Op-Ed: Mason Pilevsky, 05 February 2024
I was incredibly saddened to hear the news on February 1, 2024, that Show-Score has decided to stop offering member nights. For those who are unfamiliar, Show-Score is a website that offered members free tickets to see theatrical productions in New York (and London) in exchange for writing short reviews and giving the performance a score from 1-100. The platform had several levels of membership, including a free membership, paid subscriptions for theatregoers, and a separate category with articles from theatre critics.
In addition to providing crowd sourced opinions about theatrical productions, Show-Score’s membership program was a valuable liaison between curious theatregoers who were unaware of the world of theatre beyond big Broadway/West End productions and smaller productions that needed some assistance filling their audience but benefitted greatly from the word of mouth generated by Show-Score members. I will hereafter confine my comments to New York City, as the NYC version of Show-Score is the only one with which I have personal experience.
On a personal level, this service made me aware of shows and production companies that did not have enough press or marketing to be on my radar—and I pride myself on being dialed in to the NYC theatre scene! I could read a quick description, pick a date, and explore more of what the city has to offer. I was delighted to discover that some of these smaller shows in smaller spaces were my kind of theatre—significantly more profound, experimental, and timely pieces where the sincere belief of the creators and collaborators in their show’s subject material was tangible. These lower budget productions in smaller spaces were often more creative, interesting, and insightful than pieces where more money went into production value (scenery, costumes, choreography, etc.) than script development and storytelling techniques.
When I say that many of these shows had a lot of heart, I mean it in a genuine, loving way; I enjoy seeing shows where the actors and designers and directors and stage management teams and producers are all really emotionally invested in the subject material and reaching the audience. Art is most powerful when the artists are giving something emotional in the creative process, because it opens a door for its audience to feel something emotional as they receive it.
Though there are, of course, large budget shows in massive spaces that move people to think and feel, an equal number of them seem to be riding the coattails of celebrity stars or familiar content from another medium because when the investment is large, the need for a return on the investment sometimes supersedes the desire to create something meaningful. Seasoned industry professionals know what sells; emerging artists know what they want to sell, and as a frequent consumer of these products, I feel a palpable difference when more of the people involved place greater importance on the emotional and intellectual value of their work than the financial elements of making it possible. And, of course, what sells at the end of the day is what the industry continues to invest in.
It is my belief that Show-Score’s decision to stop providing access to these kinds of productions for those who cannot afford to see every show in town, are not regularly exposed to theatre beyond Broadway, and even after having a Show-Score membership would not seek out (or know how to seek out) these kinds of opportunities on their own, will have an impact not only on the success of smaller productions, but also on the content that we see in larger ones.
Off Broadway is still one of the most common pathways to Broadway, and, by redirecting audience members away from Off Broadway productions, the perception of what theatre is will continue to be defined by Broadway and Broadway only. Most Broadway productions, despite greater funding, cannot afford to take risks on content that is uncomfortable or disturbing in the way that a self-selecting show in a smaller space might be able to. Yet often times, we as a society need exposure to these types of stories—we need to be reminded that there is so much more to both theatre and life, and that real change, real memories, and real inspiration comes from experiencing stories that we would not necessarily find our way to on our own. Though it can also come from thoroughly enjoying a well choreographed dance number and a large ensemble cast, these smaller, more intimate stories often speak to a less universal but no less important element of the human experience that gains traction, support, and understanding, from those outside of the target audience who are intrigued and open to exploring these stories when all it costs them is a small handling fee and a trip to the theatre.
It is my belief that shows that were already struggling to fill the house will have their success further constricted by the absence of promotion through Show-Score and Show-Score member nights that got conversations started about their shows beyond the walls of their theatrical spaces. It is less likely that a show that can’t fill an Off Broadway house will be picked up by producers to be seen by a wider audience or able to afford to record a cast album that can be distributed to keep the work in question alive. It means that these hopes and dreams that make these shows so profoundly moving will have fewer and fewer places to go.
Although Show-Score is continuing to allow people to write and post reviews, without the incentive of opportunities to see more shows, I’m uncertain that Show-Score will maintain the size or diversity of its users. Without offering members a chance to experience something new at very minimal cost, I doubt Show-Score will have the same impact on Off Broadway, Off Off Broadway, and independent theatre attendance and ticket sales. Tangentially, this decision could effect the future of Broadway, and also the ability of people who are not economically situated to frequent theatres of any size, to be exposed to this valuable art form that I love so much.
I hope that limited access to and awareness of theatrical work beyond large Broadway venues does not defeat the hope and dreams that create truly inspiring theatre, or reduce the desire of theatre artists to take risks with content and subject material that pushes the industry forward.
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