Ticket sales at UK theaters fell by ** percent due to the coronavirus pandemic in 2020. During the period from February 1 to March 16, 2020, as the virus began to spread throughout Europe, ticket sales decreased by ** percent year-on-year, resulting in a drop in revenue of ** percent. Theaters across the UK closed from March 16, 2020, following the government's advice for people to avoid gathering in public buildings.

Performing arts venues in the United Kingdom were negatively affected by the coronavirus (COVID-19) pandemic in 2020. Following the closure of venues to the public, ticket sales fell by around ** percent in April compared to the same month in 2019. Regulations began to ease in August with some venues able to start reopening with restrictions. However ticket sales remained in decline, with monthly sales in October falling by **** percent, prior to England's second lockdown in November.

Performing arts venues in North America were negatively affected by the coronavirus (COVID-19) pandemic in 2020. Following the closure of venues to the public and social distancing measures, ticket sales showed a decline of over ** percent from March 2020 onwards. The month of August showed the highest decline compared to the previous year with a drop in ticket sales of **** percent.

The expenditure at the box office for theatre events in Italy decreased by ** percent in 2020 over the previous year due to the coronavirus (COVID-19) pandemic. Overall, the total spending on theatre tickets amounted to roughly **** million euros in 2020, dropping from over *** million euros in 2019.

Limitations in the operating theater during the COVID-19 pandemic as assessed by residents working and not working with patients with COVID-19.

Notre Dame De Paris was the theatre show with the highest number of admissions in Italy in 2020. That year, the performance recorded around ** thousand entries. Alessandro Siani's show, Felicità Tour Special Edition, placed second on the ranking with over ** thousand admissions. In 2020, theatres and similar cultural venues in Italy had to close to the public for several months due to emergency restrictions implemented during the coronavirus (COVID-19) pandemic.

Captures information on elective and emergency care surgery to understand the increased elective care surgery backlog from the COVID-19 pandemic.

This dataset pertains to a research project investigating the social, cultural, and economic consequences of COVID19 on independent arts workers, specifically in the theatre sector, across England, Scotland, Wales, and Northern Ireland. The project recognised the unique vulnerability of this workforce in dealing with the impact of COVID19. Their workplaces closed overnight and their sector transformed as theatres moved to digital delivery, and their employment status (freelance) made them ineligible for the UK government’s Coronavirus Job Retention Scheme. The motivation of the project was to understand: the employment experiences of this workforce during the first 18 months of the pandemic; how the pandemic affected their planning for the future; how the pandemic changed their creative practices and skills; what impact government and sectoral policy had on the workforce; and to find strategies for government and industry to support this precarious workforce.

This data collection includes survey responses (n=397) to an online survey which ran from 23/11/2020 to 19/03/2021, and a database of policy events covering the period from the onset of the pandemic until 27/5/2022 (n=1353). This collection contains the survey data. The survey was run through the JISC surveys platform. It had 34 questions collecting a mixture of qualitative and quantitative data. Freeform text responses were alternated with multiple choice, multi-option and Likert scale. The survey captured data on theatre freelancers employment, emotional, and cultural experiences, the region(s) and setting(s) where they worked, and their age, gender identity, race, occupation(s).COVID-19 threatens the performing arts; closures of theatres and outlawing of public gatherings have proven financially devastating to the industry across the United Kingdom and, indeed, the world. The pandemic has sparked a wide range of industry-led strategies designed to alleviate financial consequences and improve audience capture amidst social distancing. COVID-19 has affected all levels of the sector but poses an existential threat to freelancers--Independent Arts Workers (IAWs)--who make up 60% of industry workforce in the UK (EU Labour Force Survey 2017). The crisis has put a spotlight on the vulnerable working conditions, economic sustainability, mental wellbeing, and community support networks of IAWs. IAWs are often overlooked by the industry and researchers, however it is their very precarity that makes them pioneers of adaptability responsible for key innovation within the sector. IAWs may prove essential for the industry's regrowth post-COVID-19. An investigation is necessary into the impact of COVID-19 on IAWs and the wide-ranging creative solutions developing within the industry to overcome them.

There has been increasing pressure to gather 'robust, real-time data' to investigate the financial, cultural, and social potential long-term consequences of COVID-19 on the UK theatre industry. The impact of the pandemic on IAWs is particularly complex and wide-ranging. A TRG Arts survey stated that 60% of IAWs predict their income will 'more than halve in 2020' while 50% have had 100% of their work cancelled. Industry researchers from TRG Arts and Theatres Trust have launched investigations examining the financial impact of COVID-19 on commercial venues and National Portfolio Organisations, but there has been insufficient research into the consequences for IAWs (eg. actors, directors, producers, writers, theatre makers, technicians) and the smaller SMEs beyond income loss and project cancellation data. In May 2020, Vicky Featherstone of the Royal Court Theatre, stated the importance of support for the 'massive freelance and self-employed workforce' she believed has been 'taken for granted' by the industry. Our study fills this gap by capturing and analysing not only the economic impact, but the social and cultural transformations caused by COVID-19 by and for IAWs. We will compare regional responses across England, Wales, Northern Ireland and Scotland as well as variations across racial and socio-economic groups. Our aims are to document and investigate the impact of COVID-19 on IAWs, identify inequalities in the sector, investigate changes in the type of work produced post-COVID-19, and help develop strategies for how the sector can move forward from this crisis. We will investigate connections between the financial consequences of COVID-19 and creative strategies for industry survival including social support networks, communication initiatives between arts venues and IAWs, and the development of mixed-media work in the wake of the pandemic.

