"Somebody needs to start a Kickstarter campaign to move this show to the Lortel. Do it for Elisabeth!"
If only! It would be great in a small theatre like that.
the artist formerly known as dancingthrulife04
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The truth is: a preview is a performance (hence the expression "preview performance." Indeed, the pertinent dictionary definition of preview is "an advance PERFORMANCE of a play." (Emphasis added.)
There are several legal and contractual situations of which I am aware in which the identification or counting of previews has some significance.
1. Under a settlement reached with New York consumer authorities, producers are required to identify previews as such. That obligation would, by definition, become moot as of opening night.
2. Some agreements between producers and authors provide a time by which a show must open, such that previews must end by a date certain or a specified maximum number of previews. Some of these agreements also provide certain compensation, vesting and subsidiary rights structures that are tied to the number of previews, in one way or another. It is for this reason that the League conveniently tracks previews and performances separately, and provides that information on their website.
3. Some creatives may have contractual obligations that are tied to previews, and that may specify a number of previews in this connection, such that the designation is of importance.
4. Some union contracts require certain things during previews and have different rules that apply once a show has opened.
If you have some other reason for needing this information (other than being a sniveling ninny), and cannot repair to the League's official recordation of this information, I would be interested to know the details. However, the New York Times, as the putative paper of record, has no reason (and certainly no obligation) to publish this information for the general public and is unquestionably "telling the truth" when they report the aggregate number of performances a show has given.
"If only! It would be great in a small theatre like that."
I wish it had played the Lortel or the Minetta Lane, if only to breathe some life back into off-Broadway. I remember a thriving off-Broadway: Falsettoland, Little Shop of Horrors, Steel Magnolias, Other People's Money, Nunsense, Driving Miss Daisy
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
Did producers close Pippin expecting this to do really well, or was this going in as a "place-holder" for the spring/summer that ended up doing even worse than expected? And if it was already meant to have a limited run, does anyone know what is coming here next?
Pippin wasn't doing poorly when they decided to close it, The producers decided to close pippin on a high so that it never got to the point where it would be loosing money. Same thing happened with Mary Poppins. (Well plus Disney wanted the theater for Aladdin, but it wasn't doing poorly at that point)
But yes, the closing of Pippin was independant from the opening or Hedi.
If anyone out there could 'swing a ticket my way' for the matinee on Wed. April 29th - I would be so very grateful. Never done this before here & don't plan on repeating it. I have just never seen a prod. of this play & really wanted to see it. (Alas, my schedule & current financial situation does not support buying a ticket like most normal theatre-goers.) Please don't slay me over the coals for this. Just thought I would put the request out there in case there was any opportunity? My apologies in advance to anyone if may offend.
I saw it for the first time last night and fell in love with it. I know I will be going on a Wendy Wasserstein play buying spree when paycheck time comes!
Being an avid DC goer and realizing that even today there is literally only ONE major museum in the world that is dedicated solely to women artists (which is a great place, by the way, go visit if you're ever in town -- Natural Museum of Women in the Arts) leaves a very bitter taste in my mouth. It's important to see how relevant this play is, even today. I wish I lived in NYC, I would have seen this multiple times!