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*')# 1&0# ,"0#25##2#6.*-0',%2&##$$#!21-$1-!'*+#"'-, 0-"57 =T =DB<DG @MH<I 1P=HDOO@?OJOC@ $<>PGOTJAOC@!JGG@B@JAMON<I?1>D@I>@N JAH@MD><I3IDQ@MNDOT DI.<MOD<G$PGADGGH@IOJA OC@0@LPDM@H@IONAJMOC@"@BM@@JA +<NO@MJAMON DI MON+<I<B@H@IO !C<DM 6DH@I<4<M@G< ## I I?M@R2<TGJM?M? @R 2<TGJM #M#MD><MD>><< JJI?<M@Q0<K<>CI?<M@Q 0<K<>C "@<IJAOC@!JGG@B@JAMON<I?1>D@I>@N May 2, 2021 "<O@ H@MD><I3IDQ@MNDOT 5<NCDIBOJI "! © COPYRIGHT by Abigail Berman 2021 ALL RIGHTS RESERVED LIKE, SHARE, AND RETWEET: EXPLORING THE EFFECTS OF SOCIAL MEDIA ON BROADWAY BY Abigail Berman ABSTRACT This study aims to identify and describe best practices and strategies for social media use on Broadway. A review of the existing literature highlighted that although there is data on both social media and Broadway marketing, there are gaps in research on the overlap between these two concepts. After analyzing literature and case studies and interviewing professionals in the Broadway social media field, it was revealed that digital content should be diversified across social platforms, stay true to the nature of the show, be accessible and inclusive for all audiences, encourage fan interaction, and feel personal to each follower. By adhering to these guidelines, Broadway social media managers will have the highest chance of success to market their product, expand their audience base, and bolster a sense of community online. ii ACKNOWLEDGMENTS This thesis would not have been completed without the guidance and support of my advisor, Ximena Varela. Thank you for your words of wisdom and never-ending encouragement. I would also like to thank the other members of my thesis committee, Andrew Taylor and Erica Bondarev Rapach, for their attentive comments and dedication to my work. Additional thanks go out to my fellow Arts Management classmates, who have provided a mucH-needed welcoming and loving community. Finally, I am forever grateful to my friends and family who have supported me along this journey. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGMENTS ............................................................................................................. iii CHAPTER 1 INTRODUCTION ........................................................................................ 1 CHAPTER 2 METHODOLOGY ....................................................................................... 4 CHAPTER 3 LITERATURE REVIEW ............................................................................. 7 CHAPTER 4 SELECTED CASE STUDIES .................................................................... 26 CHAPTER 5 FINDINGS .................................................................................................. 36 CHAPTER 6 DISCUSSION ............................................................................................. 57 CHAPTER 7 CONCLUSIONS AND RECOMMENDATIONS ..................................... 61 APPENDIX A INTERVIEW QUESTIONS .................................................................... 65 APPENDIX B LIST OF RESPONDENTS ...................................................................... 66 REFERENCES ............................................................................................................................. 69 CHAPTER 1 INTRODUCTION Social media applications are relatively new technologies which can be traced back to 2000 with the creation of Web 2.0, when Internet users could engage in two-way communication with each other and with businesses (Van Dijck 2013). Technology has only progressed since, and well-known platforms such as Facebook, Twitter, Instagram, YouTube, and TikTok are now mainstream applications used by people of all ages. As of January 2020, there were around 230 million active social media users in the United States (Statista n.d.). To keep up with growing users and changing trends, organizations must use social media channels to their advantage. With technology changing every day, it is important to stay relevant by promoting products and consistently engaging with consumers in the digital space. Broadway is no exception to these patterns, and musicals can promote their shows online through official social media accounts. By engaging with these channels, fans are able to interact with a show and its cast as well as with other followers. However, wHile some studies examine the link between social media and theatre, digital marketing technologies are constantly changing. UP-to-date data and analysis are required to understand current, effective social media marketing strategies and to reinforce or reconsider previous findings. There is a plethora of research on both social media marketing strategy outside of theatre and on Broadway shows in general, but there is little researcH combining these two fields. As social media is a relatively new marketing tool, it is important to investigate this link between Broadway and social media to provide new information for the arts management field (Van Dijck 2013). A few exceptions include studies on Lin-Manuel Miranda’s Broadway shows and his use of social media, but there is not much in-depth research on how other musicals have utilized these technologies to their 1 advantage. Specifically, the thesis will investigate effective strategies to market musicals and engage current and potential patrons through social media channels. Research supports the concept that social media can be of use to Broadway musicals, but the extent of its benefit is not abundantly clear. This thesis examines the correlation between commercial theatre and social media and provides further context as to what constitutes exceptional social media strategies for Broadway musicals. Specifically, the research investigates effective strategies to market musicals and engage current and potential patrons through social media channels. Consequently, the main research question for this thesis is as follows: How can Broadway musicals best utilize social media to market their product, expand their audience base, and bolster a sense of community? While this thesis aims to address the current patterns in social media and how they can positively impact Broadway musicals, there are some limitations to the research. As social media and technology platforms are constantly changing, it is difficult to keep up with each emerging trend and new application; what is relevant today may not be relevant tomorrow. Additionally, while disadvantages and issues surrounding social media in the arts are acknowledged, the thesis does not thoroughly address the privacy concerns and accessibility inequities that accompany these platforms. The research focuses on those who do have access to such technologies and does not delve into the concerns and problems of those who do not. Chapter Two delves into the research methodology of this project. The researcher explored existing literature and case studies before interviewing professionals working in or adjacent to Broadway social media to gather best practices and strategies. Chapter Three is a comprehensive literature review analyzing the following themes: a history of Broadway marketing including pre-social media strategies, audience demographic data, and musical theatre 2 trends; social media and marketing, which discusses a general background of the field, word-of- mouth marketing, the uses and gratifications theory, and the impact of the field; and the intersection of theatre and social media including digital marketing in the performing arts, social media on Broadway, and audience engagement and community. Chapter Four then presents case studies on two musicals, Dear Evan Hansen and Be More Chill, to highlight social media strategy exhibited by shows with differing themes and financial success. Next, Chapter Five states the findings discovered through 19 interviews with professionals in related fields. Chapter Six compares this primary data to the literature and discusses commonalities between the two. Finally, Chapter Seven provides conclusions and recommendations for future research. 3 CHAPTER 2 METHODOLOGY The research process began in June 2020 with a literature review analyzing the history of Broadway marketing, the background of social media, and how the two fields have intersected. It was important to have a firm understanding of the background of these fields to then explore their impact today. Although some sources did discuss the impact of social media on Broadway musicals, they did not go into depth or provide many examples outside of Lin-Manuel Miranda’s work. More research was then conducted to fill this gap in the literature by analyzing two case studies. Dear Evan Hansen and Be More Chill were selected due to the researcher’s familiarity with the musicals and because of the large role that social media had played in each show’s life. Additionally, these musicals showcase the two extremes of financial success: Dear Evan Hansen is a Tony Award-winning production that is still open on Broadway, has launched a national tour, and is in production as a major motion picture, while Be More Chill only played on Broadway for five months before closing. The researcher hoped that by comparing two shows with differing financial and critical success, the impact of social media could be analyzed more closely from varying angles. Following the literature review and case studies, the researcher was lacking data on best practices in social media use on Broadway.

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