The coronavirus (COVID-19) pandemic hit the theatre sector in Italy hard in 2020. At the beginning of **********, as the country adopted a national lockdown to limit the spread of the virus, theatres and similar cultural venues had to stay close to the public. As a result, the expenditure at the box office in this sector stood at *** thousand euros that month, dropping from nearly ** million euros in *************. As the lockdown was eased in May, the box office spending gradually rose during the summer, reaching around *** million euros in **************. However, due to a rise in COVID-19 infections, new emergency restrictions came into action in October, causing another significant drop in spending.

Priority Scores for the six variables considered when scheduling patients for theatre, presented for all responses and by Hospital Bed Stress and Critical Bed Stress strata.

Business Oregon was allocated American Rescue Plan Act (ARPA) Coronavirus State Fiscal Recovery Funds to assist various industries negatively affected by by the COVID-19 pandemic. Awards were executed in three phases that served different sectors impacted by the pandemic, the Small and Independent Community Movie Theaters Program, the Live Event Venue Operators and Producer/Presenters Program, and the Live Event Support Industries Program.

This report provides data for Fiscal Year 2023

For more information, please visit https://www.oregon.gov/biz/programs/ARPA_live_events/Pages/default.aspx

IntroductionRobot-assisted thoracoscopic surgery (RATS) is an alternative to video-assessed thoracoscopic surgery (VATS) for the treatment of lung cancer but concern exists regarding the high associated costs. The COVID-19 pandemic added further financial pressure to healthcare systems. This study investigated the impact of the learning curve on the cost-effectiveness of RATS lung resection and the financial impact of the COVID-19 pandemic on a RATS program.MethodsPatients undergoing RATS lung resection between January 2017 and December 2020 were prospectively followed. A matched cohort of VATS cases were analyzed in parallel. The first 100 and most recent 100 RATS cases performed at our institution were compared to assess the learning curve. Cases performed before and after March 2020 were compared to assess the impact of the COVID-19 pandemic. A comprehensive cost analysis of multiple theatre and postoperative data points was performed using Stata statistics package (v14.2).Results365 RATS cases were included. Median cost per procedure was £7,167 and theatre cost accounted for 70%. Major contributing factors to overall cost were operative time and postoperative length of stay. Cost per case was £640 less after passing the learning curve (p 

Throughout 2024, movie theaters in the United States and Canada managed to sell around 760.5 million tickets, which is less than the 2023 figure of about 940 million tickets. Furthermore, the 2024 figure falls short of the nearly 1.23 billion movie tickets sold in 2019, before the COVID-19 pandemic hit the world. Cinema's slow recovery after the coronavirus The pandemic also impacted cinemas' finances. The revenue at the so-called North American box office – consisting of Canada and the U.S. – stood just below 8.6 billion dollars in 2024. That value remained well under the figure recorded in 2019. The box office revenue in Canada alone struggled even more, adding up to 600 million Canadian dollars in 2023, barely more than half the value reported four years earlier. Newer audiences and how to attract them The coronavirus outbreak has not changed the fact that teenagers watched the highest number of movies per year in the U.S. The 12-17 age group watched, on average, 2.5 feature films at a movie theater in 2021, or five times more than moviegoers aged 60 and above. According to a 2022 survey, the availability of films is what most motivated Gen Zers to attend movie theaters.

The average admission paid to attend a Broadway musical in New York has experienced an increasing trend over the last 15 years. That said, the figure recorded in 2024/2025 showed a 1** percent decline over the previous season, with the average ticket price for a musical reaching ***** U.S. dollars. Has attendance at Broadway recovered from the impact of COVID-19? Due to the impact of the COVID-19 pandemic, attendance at Broadway shows in New York fell to under ***** million in the 2021/2022 season. After bouncing back in the following years, combined attendance at musicals, plays, and specials totaled **** million in 2024/2025, almost catching up with the peak reported in 2018/2019 and reaching the second-highest figure to date. How big is the U.S. theater market? In 2024, the market size of the U.S. theater industry was estimated at nearly *** billion U.S. dollars, remaining stable over the previous year. Meanwhile, the number of businesses in the U.S. live performance theater industry exceeded ***** in 2024, experiencing a slight annual decline.

During an online survey fielded in the United States in April and May 2022, respondents were asked to report their moviegoing frequency in different moments of the past few years. Approximately ** percent of the interviewees said they went to the movies often before the COVID-19 outbreak started, while ** percent stated that they sometimes went to see a film in theaters before the pandemic began. The shares stood at *** and ** percent, respectively, during the first four months of 2022. Overall, eight percent of U.S. adults reported going to the movies often as of May 2022.

