The theater did receive a $251,905 Paycheck Protection Program loan and $264,900 state grant to help it get through the pandemic. Dealing with new season The big challenge for the theater came when it was planning its 2020- 2021 season, which couldn't promise subscribers a return to indoor shows. Ruggiero and his team switched to a membership model, offering 12 plays in 12 months in some form; pre-pandemic subscribers would get five live, in-person productions. The cost of membership is the same as a subscription: $195. However, people can also sign up for monthly memberships at $20.21, without making the larger commitment. The theater's goal was 3,000 memberships and so far more than 2,500 people have joined. The 2020-2021 season, which started last fall and runs through late summer, began with a new musical in development, "At the River I Stand," followed by a streaming co- production of "Russian Troll Farm: A Workplace Comedy," which made The New York Times' "10 Best List" of 2020. TheaterWorks also has streamed the play "The Who and the What," as well as a reimagined version of its popular holiday show "Christmas on the Rocks," with actors filmed individually on stage and presented online. Because of the expansion to 12 months of programming for the 2020-2021 season, TheaterWorks is hiring more than 40 actors and dancers, one of the few performance houses in the country creating work for artists. Whether or not TheaterWorks maintains the membership model or continues to publish content online when pandemic restrictions are lifted, remains uncertain right now. "We still have to iron out some things," says Ruggiero, but he notes production value for online work has greatly improved and the geographic reach of digital content allows for an expanded customer base. The monthly membership price point also makes TheaterWorks more accessible to a broader range of potential theatergoers. "We've learned a lot about how to deliver virtually now and we know we've created audiences for different markets that we don't want to now give up," he said. Ruggiero also sees a psychological element to the membership model, with participants feeling they are part of a club instead of a crowd. "People know what it is and know what they'll be getting and they have been deeply loyal to us with this model," he says. "But we see opportunity now in attracting a different audience so we have to figure out if we lean into that. 'What exactly is membership' is the question. Is it like Netflix or Hulu? Does it attract a younger audience that wants options? I don't know. We want to remain agile." Other theaters adapting Though not yet widespread, other theaters across the country are also exploring various forms of membership, including Steppenwolf Theatre in Chicago, Woolly Mammoth in Washington, D.C., ACT in Seattle, New York Theatre Workshop and, closer to home, Long Wharf Theatre in New Haven. "What the pandemic has done has forced theaters to be much more innovative about how they bring programming to their audiences," says Teresa Eyring, executive director of Theater Communications Group (TCG), the umbrella organization for regional theaters. Though TCG has no specific data, she estimates only about one-fifth of regional theaters used the membership model before the pandemic. But she notes that during the last year people have become more used to membership models with a wide variety of monthly-fee apps and streaming platforms like Netflix. "The idea of buying a membership is definitely growing," she says. "But will people stick with that model when we come back live?" At least for now, it allows theaters to generate much-needed income in an audience-friendly way. "What it does do," says McInerney, "is allow us to employ artists, keep us engaged with our audience and have people excited by new work." Hartford's TheaterWorks turns to membership model to stay afloat, keep fans engaged Actors Stephen Elrod and Jessica Jain perform in the play "The Who and The What" at TheaterWorks in Hartford. The play streamed online to a virtual audience. PHOTO | CONTRIBUTED At The River I Stand Russian Troll Farm: A Workplace Comedy The Who & The What Talkin' To This Chick Sippin' Magic Potion Mr. Parent The Sound Inside Fun Home Proximity TheaterWorks' virtual plays Here's a list of plays that TheaterWorks is or has presented virtually during its 2020-2021 season. Rob Ruggiero

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