Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-27T20:03:02.806Z Has data issue: false hasContentIssue false

13 - Performing Arts and Culture

from Part III - Live Entertainment

Published online by Cambridge University Press:  26 June 2020

Get access

Summary

This chapter reviews the major segments of performing arts. These include commercial theater productions, orchestras, dance, and opera, The coverage extends to art markets and museums and to financing and economic aspects.

Type
Chapter
Information
Entertainment Industry Economics
A Guide for Financial Analysis
, pp. 533 - 570
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Further Reading

Abbing, H. (2002). Why Are Artists Poor? The Exceptional Economy of the Arts. Amsterdam University Press.Google Scholar
Albrecht, E. (1995). The New American Circus. Gainesville: University Press of Florida.Google Scholar
Alter, A., and Paulson, M. (2018). “Lawsuit Says Screenwriter Is Mangling ‘Mockingbird,’” New York Times, March 15.Google Scholar
Andresky, J. (1983). “So You Want to Be an Angel?” Forbes, 131(3)(January 31).Google Scholar
Atkinson, B. (1990). Broadway, rev. ed. New York: Limelight Editions (reprint) and (1974) Macmillan.Google Scholar
Barnes, B. (2005). “To Push Musicals, Producer Shakes Up Broadway Tactics,” Wall Street Journal, March 10.Google Scholar
Baumol, H., and Baumol, W. J., eds. (1984). Inflation and the Performing Arts. New York University Press.Google Scholar
Benedict, S., ed. (1991). Public Money and the Muse: Essays on Government Funding for the Arts. New York: The American Assembly (Columbia University).Google Scholar
Berzon, A. (2014). “Cirques’s Next Act: Rebalancing the Business,” Wall Street Journal, December 2.Google Scholar
Bianco, A. (2004). Ghosts of 42nd Street. New York: HarperCollins (William Morrow).Google Scholar
Biddle, L. (1988). Our Government and the Arts: A Perspective from the Inside. New York: American Council for the Arts.Google Scholar
Blackmon, D. A. (1998). “Forget the Stereotype: America Is Becoming a Nation of Culture,” Wall Street Journal, September 17.Google Scholar
Blau, J. R. (1989). The Shape of Culture: A Study of Contemporary Cultural Patterns in the United States. Cambridge University Press.Google Scholar
Blumenthal, R. (1997). “On Broadway, Serious Plays Are Headed for Serious Trouble,” New York Times, January 9.Google Scholar
Bowley, G., and Rashbaum, W. K. (2016). “Sotheby’s Tries to Block Suit Over a Leonardo Sold and Resold at a Big Markup,” New York Times, November 29.Google Scholar
Brockett, O. G. (1979). The Theater: An Introduction, 4th ed. New York: Holt, Rinehart and Winston.Google Scholar
Brown, C. (2013). “The Epic Ups and Downs of Peter Gelb,” New York Times, March 24.Google Scholar
Catton, P. (2014). “A Show With a Happy Ending,” Wall Street Journal, August 20.Google Scholar
Catton, P. (2013). “Preserving the Most International Art Form,” Wall Street Journal, January 28.Google Scholar
Cherbo, J. M., Wyszomirski, M. J., and Stewart, R. A., eds. (2007). Understanding the Arts and Creative Sector in America. New Brunswick, NJ: Rutgers University Press.Google Scholar
Chow, K. (2011). “The Gargosian Effect,” Wall Street Journal, April 1.Google Scholar
Clark, L. H., Jr. (1985). “Why Can’t the Arts Be More Businesslike?” Wall Street Journal, June 11.Google Scholar
Collins, G. (2000). “Three Circuses, a Ring at a Time,” New York Times, December 26.Google Scholar
Conte, D. M., and Langley, S. (2007). Theatre Management: Producing and Managing the Performing Arts. Los Angeles: EntertainmentPro and Silman James Press.Google Scholar
Cooper, M. (2019). “Lockout Mutes Symphony Under Strain,” New York Times, July 2.Google Scholar
Cooper, M. (2016). “It’s Official: Many Orchestras Are Now Charities,” New York Times, November 16.Google Scholar
