Outdoor advertising for Broadway presents a wide range of challenges, ranging from more traditional placements like billboards, bus-sides and taxi tops, to massive train-station or airline-terminal dominations for the bigger, long-running shows. Over time, I have designed large-scale station dominations for Wicked and Mamma Mia! at the following locations: Grand Central Station, Penn Station, commuter rail terminals, the American Airlines terminal at JFK, as well as the enormous Powell Street BART station in San Francisco. I even designed a "Defying Gravity" hot-air balloon for Wicked.
Front-of-House design (i.e. outside of the theatre, including marquees, underslings and any other available exterior and interior building signage) is of course also a big part of any show’s presence on the street. In the case of Charlie and the Chocolate Factory , I converted the Lunt-Fontanne Theatre into Wonka's Chocolate Factory – complete with it's own Oompa-Loopa-sized Employee's Entrance.
But the biggest project, by far, was Harry Potter and the Cursed Child’s epic takeover of Times Square (51 digital screens in total), which was launched by Sarah Jessica Parker. The event was later awarded the first-ever Grand Clio Award in the Live Entertainment category!
HARRY POTTER AND THE CURSED CHILD
Obviously, Harry Potter is one of the biggest franchises on the planet. So when the Broadway show launches a new campaign, they’re not going to do it quietly. In this case we did something that had never been done before: we took over Times Square – 51 separate digital screens!
As crowds gathered, that Hocus Pocuswitch, Sarah Jessica Parker, stood in the middle of Times Square. Borrowing Harry’s wand, she cast a spell to start the show and turned all the digital screens blank. On one of the largest screens, Harry Potter appeared and shot a lightning bolt from his wand onto all the other screens. Suddenly, swarms of Dementors began to infiltrate the screens, turning them all black and revealing the Dark Mark of Lord Voldemort. Until finally they were replaced by the logo for Harry Potter and the Cursed Child. All the spectators, even the few non-Harry Potter fans, cheered.
This event launched a highly successful campaign (print, digital, TV and outdoor) featuring a heroic Harry Potter shooting a lightning bolt that teased the threat of the Dark Mark.
And this event was recognized with the first-ever Grand Clio in the Live Entertainment category!
Watch HARRY POTTER take over Times Square!
CHARLIE AND THE CHOCOLATE FACTORY
The Lunt-Fontanne Theatre was converted into a chocolate factory when Mr. Willy Wonka came to town - complete with chocolate-filled pipes.
There are lots of hidden jokes (aka "Easter Eggs") throughout the facade. The biggest Easter Egg? If you look closely, the winding pipes spell out "WONKA!"
To mimic a factory, the outside of the theatre was covered with brick panels and a maze of pipes filled with chocolate. This wall is the "W" of "WONKA!"
This is my favorite Easter Egg - the Oompa-Loompa-sized Employees Entrance. It immediately became a photo-op for passersby.
Playful Wonka-warnings keep all unruly theatergoers in-line.
Above some of the doors are lenticular windows hinting at mysterious activities happening inside "The Factory."
If boys can have their own berry, then why shouldn't girls? Though unfortunately some berries are not processed at Wonka's factory: the client rejected a HALLEBERRY label.
Everyone's a Golden Ticket Holder at the Lunt-Fontanne.
The very tempting "DO NOT PUSH" button alerts theatergoers of Rotten Behavior.
Theatergoers were encouraged to share the fun at @CharlieOnBway.
Mr. Willy Wonka mysteriously appears in “Factory” window.
WICKED
For WICKED’s 10th Anniversary, we took over all the ads on the platforms in Grand Central Station.
While the 10th Anniversary was the main focus, it was important the spectacle of the show be prominent, too.
Grand Central’s Station Domination required over 150 pieces in multiple shapes and sizes.
Since many passengers would pass daily, it was important to vary and layer the creative to prevent “viewer fatigue.”
Site-specific messaging was included when possible.
