The Evolving Appeal of Broadway to Male Audiences
Despite not fitting the stereotypical image of a Broadway enthusiast, Edward Price, a 40-something political economist based in New York City and the Hudson Valley, has recently become an unexpected regular at the theater. Usually indifferent to the bright lights and musical numbers, Price has made solo visits to see two prominent productions: “Othello,” featuring Denzel Washington and Jake Gyllenhaal, and “Glengarry Glen Ross,” starring Bob Odenkirk, Kieran Culkin, and Bill Burr.
A Shift Toward Male-Centric Productions
Price’s interest stems from a desire to explore the depths of male psychology and experience-an aspect he feels is often underrepresented in traditional theater. His recent attendance reflects a broader trend in Broadway’s evolving audience demographics, especially during a record-breaking season driven partly by shows that resonate strongly with male viewers.
Historically, men have comprised roughly one-third of Broadway audiences, according to industry reports. However, this past season has seen a notable increase in male attendance, particularly for productions like “Othello,” “Glengarry,” “Good Night, and Good Luck,” “Dead Outlaw,” and the hit series-inspired “Stranger Things.” These shows, along with upcoming revivals of classics like “Waiting for Godot” and “Art,” as well as new works such as a solo Jeff Ross comedy and a fresh adaptation of “Dog Day Afternoon,” suggest a strategic shift to attract more male theatergoers.
The Rise of “Bro Shows” and Male-Targeted Marketing
Within Broadway circles, a new term has emerged to describe these male-appealing productions: “bro shows.” Producer John Johnson, known for “Good Night, and Good Luck” and “Dog Day Afternoon,” notes that many of these shows are intentionally crafted to attract straight men, often featuring themes of masculinity, competition, or gritty realism.
While it’s important to recognize that not all women or gay men dislike musicals, and not all straight men are drawn to plays starring action stars, industry insiders acknowledge that audience preferences are increasingly targeted. “In the past, marketing often focused on women and couples,” explains Marc Jablonski of Broadway marketing firm AKA. “Now, we’re seeing a reversal-more campaigns aimed directly at men.”
Star Power and Cultural Trends Fueling Male Engagement
A significant factor behind this trend is the influx of high-profile male actors and celebrities on Broadway. Recent seasons have seen stars like George Clooney, John Krasinski, Adam Driver, Hugh Jackman, and Liev Schreiber headline productions, drawing their fanbases into theaters. Keanu Reeves is set to reunite with Alex Winter for a revival of “Waiting for Godot,” while Emmy-winning actors Jon Bernthal and Ebon Moss-Bachrach will star in “Dog Day Afternoon” next spring.
Johnson suggests that social media plays a role as well: “I bet there are groups of guys texting about seeing ‘Glengarry’ because of the cast-‘That guy from “Succession” is in it, let’s go!'” This word-of-mouth, combined with star-driven marketing, helps attract a predominantly male audience.
Targeted Shows and Audience Demographics
One notable example is “Glengarry Glen Ross,” a play about ruthless Chicago salesmen, which has attracted a surprisingly large male crowd, including many finance professionals. Jeffrey Richards, the lead producer, notes that this production has drawn more “bros” than previous runs, a phenomenon he attributes to the play’s intense themes and star-studded cast.
Similarly, “Operation Mincemeat,” a musical based on a WWII deception involving a corpse, appeals to middle-aged men, with roughly half of its ticket buyers being male. Its marketing emphasizes espionage and humor, themes that resonate with a male demographic. Producer Jon Thoday mentions that many men bring their fathers or sons to these shows, creating a shared experience rooted in history and adventure.
Another popular choice among men is “Good Night, and Good Luck,” where George Clooney portrays journalist Edward R. Murrow confronting Senator Joseph McCarthy. Johnson reports that nearly half of the ticket buyers for this production are men, a testament to Clooney’s star power and the show’s compelling political narrative.
Visual Campaigns and Digital Targeting Strategies
Marketing campaigns have become more cinematic and targeted, aiming to compete with television and film for attention. For “Good Night, and Good Luck,” a striking black-and-white image of Clooney smoking a cigarette was used to evoke a political thriller vibe, capturing the attention of potential male viewers.
Advances in digital advertising have also played a role. Platforms like Meta, Google, and streaming services now allow marketers to precisely target audiences based on interests, location, and even profession. Johnson notes that the typical theatergoer has shifted from older suburban women to younger, affluent professionals in urban centers-“hedge fund bros in high-rise apartments,” as he humorously puts it.
Historical Context and Broader Cultural Shifts
The phenomenon of male audiences at Broadway is not entirely new. Historically, in the early 19th century, men made up the majority of theater audiences, viewing it as akin to attending a sporting event. While gay men have long been involved in Broadway’s creative and audience communities, it wasn’t until the 1970s and 80s that openly gay performers and writers gained visibility, shaping the industry’s cultural landscape.
Today, the appeal extends beyond traditional genres. Musicals like “Maybe Happy Ending,” a love story between two robots starring Darren Criss, have seen a higher-than-average male attendance, indicating a diversification of interests. Even productions with unconventional themes or experimental narratives are drawing in new demographics.
Challenges and Future Prospects
Not every “bro show” achieves commercial success. For instance, “Swept Away,” a musical inspired by a shipwreck and cannibalism, closed shortly after opening despite featuring music from the Avett Brothers. Its mixed reviews highlight the risks involved in targeting niche audiences.
Industry veteran Sonia Friedman observes that once straight men are introduced to Broadway, they tend to explore a wide array of shows. She’s currently involved with “Stranger Things: The First Shadow,” which boasts nearly half of its ticket buyers as men, and hopes this initial interest will lead to broader engagement with different genres.
Looking Ahead: The Next Big Hit?
Producers are already speculating about future hits that could further attract male audiences. Thoday humorously suggests, “Stay tuned for a James Bond musical,” hinting at the potential for blockbuster franchises to dominate the stage.
As Broadway continues to adapt to changing audience preferences, the trend of increasing male engagement appears poised to reshape the cultural landscape of American theater, blending star power, targeted marketing, and diverse storytelling to draw in new crowds.