Cooper, M. (2015a). “A New Labor Contract at the Expanding Cincinnati Orchestra,” New York Times, May 9.Google Scholar
Cooper, M. (2015b). “Challenges Go Beyond Music,” New York Times, April 23.Google Scholar
Cooper, M. (2014). “Not Over Till Overtime’s Due? Met Labor Strife Bares Secrets,” New York Times, July 8.Google Scholar
Cornes, R., and Sandler, T. (1996). The Theory of Externalities, Public Goods and Club Goods, 2nd ed. Cambridge University Press.Google Scholar
Cowen, T. (2006). Good and Plenty: The Creative Successes of American Arts Funding. Princeton University Press.Google Scholar
Cox, M. (1984). “Orchestra Thrives by Playing the Music People Didn’t Want,” Wall Street Journal, July 19.Google Scholar
Croft-Cooke, R., and Cotes, P. (1976). Circus: A World History. New York: Macmillan.Google Scholar
Crow, K. (2015). “The New Faces at the Top of the Art World,” Wall Street Journal, July 3.Google Scholar
Crow, K. (2014). “Art’s High-Roller Specialist,” Wall Street Journal, November 7.Google Scholar
Crow, K. (2012). “Warhol Art Trove Pops Up for Sale,” Wall Street Journal, September 6.Google Scholar
Crow, K. (2011a). “The Art Market Snaps Back,” Wall Street Journal, April 29.Google Scholar
Crow, K. (2011b). “New Buyers Bring Art Market Back to Glory,” Wall Street Journal, January 28.Google Scholar
Dunning, J. (1986). “Dance as Big Business May Pose a Threat to Dance as Art,” New York Times, March 30.Google Scholar
Feld, A., O’Hare, J., and Schuster, J. M. D. (1983). Patrons Despite Themselves: Taxpayers and Arts Policy. A Twentieth Century Fund Report. New York University Press.Google Scholar
Flanagan, R. J. (2012). The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges. New Haven: Yale University Press.Google Scholar
Flew, T. (2013). Global Creative Industries. Cambridge: Polity Press.Google Scholar
Frey, B. (2003). Arts and Economics: Analysis and Cultural Policy, 2nd ed. Berlin: Springer-Verlag.Google Scholar
Gamerman, E. (2015). “The Museum of the Future,” Wall Street Journal, October 16.Google Scholar
Gamerman, E. (2011). “Nutcracker Inc.,” Wall Street Journal, December 2.Google Scholar
Gamerman, E., and Crow, K. (2011). “Clicking on a Masterpiece,” Wall Street Journal, January 14.Google Scholar
Gapinsky, J. H. (1984). “The Economics of Performing Shakespeare,” American Economic Review, 74(3)(June).Google Scholar
Goldstein, M. (1995). “Re-inventing Broadway,” New York Magazine, May 29.Google Scholar
Greenhouse, S. (2003). “The Sound of Disharmony in Theater World,” New York Times, March 9.Google Scholar
Gunther, M. (1999). “The Greatest Business on Earth,” Fortune, 140(9)(November 8).Google Scholar
Haithman, D. (1997). “Opera to Die For,” Los Angeles Times, February 2.Google Scholar
Healy, P. (2015). “Producers Struggle to Fathom Show’s Fall,” New York Times, January 7.Google Scholar
Healy, P. (2013a). “Dialing Up a Hit? Device Puts Musical Partly in Crowd’s Hands,” New York Times, June 26.Google Scholar
Healy, P. (2013b). “Need a Theater? Broadway Vacancies Are Up,” New York Times, June 8.Google Scholar
Healy, P. (2012a). “Trying to Fill Broadway Seats with Those Who Fill the Pews,” New York Times, May 1.Google Scholar
Healy, P. (2012b). “On Broadway, Investors with Shallow Pockets,” New York Times, April 19.Google Scholar
Healy, P. (2012c). “Broadway Musicals Hang On for Payoffs Beyond Weekly Gross,” New York Times, March 21.Google Scholar
Healy, P. (2009a). “A Few Star-Studded Acts Obscure Broadway’s Problems,” New York Times, October 21.Google Scholar
Healy, P. (2009b). “Broadway Banks on West End Pedigree,” New York Times, August 23.Google Scholar
Healy, P. (2009c). “Broadway Holds On, for Now,” New York Times, March 11.Google Scholar
Hoelterhoff, M. (1987). “New York City (Opera) on $112,452 a Day,” Wall Street Journal, August 18.Google Scholar
