Of course there are practical details but ultimately we ask ourselves two questions-can we get excited talking about this production? And do we think there’s an audience for it?” We also want to represent the creative community’s diversity so that we’re not just another platform exclusively disseminating the work of the same group of long dead white guys. “And sometimes there’s just something very unique and compelling about a production that we think deserves to be more widely seen. “Sometimes it’s about a particular artist whose work we see being performed across various companies-we want to use those opportunities to connect live and digital audiences,” Afanador explains. Yes, the driving one can end up being as mundane as who the brand/partner organization is, but generally there’s more creative intention involved. “There are amazing works being created that audiences really don’t have access to otherwise.”Īs for choosing which performances to license, Marquee considers several factors. “They’re two categories where audiences are really underserved,” co-founder Kathleya Afanador tells Paste. While Marquee officially sets out to offer “an extensive, growing catalogue of contemporary and classic masterpieces, showing the very best in dance, opera, music, theatre and documentaries” for audiences who would, due to distance or cost, be unable to access them otherwise, it is in the categories of dance and opera that the streamer really shines. But since one member of the team behind it, Marc Kirshner, also founded TenduTV, a digital performing arts content provider already making waves back in 2011, it could be considered the direct descendant of one. I’ve been talking about Big Tech strip-mining our creative industries for two decades, and frankly at first what drove me was an urgent need to warn people not to sleepwalk into oblivion! Now that we’ve found a model with purpose I’m focused on rolling it out to as many verticals as we can around the world and working with the best teams in the business.Officially launched in 2018, the UK-based Marquee is not the first streaming platform for the performing arts to hit the Internet. What keeps you thriving as a business and as a business leader in this space? But if you build a global membership brand with a million passionate arts lovers, or country music fans, or adventure sports addicts, then you have a very valuable model that is also a force for good in that sector. In YouTube and Instagram terms a million subscribers is nothing. While the media sector is consolidating to compete with Big Tech, we’re focused at the other end of the spectrum by building vertical brands, powered by technology, that speak to people’s passions. Silicon Valley has eaten our creative industries alive, so I set up Maidthorn to help us fight back. Second, many partners wanted to stream performances as pay-per-view events to maximise revenues, so we’ve made events and seasons a core part of our proposition for both partners and audiences.
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The Marquee TV app is free anyway, so we were delighted to include more content in front of the paywall. First, some of our partners wanted to offer free content to stay in touch with their audiences. In the pandemic we saw two interesting trends. In terms of the business model, it’s fundamentally the same – an ‘all you can eat’ subscription, like Netflix, that gives our members unlimited access to the greatest performing arts in the world. Yes, I’m definitely not the arts guy in the team! Fortunately we have a wonderful editorial team who look after all the content curation for Marquee TV. Has your business model changed at all since the pandemic and the shift towards digital content? You describe yourself as the ‘business guy’ in the team, developing the business model. We had a chat with founder Simon Walker about the business of streaming the arts and partnering with arts organisations to bring a global audience to their performances. Marquee TV has been streaming live art and culture for 3 years.
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