• AJ
  • dance
  • ideas
  • issues
  • media
  • music
  • people
  • theatre
  • words
  • visual
  • ajblogs
  • about AJ
    • advertise

ArtsAudience

The Audience Is Changing!

  • AJ Home
  • This Week in Audience
  • Featured Audience
  • AJ Audience
  • about our audience project ~

This Week In Audience: Record Movie, Broadway, Box Office

December 30, 2018 by Douglas McLennan Leave a Comment

The new Broadway adaptation of To Kill a Mockingbird features Jeff Daniels as Atticus Finch and Gbenga Akinnagbe as Tom Robins

This Week’s Insights: How Netflix is using viewer behavior to create movies that are watchable… A record year of worldwide movie box office… The best week of box office ever for a Broadway play.

  1. When Data Informs The Art: Did that headline make you queasy? After all, we tend to think of art as the product of inspiration, the result of artists deeply enmeshed in the act of creation. But increasingly, data is not only influencing the way art finds audiences, but shaping the art itself. Where once that would have would have ultimately been a limiting strategy, increasingly granular user data and machine learning is being seen by producers such as Netflix as a way to closely tailor its movies to how its audience’s viewing behavior. “Bird Box” is one such movie. Truly, the movie isn’t that great. But it’s a great example of how Netflix uses all of that data we give it when we start, stop, walk away, return, and finish (or don’t) movies and TV shows.
  2. Wait – We Thought Movie Theatres were Dying: Apparently not. This year (2018) was a record year for movie box office. And it’s not driven by growth in emerging markets. Box office grosses were up a healthy 2.7% gain from last year, with most of that hike coming from North America. Year-end projections released Thursday by Comscore predict that domestic grosses will hit $11.9 billion, a 7% increase from 2017. International grosses look to reach $29.8 billion, a 2.7% bump compared to the previous year.
  3. A New Record For A Broadway Play: The new Broadway adaptation from Oscar winner Aaron Sorkin made Broadway history for the week ending December 23, taking in $1,586,946 at the box office, shattering the house record at the Shubert Theatre for the highest weekly gross of any Broadway play (non musical) in the Shubert Organization’s 118-year history. Yes, this is an American classic. And it has a bankable Hollywood star and marquee writer/producer. But it’s still a startling accomplishment for a non-musical.

Filed Under: This Week in Audience

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

WALLACE FOUNDATION AUDIENCE RESOURCES

NEW!



WORLD MUSIC/CRASHarts Tests New Format New Name to Draw New Audiences
This article and video are part of a series describing the early work of some of the 25 performing arts organizations participating in The Wallace Foundation’s $52 million Building Audiences for Sustainability initiative. Launched in 2015 in response to concerns about a declining audience base for a number of major art forms, the endeavor seeks to help the organizations strengthen their audience-building efforts, see if this contributes to their financial sustainability, and develop insights from the work for the wider arts field.


Think Opera’s Not for You? Opera Theatre of Saint Louis Says Think Again
Analysis showed that while the company’s core audience bought several tickets each year, even tending to schedule their May and June around opera season, newcomers behaved differently.




Can the City's Boom Mean New Audiences for the Seattle Symphony?
In line with the community’s spirit of innovation, Seattle Symphony is using audience research to help target and woo recent transplants.





Denver Center Theatre Company is Cracking the Millennial Code...One Step at a Time
The average single-ticket buyer at the Denver Center Theatre Company is 50 years old and the average subscriber is 63, despite the fact that millennials, a group often defined as people born between 1981 and 1997, compose the largest age group in Denver. Since 2010, the Denver Center has been engaged in an iterative process of experimentation, evaluation and refinement to help reverse this trend.



The Party’s Still a Hit: The Isabella Stewart Gardner Museum Builds on its Millennial Momentum

That ongoing research has revealed areas to adjust, as well as successes. Soon after the re-opening, for example, the team partnered with a local music school, taking the opportunity to hold 45-minute concerts in Calderwood Hall. But in part through survey results, it realized the approach didn’t work. [read more]



Austin Ballet’s “Familiarity” Problem And How It Learned To Connect With New Audiences



“Encouraging people to attend the ballet more often was less about increasing their familiarity with productions and more about bridging an uncertainty gap. “Familiarity is about information,” notes Martin, “whereas uncertainty about how an experience will feel is much more personal. You can give somebody a lot of information but that’s not necessarily going to reassure them that they’re going to belong in that audience.”

How the Contemporary Jewish Museum
Expanded its Reach



​​​The Contemporary Jewish Museum in San Francisco moves to a larger space and secures a nine-fold increase in family visitors of all backgrounds.

ALSO:

VISIT THE WALLACE KNOWLEDGE CENTER

Copyright © 2025 · Magazine Pro Theme on Genesis Framework · WordPress · Log in