New York Post: “Bad Characters – Media firms ignore brand street walkers”

There have always been plenty of characters loitering in Times Square. But these days some of them are complete phonies. Dr. Larry Chiagouris, professor of marketing at Pace, suggests that a sustained presence of the impostors can leave a bad impression of the firms that own the rights. “People begin to subconsciously associate the stained and ripped characters with the companies.”

Bogus Elmos, a fake Mickey Mouse, a slightly-off Buzz Lightyear,  a grimy Spongebob Squarepants and other well-known TV and movie characters have taken to roaming not only Times Square … but also Rockefeller Center, Penn Station and any other place in the city where copious numbers of tourists flock looking for picture opportunities.  The characters, who carry a donation bag by their side, won’t say where they come from.  Lubin Marketing Professor Larry Chiagouris comments as to why these “priceless gems” and “revenue streams” need to be protected by their corporate owners in the New York Post.

The Christian Science Monitor: “Tony Awards 2011: It’s a boy’s life?”

Male-focused and male-written shows dominate this year’s Tony nominations. Most went to Americans who have won before, changing trends that rewarded Brits and newcomers.

But despite the glaring deficit of women, particularly in the writing category, the Tony nominations reveal heartening trends, especially in the musical theater realm, says Robert Meffe, director of the BFA musical theater program at Pace University.

For one, they’ve gone native.

In the musical categories, especially for best musical, Professor Meffe sees a new and exciting trend in that the four new musicals were written by established American musical theater composers. Each of these composers has won Tony Awards for their previous shows, he said.

“This was commonplace in the 1950’s and 1960’s during the age of Rodgers & Hammerstein, but it has mostly been supplanted in the 1980’s by British productions (like the Andrew Lloyd Webber behemoths) and then more recently, by composers taking their first crack at Broadway shows,” he says, pointing to “In the Heights,” and “Avenue Q.” He notes that while the favored winner (“The Book of Mormon”) is partially written by the South Park crew of TV fame, Robert “Bobby” Lopez, composer of “Avenue Q,” is their third co-writer. The very short list of revivals – only two, this year – is a sharp departure from the conventional wisdom that audiences only support what they know, notes Meffe.

Musical theater will always have to argue for its relevance, Robert Meffe says in an article in The Christian Science Monitor, but Fox’s “Glee” and Disney’s “High School Musical” have brought a new high point of popularity. The audience for musical theater is younger than it has been in decades, he adds, and the box office bears that out: gross revenues have broken records in most of the previous eight seasons.

Furthermore, musical theater college programs have witnessed a sharp increase in demand and enrollment in over the past few years, he says.

“This spring at Pace we auditioned over 300 people for the 25 open slots in our class of 2015,” says Meffe, director of Pace’s BFA musical theater program. “This is in a program that started out eight years ago with six students.”