Photo courtesy of the Keweenaw Community Foundation Calumet Theater manager and technician Jay Maki studied the theater’s seats to classify them into A, B and C seats, which is key in determining ticket prices while providing value financial support to ticket holders.

CALUMET — The staff and directors of the Calumet Theater are dedicated not only to improving the quality and quantity of entertainment offered to the public, but also to taking into account profitability and value for the public, which that theater director Jay Maki studied.

Maki presented her report to the board at Monday’s regular meeting, which included an updated and detailed theater seating plan.

Discussing the theater’s capacity and service inventory, Maki said that in studying the number of seats, their classification – whether A-seating, B-seating or C-seating – is critical to determine the price of tickets per seat.

This is important because in determining a balance between occupancy and profitability, theaters typically charge different prices for the same production, taking into account patrons’ willingness to pay based on seating location. seated.

Another aspect, Maki said, is determining how many people can be seated in the room.

Maki said that since working in or with the theater, he always heard the number 700 as the capacity of the hall. Currently, he said, there are 670 places and three places for the disabled.

“You are supposed to have 1% of your seats disabled”, he said. In the past, this percentage was rigged, as with the addition of the elevator and ramp leading to the theater lobby doors, it was claimed that people could be taken and placed on the balcony.

“However,” he said, “These people are sitting in an aisle doing this. We really need to find a solution to this. »

To do this, you would have to go through the Keweenaw National Historical Park.

Two seats, one in the rear right corner of the seating area, the other in the front left corner, may need to be mirrored, rear and front, he said, so to reach the recommended sitting capacity, emphasizing that while this is not a law, it is a recommendation.

“So we can say we are 1% if we sit them here,” Maki said, adding that he was focusing on wheelchair access.

Director Julie Badel said she was also thinking of people with walkers and crutches who could be accommodated with a seat in the aisle, but not something in the middle of a row.

Another consideration is to use both seats in the box for wheelchairs, which would add four more and put the theater above the 1% minimum recommendation.

Those being considered, Maki says, give a tally of 673 seats.

However, there are 48 seats in the main seat that are considered obstructed or partially obstructed.

“So now that brings us back to 622 unobstructed seats in the theatre,” he underlined.

In order to sell tickets, he continued, disregarding obstructed seating, it would then take 622 tickets to sell a show.

“It becomes important for a number of things,” he said. “It becomes really important when you get artists who say in their contract, ‘If you sell the show, we get so many bonuses. “”

If the theater means there are 700 seats, he says, and “we want to sell 650, we don’t have to give the bonus”, which is a tricky financial thing.

Maki suggested that the obstructed seats could be reserved for comp (free) seats. There are 20 partially obstructed seats and 28 fully obstructed seats. The way he determined who was who, he said, was that he was sitting in a seat.

“If a pole was between the stairs leading to the stage, in other words the center of the stage”, he said, “I thought it was an obstructed seat. And if the post was to the right or left of a stairway up from the main aisle, it was a partially obstructed seat.

In other words, he says, you can see the singer or solo artist, but with an obstructed seat, you can’t.

Maki further categorized tiered seating into classes A, B, and C. Class A seats, for example, are those that are not under the balcony, while those below the balcony are classified as B seats. ‘they’re under the balcony,’ he said, ‘they’re prone to sound echoes.

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