10 opening, most of the city’s theater critics gave the show a thumbs-up, which piqued the interest of the traditional theatergoing demo - led by middle-aged women, who make the majority of Broadway purchasing decisions.Įven so, it remains to be seen whether the $2.9 million staging of “Oh, Hello” will make any money. That’s the opposite of the traditional buying pattern, which sees core Broadway fans snatch up orchestra locations first before audiences spread up to the mezz.Īfter the show’s Oct. And whereas most Broadway shows see sales spikes after appearances on morning shows like “Good Morning America” and “CBS Sunday Morning,” “Oh, Hello” got its big boost in traffic from a September stop at “The Tonight Show Starring Jimmy Fallon.”Īt the box office, lower-price balcony seats tended to go first, with seats in the mezzanine and the orchestra filling in later, according to show’s the producers. “We sold more than $250,000 in tickets in 48 hours, and we spent about $300,” said Catullo.Įrin Daigle, the associate director of digital media and analytics at Broadway ad agency Serino Coyne, reports that after that first announcement, 80% of visitors to the show’s website were men below the age of 34. The online appearance was supposed to last ten minutes, but it stretched to 40 - and it worked. So the production announcement came not through the usual outlets favored by theater avids, but on Facebook Live in partnership with Funny or Die. “A full page ad in the New York Times didn’t make any sense for our show,” said Marcia Goldberg, who produced “Oh, Hello” on Broadway with Patrick Catullo (“Fully Committed”).
The challenge lay in getting them to show up for Broadway, where the usual marketing spends don’t typically overlap with the media habits of young, digital-savvy millennials.
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