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winter market • My last market of 2022. That’s a wrap for the holiday season. Unfortunately it was very empty, no sales were made, and I spent a lot of my time prepping, packing and attending. It was sad to be there and experience it for all the people working hard to provide a beautiful shopping experience, paying market venue fees, most of them not breaking even, and feeling like time wasted over a weekend that could’ve been filled with much more. Nonetheless, I’ll keep creating as we all feel beaten down some days, and we ride the wave to come back out of it. Also, I’m so grateful to have @yellowtailwood by my side who helped me so much with it all. Kudos to all the partners out there with supporting the hustle! Aidan’s vases were a hit with anyone who visited my booth; everyone touched their smooth to perfection finishing. On another good note, I’m really excited to share with you some of my latest Christmas commissions soon. Been quietly creating them the last few weeks 🤫 🤶🏻 Two key portfolio items I’ve been waiting for to come into my lap were checked off! Stay tuned ♥️🎉 #BisaLisa #marketfail #market #xmasmarket #marketsetup #christmasgifts #christmasmarket (at Vancouver, British Columbia) https://www.instagram.com/p/CmWzYVOJ2T-/?igshid=NGJjMDIxMWI=

#bisalisa #marketfail #market #xmasmarket #marketsetup #christmasgifts #christmasmarket

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Commercial and not-for-profit theatres can’t do without each other, but hooking up can be as profitable as it is problematic.

This article is a few years old, but seemed particularly fitting after the readings from class this week. Though buried midway through the article, there is a quote that suggests the idea that nonprofit theatre was born out of a market failure from the commercial sector:

“The alternative theatre, the resident theatre, was originally founded to do the kind of work Broadway couldn’t do, or wouldn’t do, or couldn’t afford to do.”

While the argument could be made that this is still the case, it is interesting to note that the market failure, perhaps, also draws nonprofit theaters into the commercial sector. As the article points out, a nonprofit theater may solicit a commercial producer to help offset the costs of a particularly large-scale production. I find this fascinating as it opens a whole new realm of financial management and contractual negotiations. After all, how do royalties play in to the “non-distributive,” constraint. (Note to self--really, look in to that).

And, of course, there is the potential mission drift...

Also worth noting, at least when considering the role of nonprofit theater as representation, three of the shows used as examples in the article (Sunday in the Park with George, Chorus Line, and RENT) won the Pulitzer Prize for drama. Fun Home was a finalist, though it did not win.

#nonprofits #marketfail #theatre #butwhyyyy