Hoge, W. (2000). “A Major New Role as Theater Mogul for Lloyd Webber,” New York Times, January 10.Google Scholar
Holland, B. (2003). “How to Kill Orchestras,” New York Times, June 29.Google Scholar
Holland, B. (1999). “The Metropolitan Opera: Where Opera, for Good or Ill, Is Grand,” New York Times, May 2.Google Scholar
Honan, W. H. (1989). “Arts Dollars: Pinched as Never Before,” New York Times, May 28.Google Scholar
Hughes, R. J. (2002). “As Funds Fade, Symphonies Cut Their Programs,” Wall Street Journal, October 9.Google Scholar
Hummler, R. (1990). “Expenses Take Off for Off-Broadway Shows,” Variety, September 24.Google Scholar
Kandell, J. (2012). “Art Goes Wild,” Institutional Investor, July/August.Google Scholar
Kinzer, S. (2003). “As Funds Disappear, So Do Orchestras,” New York Times, May 14.Google Scholar
Kinzer, S. (2002). “An Orchestra That Won’t Give Up,” New York Times, March 20.Google Scholar
Kleinfield, N. R. (1994). “How Shubert Fund Produces and Directs,” New York Times, July 10.Google Scholar
Kozinn, A. (2013). “Foreclosure Is New Blow to Nashville Symphony,” New York Times, June 8.Google Scholar
Kozinn, A. (2006). “Check the Numbers: Rumors of Classical Music’s Demise Are Dead Wrong,” New York Times, May 28.Google Scholar
Kozinn, A. (1993). “City Opera Turns 50, but Who’s Counting?” New York Times, July 25.Google Scholar
Kroeger, B. (1987). “Raising a Million for ‘Les Mis,’” New York Times, July 19.Google Scholar
La Franco, R. (1996). “Popera,” Forbes, 158(1)(July 1).Google Scholar
Lampel, J., Shamsie, J., and Lant, T. K., eds. (2006). The Business of Culture: Strategic Perspectives on Entertainment and Media. Mahwah, NJ: Lawrence Erlbaum Associates.Google Scholar
Larson, G. O. (1983). The Reluctant Patron. Philadelphia: University of Pennsylvania Press.Google Scholar
Leslie, P. (2004). “Price Discrimination in Broadway Theatre,” RAND Journal of Economics, 35(3)(autumn).Google Scholar
Loftus, P. (2012). “Philadelphia Orchestra Tunes Up for Its Future,” Wall Street Journal, April 30.Google Scholar
Lyman, R. (1997). “Two Powerhouses of the Theater Meld Broadway and the Road,” New York Times, June 9.Google Scholar
Lynes, R. (1985). The Lively Audience: A Social History of the Visual and Performing Arts in America, 18901950. New York: Harper & Row.Google Scholar
Macauley, A. (2011). “Is Ballet Dying? Sure, It’s Died Many Times,” New York Times, January 5.Google Scholar
Malitz, N. (1995). “A Hardy Survivor Rides the Wave of the Future,” New York Times, March 19.Google Scholar
Marks, P. (2002a). “If It’s a Musical, It Was Probably a Movie,” New York Times, April 14.Google Scholar
Marks, P. (2002b). “For Little Musical That Could, a 42-Year Run,” New York Times, January 9.Google Scholar
Marks, P. (1996). “Broadway’s Producers: A Struggling, Changing, Breed,” New York Times, April 7.Google Scholar
Marsh, B. (1992). “Bunting & Red Tape: The Modern Circus Walks a High Wire,” Wall Street Journal, August 31.Google Scholar
Martin, F. (1994). “Determining the Size of Museum Subsidies,” Journal of Cultural Economics, 18(4)(December).Google Scholar
Mayer, M. (1983). “The Big Business of Grand Opera,” Fortune, 108(8)(October 17).Google Scholar
McCarthy, K. F., Ondaatje, E. H., and Zakaras, L. (2004). Gifts of the Muse: Reframing the Debate about the Benefits of the Arts. Santa Monica, CA: Rand Corporation.Google Scholar
McElroy, S. (2006). “Now, for the Accounting of the Opera,” New York Times, January 8.Google Scholar
McKinley, J. (2005). “Drawn to Broadway from Near and, Mostly, Far,” New York Times, January 13.Google Scholar
McKinley, J. (2004). “Close Call on Broadway Had Its Roots on the Road,” New York Times, July 15.Google Scholar
McKinley, J. (2003a). “The Case of the Incredible Shrinking Blockbuster,” New York Times, November 2.Google Scholar
