THIRTEEN PBS
Tagged :: cheap tickets
10/10/08 :: Film, Theater

What do you do when it’s time for a TV commercial break?

If you’re like me, you check your e-mail, brush your teeth, grab a cookie, throw some laundry in the drier, pay some bills—anything but watch the darn thing. And of course, though I’m too technophobic to learn how to use it, TiVo (DVR) has rapidly changed the landscape by allowing people to painlessly zap commercials altogether. This week’s New York magazine article by Emily Nussbaum did a great job of breaking down the new ways in which advertisers are getting their products showcased on television, using as the main focus the NBC comedy 30 Rock. One of the more common strategies advertisers now use is to have its product as a central plot theme. 30 Rock—a TV show about putting on a TV show—lampoons this process, while 30 Rock itself is part of this trend. This phenomenon, known as brand integration, isn’t new (who can forget the Junior Mint or Pez episodes in Seinfeld?), but with technology having made it easier and easier to avoid commercials (or the PBS equivalent, “sponsor breaks”), it’s likely we’re going to see more and more of this kind of thing in the future. One of the scarier examples cited in the New York article was the recent Broadway revival of Sweet Charity, which obtained permission from Neil Simon to substitute a product name (no, I’m not going to name it here) in the line “I’ll have a double Scotch on the rocks.”

Still, entertainment and the arts are incredibly expensive to produce, whether it’s an orchestra concert, television show, opera, or Broadway show. read more

4/16/08 :: Opera

I’ll be the first to admit it: I’m cheap.

Back in the days when I didn’t get up before noon on weekends, I used to drag myself out of bed on Saturday at 8 a.m. after a friend told me about a Cambridge, Massachusetts shop called Dollar-a-Pound. On weekends only, the store cleared out its warehouse floor by selling clothing for a dollar a pound; customers were given giant plastic garbage bags at the door, and then we all rushed in to grab never-worn or barely worn castoff designer clothing before someone else got it first. Merchandise was weighed on a scale and paid for on the way out. I’ve replenished an entire season’s wardrobe in an hour that way—and had money left over for brunch (after a short nap).

I’ve waited all afternoon in the sweltering heat in Central Park for free tickets to see Shakespeare in the Park, and like most New Yorkers I’ve waited in the TKTS line for cut-rate Broadway show tickets. I’ve won tickets via radio promotions to live tapings of Garrison Keillor’s Prairie Home Companion. One of the big reasons I’m happy about the alliance between the Metropolitan Opera and WNET/Great Performances is there’s now more opera on television—and it’s free. Or at least free after I’ve paid my monthly ransom to Verizon.

At the Metropolitan Opera, I’ve saved money by getting standing-room tickets—for operas as long as Tchaikovsky’s Queen of Spades and Wagner’s Die Meistersinger (more than five hours on your feet for the latter, with all the cuts opened).

So my initial reaction to the Metropolitan Opera’s 2006 program offering same-day tickets for certain performances was: Finally, someone in opera heaven is listening. read more

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