Jessica Ryan
@jessicaryan
Piratical pioneer of experiences live on the Internet (circa 2013) // CEO Broadway Unlocked, your friendly theatre on the internet // Indefatigable advocate for arts
Jessica Ryan
watch.broadwayunlocked.com
On one hand, this trend is potentially devastating for the performing arts industry. On the other hand, this challenge may represent a revolutionary opportunity for these organizations to fundamentally adapt engagement methods and means to change up these experiences as we currently know them – or at least to change up business models so that they
... See moreColleen Dilenschneider • The Pandemic Has STILL Shifted the Types of Cultural Entities People Prefer to Visit
On Sunday, with about six years of musical-theater writing experience between the two of them, the Gen Z songwriting duo beat out a list of powerhouse Grammy nominees that included Andrew Lloyd Webber’s “Cinderella”; Conor McPherson’s “Girl From the North Country,” built around Bob Dylan songs; and a Stephen Schwartz musical.
Julia Jacobs • TikTok to the Grammys: How a ‘Bridgerton’ Musical Beat Broadway (Published 2022)
Unified Video Strategy and Ad Revenue analytics
You can think of it like this:
Fast Company • fastcompany.com
“House of _____” Producing Cohort
Joseph Devlin on LinkedIn: A former student of mine introduced me to a pod called “A Slight Change of… | 64 comments
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Broadway Unlocked and Live Digital
What was particularly fascinating, though, was that being in a live audience in the theatre (red line) led to higher highs and lower lows than watching in a small group (yellow line) in my lab. It was even more reduced when people watched the movie alone (brown line) in my lab. In fact, because of the scaling it looks like they flatlined but I can assure you, the peaks and troughs are present, they are simply greatly reduced in size.
Collective effervescence led to emotional enhancement, making the live performance with a big audience that much more impactful.
In hindsight, the reasons for the failed promise seem somewhat obvious: the Creator Economy was never really meant to be a solution for 99% of the hundreds of millions (or quite possibly billions) of creators that exist today; instead, it was designed to operationalize the financial infrastructure for the top 1%–the creators who have already broken... See more
Fast Company • fastcompany.com
What if the opportunity for creativity is much bigger than what we’ve all been calling the Creator Economy? I believe it is. I call this opportunity, The Creativity Supply Chain.
Fast Company • fastcompany.com
The report’s authors conclude by arguing that hybrid (in-person and online) programming must form a key factor in future accessibility improvements: the more routes that exist for engaging with arts and culture, the easier it is to engage with, and the more inclusive it can become.