McKinley, J. (2003b). “Heavy Losses Expected as Theaters Go Dark,” New York Times, March 8.Google Scholar
McKinley, J. (2003c). “Rising Costs Alter Rules for Shows on Tour,” New York Times, February 10.Google Scholar
McKinley, J. (2001). “For the Asking, a $480 Seat,” New York Times, October 26.Google Scholar
Miller, J. (1996). “As Patrons Age, Future of Arts Is Uncertain,” New York Times, February 12.Google Scholar
Moore, T. G. (1966). “The Demand for Broadway Theatre Tickets,” Review of Economics and Statistics, 48(1)(February).Google Scholar
Mordden, E. (2013). Anything Goes: A History of American Musical Theatre. New York: Oxford University Press.Google Scholar
Mulcahy, K. V., and Swain, C. R., eds. (1982). Public Policy and the Arts. Boulder, CO: Westview Press.Google Scholar
Murray, M. (1956). Circus! From Rome to Ringling. New York: Appleton-Century-Crofts.Google Scholar
O’Connell, V. (1997). “Why the ‘Angels’ Invest in Broadway,” Wall Street Journal, October 17.Google Scholar
Oestreich, J. R. (1997). “Opera Enjoys Its Charmed Life,” New York Times, April 28.Google Scholar
Olson, E. (2000). “Keeping the Show Going in a Circus-Saturated Land,” New York Times, December 28.Google Scholar
Passy, C. (2017a). “Blockbuster Shows Are Key for Met,” Wall Street Journal, December 1.Google Scholar
Passy, C. (2017b). “The Circus Finds a New Home at the State Fair,” Wall Street Journal, September 29.Google Scholar
Passy, C. (2017c). “Off-Broadway Golden Age Faces Hurdles,” Wall Street Journal, September 12.Google Scholar
Paulson, M. (2019). “In Landmark Deal, Broadway Actors Secure Slice of the Profits,” New York Times, February 9.Google Scholar
Paulson, M. (2015). “A Hip-Hop Musical on Hamilton Is Put to the Test on Broadway,” New York Times, July 13.Google Scholar
Paulson, M., and Alter, A. (2019). “It’s Curtains for ‘Mockingbird’ on Local Stages,” New York Times, March 1.Google Scholar
Peacock, A., and Rizzo, I., eds. (1994). Cultural Economics and Cultural Policies: Dordrecht, The Netherlands and Boston: Kluwer Academic Publishers.Google Scholar
Pedersen, L. (1996). “The Risks of Buying into Broadway,” New York Times, December 8.Google Scholar
Pogrebin, R. (2004). “Deficit Threatens Dance Troupe in Harlem,” New York Times, May 26.Google Scholar
Pogrebin, R. (2001). “Along the Hudson, a Tent of Dreams,” New York Times, April 6.Google Scholar
Pope, K., and King, T. R. (1995). “Andrew Lloyd Webber Is Planning an Empire Built on His Musicals,” Wall Street Journal, May 4.Google Scholar
Revzin, P., and Patner, A. (1989). “Conductor Barenboim Survives Tough World of Orchestral Music,” Wall Street Journal, May 2.Google Scholar
Riedel, M. (2015). Razzle, Dazzle: The Battle for Broadway. New York: Simon & Schuster.Google Scholar
Robertson, C. (2007). “As Stagehands Strike, Broadway Shows Don’t Go On,” New York Times, November 11.Google Scholar
Rosen, S. (1981). “The Economics of Superstars,” American Economic Review, 71(5)(December).Google Scholar
Rosen, S., and Rosenfield, A. (1997). “Ticket Pricing,” Journal of Law and Economics, 40(2)(October).Google Scholar
Ross, A. (1994). “Easy Does It: The Met Edges into the Future,” New York Times, May 15.Google Scholar
Russell, J. H. (2005). “The Great Green Way,” Wall Street Journal, October 22.Google Scholar
Sang-Hun, C. (2009). “For ‘Dreamgirls,’ Pacific Overtures,” New York Times, March 14.Google Scholar
Sesser, S. (2011). “The Art Assembly Line,” Wall Street Journal, June 3.Google Scholar
Shapiro, E. (1998). “From the Hinterlands, an Upstart Producer Barrels up Broadway,” Wall Street Journal, April 28.Google Scholar
Silk, L. (1978). “The Metropolitan Opera – The High Price of Being Best: The Books Reveal the Cost Squeeze,” New York Times, February 12.Google Scholar
Singh, J. P. (2010). Globalized Arts: The Entertainment Economy and Cultural Identity. New York: Columbia University Press.Google Scholar
