Electronic entertainment has become an economic marvel. The technology delivery systems – phonographic records, video tapes, CD’s and iPods – grow, but at some point they die.

However, if we focus on the demand for the performing arts, we will clearly see that this has lasted for thousands of years and, in its very essence, is what defines mankind.

Hebert Research’s findings regarding the demand for the new Tateuchi Center scheduled for opening in 2014 are showing an extremely high level of probable attendance. With the building of the new World Class 2,000 seat facility, total arts attendance will largely become an additive function because of more performance opportunities.

There is no question that audiences attend live performances despite the argument that they can easily view similar events on CDs on their computer or TV. There is something special about attending as a group whether in a 200 seat or 2,000 seat concert hall.

The reason lies in crowd theory. Experiencing an event with others of similar interests is not just the summation of each individual attendee, but the fact that the audience interacts with one another and the performers. This is what makes the experience magical.

The audience attendance of cultural arts represents what is called information cascades. In this case the information is the music, chorus, scenes, acts, choreography and the audience response. The audience responds with smiles, laughter, tears, applause and very contagious emotions. The experience therefore becomes magically exponential.

However, it’s important to remember that performing arts can have a downside. Attendance declines when there is frustration with crowed and congested traffic, limited parking, and when the cost of travel and parking exceeds the expected value of the performance.

Major metro performance continues to thrive in New York, San Francisco, and Chicago, but this has more to do with urban residential population. Well-off suburban residents demand their convenient access.