Another Station Domination was installed at the 50th Street subway station - which is just steps from the theatre.
To increase walk-up ticket sales, maps were included to direct riders to the Box Office.
The 10th Anniversary campaign was throughout the city: on bus sides...
…subway stations, billboards and dioramas.
10th Anniversary media also reached commuters in their local Metro-North stations.
Another Station Domination greeted tourists at American Airlines terminal at JFK – complete with a photo-op.
The Front of House of the Gershwin Theatre got a refresh for the 10th Anniversary.
The Front of House was designed with multiple photo-ops, which audience members put to use before and after the show.
WICKED always maximizes unusual advertising spaces with a WICKED sense of humor.
WICKED has explored various bus ads: from entire bus wraps...
…to standard bus sides...
…as well as the unusually shaped “L” bus side.
WICKED was the first Broadway show to do Station Dominations in major public transportation hubs like Penn Station and Grand Central Station.
A WICKED-dominated stairwell in Penn Station.
Text-in campaigns were included in Station Dominations.
These 19 back-lit panels in the Times Square subway station reached both commuters and tourists alike in a spectacular fashion.
Early Station Dominations (like this one in Times Square subway station) focused on story-telling. At the heart of WICKED’s success is the compelling tale of these two women.
We included bold maps to the theatre on phone kiosks throughout the Times Square area to target tourists and encourage walk-up business.
The windows of the Official NYC Information Center was the perfect canvas to showcase WICKED’s two “witches.”
Commuters were targeted with Station Dominations. Like with this clock, I always like to customize the ads to take advantage of the environment.
As part of the Station Domination in Metropark, NJ, we boldly adapted the logo into a call to action.
Since most commuters will see a Station Domination on a daily basis (and twice daily), it’s important to vary the creative.
WICKED’s hot-air balloon soars across the United States.
WICKED’s hit-song was a natural fit for the side of the hot-air balloon.
When WICKED returned to San Francisco for an extended engagement, the city was blanketed in advertising: from trolley cars...
…to banners...
…taxi-tops...
…billboards...
…and an enormous Station Domination of the Powell Street BART station.
Creative was throughout the main plaza level...
…as well as on the waiting platforms.
MAMMA MIA!
In its second decade on Broadway, MAMMA MIA! hit the streets with this sexy and playful campaign. Ads were placed at subway exits...
…at phone kiosks...
…bus shelters...
…at parking garages...
…and both bus wraps...
…bus sides.
This multi-panel back-lits brought the party to the Times Square subway station.
Knowing we had a captive audience at Baggage Claim, travelers were encouraged to purchase tickets while they waited for their bags.
MAMMA MIA! greeted travelers at the American Airlines Terminal at JFK.
Since MAMMA MIA! is especially popular with foreign tourists, messaging was provided in many different languages.
The exit doors at the Winter Garden Theatre were utilized as both a billboard and a photo-op area.
ONCE ON THIS ISLAND
The show's Caribbean setting was used to great affect in this Times Square Station domination — especially since it was up for most of the winter.
The show had recently been name "Best of the Year" by many publications, so that messaging was prominently incorporated into the design.
The production is an immersive experience, which is alluded to in the campaign's imagery.
It is the story of one young woman and the island Gods that set her on a journey of love.
The show's logo was strongly branded throughout the Times Square Station. From the steps...
...to the turnstiles.
The logo was even on the actual turnstile.
HOW TO SUCCEED...
The Al Hirschfeld Theatre became a colorful backdrop of photos and reviews as well as numerous opportunities to take a selfie with Daniel Radcliffe.
Studio portraits of the cast were combined with production photos in a stylized retro-modern manner.
Since Daniel Radcliffe starred, outdoor advertising became a key component to our campaign.
HOW TO SUCCEED… was given a rare opportunity to take over Lord & Taylor’s windows.
The windows prominently featured stars Daniel Radcliffe and John Larroquette.