Smith, P. J. (1998). “A New Birth for American Opera,” New York Times, September 27.Google Scholar
Snyder, L. (1977). “How to Lose Less on Broadway,” Fortune, 45(5)(May).Google Scholar
Sternbergh, A. (2013). “What Was, Is and Will Be Popular: The Driving Forces of Pop Culture,” New York Times, September 9.Google Scholar
Stewart, J. B. (2013). “Record Prices Mask a Tepid Market for Fine Art,” New York Times, December 7.Google Scholar
Throsby, D. (2010). The Economics of Cultural Policy. New York: Cambridge University Press.Google Scholar
Throsby, D. (1994). “The Production and Consumption of the Arts: A View of Cultural Economics,” Journal of Economic Literature, 32(1)(March).Google Scholar
Tindall, B. (2004). “The Plight of the White-Tie Worker,” New York Times, July 4.Google Scholar
Tommasini, A. (2008). “New Era Brings Buzz (and Big Budgets) to the Met,” New York Times, May 21.Google Scholar
Tommasini, A. (2003). “Fewer Nights for San Francisco Opera,” New York Times, January 30.Google Scholar
Tommasini, A. (1998). “A Crowd of Old Musicals Squeezes the New,” New York Times, August 16.Google Scholar
Towse, R. (2019). Textbook of Cultural Economics, second edition. Cambridge: Cambridge University Press.Google Scholar
Towse, R. (2014). Advanced Introduction to Cultural Economics. Cheltenham, U.K.: Edward Elgar.Google Scholar
Towse, R. (1997). Cultural Economics: The Arts, the Heritage and the Media Industry. Cheltenham, U.K.: Edward Elgar.Google Scholar
Towse, R., ed. (2003). A Handbook of Cultural Economics. Cheltenham, U.K.: Edward Elgar.Google Scholar
Trachtenberg, J. A. (1996). “How to Turn $4,000 into Many Millions: The Story of ‘Rent,’” Wall Street Journal, May 23.Google Scholar
Tugend, A. (2018). “Museums Redefine Their Missions,” New York Times, March 15.Google Scholar
U.S. National Endowment for the Arts (1997). American Canvas. Washington, DC: National Endowment for the Arts.Google Scholar
U.S. National Endowment for the Arts(1981). Conditions and Needs of the Professional American Theater. Washington, DC: National Endowment for the Arts.Google Scholar
Vogan, T. (2015). ESPN: The Making of a Sports Media Empire. Champaign: University of Illinois Press.Google Scholar
Vogel, H. L. (2008). “Capital, Commerce, and the Creative Industries,” in Understanding the Arts and Creative Sector in America, edited by Cherbo, J. M., Wyszomirski, M. J., and Stewart, R. A.. New Brunswick, NJ: Rutgers University Press.Google Scholar
Volz, J. (2010). How to Run a Theatre, 2nd ed. London: Methuen.Google Scholar
Wakin, D. J. (2010). “Strike at Cleveland Orchestra Points to Classical Music Woes,” New York Times, January 19.Google Scholar
Wakin, D. J. (2006). “In Cities across the United States, It’s Raining Concert Halls,” New York Times, September 3.Google Scholar
Wakin, D. J. (2004). “American Ballet Theater Trims Costs, Trying to Keep the Cuts Offstage,” New York Times, October 27.Google Scholar
Wakin, D. J. and Flynn, D. K. (2011). “Metropolitan Opera High Note, as Donations Hit $162 Million,” New York Times, October 11.Google Scholar
Wakin, D. J., and Lohr, S. (2011). “3-D Comes to Met Opera, but without Those Undignified Glasses,” New York Times, February 16.Google Scholar
Weber, B. (2003). “Theater’s Promise? Look Off Broadway,” New York Times, July 2.Google Scholar
Weber, B. (1999). “Making a New Opera Fly Financially,” New York Times, August 11.Google Scholar
Weber, B. (1998). “Gambling on a Trip from ‘Ragtime’ to Riches,” New York Times, February 19.Google Scholar
Weiss, M., and Gaffney, P. (2015). The Business of Broadway: An Insider’s Guide. New York: Allworth.Google Scholar
Wickham, G. (1985). A History of the Theatre. Cambridge University Press.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×