The cultural offerings in the performing arts sector were plentiful this fall, but some presenters struggled to fill their halls. The theater, dance, circus and even song industries, especially for emerging artists, are struggling to sell out. Several rooms were even half full. Or half empty…
Published at 1:05 am. Updated at 6:14 am.
“This is something we expected last year after the crisis,” the co-general director and artistic director of the Théâtre d’Aujourd’hui, Sylvain Bélanger, tells us. But things went really well in fall 2022. So we asked ourselves: What happened between May and September last year? And of course we can’t ignore the economic news, inflation, people’s difficulty paying their mortgage and the decisions they face. »
Sylvain Bélanger believes that the decline in attendance at his theater, whose occupancy has been around 50% on some evenings since September, is multifactorial.
PHOTO FRANÇOIS ROY, THE PRESS
The co-general director and artistic director of the Théâtre d’Aujourd’hui, Sylvain Bélanger
“People’s behavior has changed,” he explains this decline. I have the impression that they have become more homely since the end of the pandemic. When they buy tickets, it’s really last minute. What we also notice is that those who really like theater see less of it. Because not only have we seen a decline in our subscriptions, but there are also fewer shows per subscriber, which tells me that people are either subscribing to other theaters or have decided to reduce their theater budget. »
His colleague Étienne Langlois, co-general director and administrative director of the Théâtre d’Aujourd’hui, does not want to draw any hasty conclusions at this point in the season, but emphasizes that “the previous overall occupancy rate is significantly lower” than in recent years. There’s an encouraging return on subscriptions, he says, but the theater is still about 15% below its pre-pandemic subscriptions.
Pre-sales are more difficult than ever, increasing the pressure on last minute sales, media coverage and word of mouth. The difficulty today is getting people out of their homes. We are not in competition with other cinemas, we are in competition with Netflix!
Étienne Langlois, Co-General Director and Administrative Director of the Théâtre d’Aujourd’hui
The general director of the Théâtre Duceppe, Amélie Duceppe, also speaks of a “significant decline”. “Last year the offer was just as impressive, but we brought in a few more. Maybe there is more insecurity among people, she says. Things have been difficult so far this season. Even with a successful piece like Newsroom, we had an average occupancy of 65%. Since we have fewer subscribers than before, we need to sell a lot of individual tickets to make our shows profitable. »
The professional association of show presenters RIDEAU, which brings together 350 venues and festivals in Quebec, confirms this trend.
Its general manager, Julie-Anne Richard, tells us that only comedy shows – whose occupancy is around 80% -, some popular pieces such as “Le Dinner de Cons” and concerts by established artists such as Michel Rivard, Bleu Jeans Bleu and Daniel Being listed in Bélanger makes you feel good. Emerging artists and most theater, dance or circus shows have significantly lower attendance.
According to data compiled last September from 65 multidisciplinary spaces in Quebec, overall occupancy, all disciplines combined, was 49%, Ms. Richard tells us.
Some rooms are doing better
Although almost all theaters face the same challenges, some are doing better. At Prospero, the two general directors Philippe Cyr and Vincent de Repentigny are convinced that the dynamism of the new management combined with the implementation of “accessible prices” has helped attract spectators to this theater in the east of the city.
People actually pay the plan they choose, no questions asked. You can choose from tickets for $25, $35, $42 or $50. “Someone who can’t afford a $50 ticket can buy a $25 ticket, regardless of their age or situation. We want them to take an artistic risk rather than a financial one,” explains Vincent de Repentigny.
Prospero’s new management also focused on repeating successful plays. We are thinking in particular of Hidden Paradise, created by Alix Dufresne and Marc Béland and revived in September. The programming definitely has an impact on passenger numbers, which have been around 80% since the beginning of September.
PHOTO EDOUARD PLANTE-FRÉCHETTE, LA PRESSE ARCHIVE
Philippe Cyr, co-general director of Prospero with Vincent de Repentigny
“At the moment we can’t complain,” Philippe Cyr tells us, “but we know that we have to work harder than last year.” Like other theaters, we are affected by inflation, the media crisis, the news blackout by Meta, that Buying tickets at the last minute and do not have many resources for our communication, our marketing, for cultural education, for followers. Since we also support school classes, we need the help of funding organizations. »
At the Théâtre du Nouveau Monde (TNM), artistic director and general director Lorraine Pintal also notes that advance ticket sales are slow and difficult.
“Fortunately, the health insurance companies’ compensation regulations still apply,” she exclaims. I think there was an interesting turnout last year because after two years of the pandemic it’s like people are rediscovering theater, but this year there’s been a decline. So far we have been lucky because with the 7 arms of the Ōta and Courville rivers we have created the “Robert Lepage” event and filled our space. But we will see with Projet Polytechnique how people will react. »
What saves the TNM is its very high subscription rate. Although the renovated theater has not yet reached its pre-pandemic subscriber count, it is still under the 10,000 mark, which is an achievement in itself.
Ms. Pintal believes that theaters need to be “more creative in their communication strategies” in the current context.
You need to create the event you have to convince [les spectateurs potentiels] that they will miss something if they don’t come. We advertise ourselves with our newsletters, social networks, etc. We have no choice because media coverage is less important than it used to be.
Lorraine Pintal, general and artistic director of the TNM
Compete musically with Shania Twain
The situation is similar for independent venues where music concerts take place, although we are not too worried at the moment.
The new owner of Club Soda and the Ministry, Louis-Armand Bombardier, tells us that the situation of this 900-seat space is stable and has an annual occupancy rate of around 60%.
“What has changed the most is the behavior of viewers shopping in the week before the show. But our biggest challenge is the wide range of shows,” says Mr. Bombardier.
PHOTO EDOUARD PLANTE-FRÉCHETTE, LA PRESSE ARCHIVE
The owner of Club Soda and the Ministry, Louis-Armand Bombardier
People have money to spend, but they have to make choices. And if Shania Twain shows up at the Bell Center, they won’t come to Club Soda.
Louis-Armand Bombardier, owner of Club Soda and the Ministry
Given that viewers are willing to pay $300 to $500 for major events, Mr. Bombardier wonders whether smaller presenters might also raise the price of their tickets.
“I think so. Our production and transportation costs have increased. Our musicians are no longer paid. And we sell our tickets at the same price, about $45. Is the Quebec public willing to pay a little more? That remains to be seen. But I think a show is worth at least $60. So let’s think about it.”
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49% total occupancy last September from 65 rooms, all disciplines combined.
Sources: RIDEAU