In 2024, around ***** million movie tickets were sold in South Korea, a significant recovery from the record low of **** million movie tickets sold in 2020. The box office revenue has also shown signs of recovery, with about *** trillion South Korean won in revenue. However, in both cases there was a decrease compared to the previous year.A year of big hitsWhile 2019 had been a great year for South Korean cinema and movie theaters, with the beginning of the coronavirus (COVID-19) pandemic, the industry was hit hard. Recovery began in 2021, and the industry continues to be centered mainly around big blockbuster movies. The biggest movie of the year was "Exhuma", a horror movie with mystery and occult elements. The most viewed foreign production was the Disney movie "Inside Out 2". American productions accounted for around ** percent of the box office revenue that year, while domestic moves contributed about half of the total revenue. As of June 2024, "Extreme Job" was the highest-grossing domestic movie ever to be shown in South Korea, while "Avatar: The Way of Water" was the highest-grossing foreign movie. Cinemas and COVID-19After the huge success in 2019, the novel coronavirus (COVID-19) slowed ticket sales immensely. While the ticket sales revenue in January 2020 stood at around ***** billion won, one year later the sales revenue was only at **** billion won. By December 2023 this had risen to ***** billion won, exceeding the January 2020 figure. The number of visitors went down from **** million to just *** million respectively, before recovering to around **** million in December of 2023. While regular cinemas were struggling, consumers found other ways to watch movies, for example by visiting drive-in cinemas or using online streaming services.

In 2024, the average movie theater ticket price was **** euros. Movie theater ticket prices in Germany have only been going up in the last decade, now exceeding nine euros for three years in a row. The coronavirus (COVID-19) lockdowns in 2020 and 2021 hit the cinema industry very hard. Just the ticket Movie theater visits per person have been increasing again and almost reached pre-pandemic numbers. However, the rise of video streaming services has established serious competition. When faced with the option of buying an increasingly expensive movie ticket or perhaps waiting a few months before the film is available to stream online from the comfort of home. There’s a possibility that a viewer will choose the latter. Add the influence of inflation, and it’s possible to predict future trends in movie going. Ticket prices will continue going up to balance out fluctuating visitor numbers, as well as the provision of food and snacks to keep them coming. On average, people in Germany go to the cinema just over once a year. However, before the pandemic, people were going about one and a half times a year. Part two The number of movie theaters in Germany suffered a small dip in numbers from around 2011 to 2014, but in recent years the figures have stabilized. Cinema revenue also suffered a large hit during the pandemic, and 2022 was the first year in which figures saw significant growth. It seems that figures are finally beginning to return to pre-pandemic levels. However, the threat of streaming services could negatively impact

In 2024, the revenue of AMC Theatres added up to 4.64 billion U.S. dollars, down from 4.8 billion dollars a year earlier. Despite this decline, the 2024 figure is still below the 5.47-billion-dollar revenue recorded in 2019, before the COVID-19 outbreak. AMC Theatres After a long period of decline, AMC Theatres was acquired by Dalian Wanda Group in 2012, a move which was followed by years of increased revenues and attendance. In 2018 the company reported a total attendance of nearly 360 million, a number which represents a massive turnaround in fortunes since reporting just 60 million in 2012. AMC operates over 10 thousand screens around the world, the vast majority of which are in the United States. Most of the company’s revenue is generated by the cost of theatre admission, but food and beverage sales have also remained a healthy revenue stream over the years. Industry outlook The growing competition from streaming platforms and home entertainment systems – as well as the pandemic – posed new challenges to the movie theater industry. Still, the market started to bounce back. The box office revenue in the United States and Canada grew significantly between 2021 and 2022, reaching nearly 7.4 billion dollars in the latter year. This upward trend continued in 2023, with revenue rising to 8.91 billion dollars, before declining to 8.56 billion dollars in 2024.

In 2023, ** percent of American Gen Zers reported an increased movie theater attendance post-pandemic, while ** percent were less interested in watching movies in theaters. On the other hand, Millennials and Gen Xers, with ** and ** percent respectively, went more frequently to the cinema compared to before the COVID-19 pandemic.

In 2023, the average price of a cinema ticket in the Netherlands hit an all-time high of ***** euros, marking a * percent increase from the previous years. The Dutch box office The Netherlands is among the countries whose cinema revenue failed to bounce back after the first year of the pandemic. The Dutch box office gross decreased by *** percent in 2021 to around *** million euros. That was little more than ** percent of the 2019 figure. Pathé Bioscopen was the leading movie theater chain in the Netherlands, accounting for almost half of the country's box office revenue in 2021. Moviegoing in the Netherlands In 2021, attendance in Dutch movie theaters declined even further than the box office revenue, plummeting by ** percent to **** million. That was little more than ********* of the record-high ** million movie tickets sold in 2019 before the coronavirus outbreak. The domestic film industry benefited from a scenario where international studios reduced or delayed premieres in some markets. Since 2020, Dutch films' share in cinema attendance in the Netherlands surpassed ** percent – a figure roughly *** times higher than during most of the second half of the *****.