During its lengthy run, we went through three leading men. Starting with Daniel Radcliffe, each “J. Pierrepont Finch” had his own billboard in Times Square.
Darren Criss followed next, complete with a new distinctive color palate – and bow tie.
Nick Jonas was the last to don the bow tie.
NEXT TO NORMAL
NEXT TO NORMAL got some the best reviews of any show on which I’ve worked. Luckily, the Booth Theatre provided ample opportunity to display them.
The Booth Theatre has six large exit doors, which was a perfect canvas for these dynamic photos of the cast of six.
Times Square billboard
Proposed outdoor campaign (1 of 4)
Proposed outdoor campaign (2 of 4)
Proposed outdoor campaign (3 of 4)
Proposed outdoor campaign (4 of 4)
8th Avenue billboard
PROMISES, PROMISES
Front of House for the Broadway Theatre
More Front of House for the Broadway Theatre
A bus side
PROMISES, PROMISES took over the window of the Capezio store in spectacular fashion.
During the summer we wrapped the Hamptons Jitney. It was like a burst of sunshine on the Long Island Expressway.
Theatre District banners
New Jersey Turnpike billboard
ANNIE
ANNIE’s beloved icon was used to great effect in the recent revival’s advertising. This billboard in Times Square announced the return of this popular show.
ANNIE’s logo was a perfect fit for a taxi-top – especially with an extension to accommodate Annie herself.
Later in the run, we switched to playful photos of Annie, the orphans and of course, Sandy.
ANNIE’S orphans scamper all over this bus wrap
These dioramas in the Columbus Circle subway station displayed a variety of images and messages.
Annie, the orphans and Sandy cover this tourist information cart.
PETER AND THE STARCATCHER
PETER’s billboard in Times Square directed tourists to the Brooks Atkinson theatre which was only a few blocks away.
The marquee at the Brooks Atkinson Theatre was covered in PETER’s rave reviews.
The Front of House was designed to easily (and inexpensively) accommodate Tony nominations and wins.
Award announcements were added to the display cases and in star-shaped snipes on the glass doors.
IF/THEN
The vast Marriott Marquee breezeway around the corner from the Richard Rodgers Theatre became an enormous billboard featuring multiple photos of the cast.
IF/THEN tells dual stories of Elizabeth. The outside of the theatre was subtly split in half to represent this: a rosy-red on one side for Liz & a twilight blue on the other for Beth.
Photos of the cast hint at the alternate worlds: Liz and her loves on the left and the career oriented world of Beth on the right.
While the rosy version is the primary key art...
…a blue version of the art book ends the right side of the theatre.
NEWSIES
Battling the incorrect impression that NEWSIES was a drab show about little boys, we launched this athletic new campaign with a strong outdoor presence: a billboard in the center of Times Square...
…3-sheets in the Theatre District...
…posters on the Circle Line...
…on bus sides...
…and subway dioramas to name a few.
FOLLIES
The vastness of the breezeway at the Marriott Marquis is always a challenge. Luckily FOLLIES was a gorgeous show packed with showgirls and stars.
This detail from the breezeway shows one of the most colorful numbers in the show.
The center section of the breezeway featured FOLLIES’ wonderful cast, lead by Bernadette Peters.
A high point in the show is this line-up of former showgirls shown in this detail from the right end of the breezeway.
The Marriott Marquis Theatre has prime real estate in Times Square, which was perfect for this revival of FOLLIES.
The Marriott Marquis Theatre also includes this tryptic on 46th Street.
FOLLIES brought some Broadway razz-ma-tazz to the Columbus Circle subway station.
THE NORMAL HEART
When you have a staggering production of a powerhouse play performed by a dynamite cast, the Front of House needs to be equally dynamic.
This revival chalked up award after award, each of which were featured on the glass doors of the theatre.
This bold 3-sheet in Shubert Alley positioned THE NORMAL HEART as the play to see.