What you get is writer-performer Kris Andersson’s Dixie’s Happy Hour, “a 95-minute performance streamed to patrons of 21 arts centers and theaters across the country. … A year into the pandemic, streaming shows are nothing new, but Andersson’s approach of a touring schedule rather than a one-off with a particular theater is novel. As is his profit-sharing model: Hosting theaters keep 80% of their ticket sales, and 20% goes to Andersson for the cost of the production and royalties owed to the crew who filmed the show, which was recorded with an eye toward making it appear live.” – Los Angeles Times
