The Palace Is Under Attack- Page 2

[Liza's Headband]

Posted: 4/22/14 at 4:00pm

We have absolutely no idea what the deal/arrangement is with the Nederlander Organization, and you're basing it all off general assumptions, so it's tough to take your hypothetical numbers seriously. (and your obnoxiously long signature)

[darreyl102]

Posted: 4/22/14 at 4:35pm

The stage at the Palace is notoriously high- so making it so the audience is closer/more eye level with the stage is great.

[aasjb4ever]

Posted: 4/22/14 at 4:37pm

Why did this go into Broadways biggest house, only to then reduce capacity.

The Palace (pre-renovation) is not the largest Broadway house, it is the fourth largest behind the Gershwin, Lyric, and the Broadway. Unless you meant it is the largest *available* house, which is true.

[temms]

Posted: 4/22/14 at 4:51pm

Premium seats and "dynamic pricing" have radically changed the calculus for shows. "Book Of Mormon" is a prime example of that - by limiting the amount of tickets for sale, they can charge top dollar for what they do have. They're managing better grosses in an 1100 seat house where they can upcharge than they would be in an 1800 seat house where they'd blow through their stock way faster and at a lower average price.

I imagine that the target demographic for "Holler..." is not the sort that is used to paying full price for orchestra seats. I imagine that the producers figure that they can make the same money selling 200 orchestra seats at premium 8 shows a week than they could selling (but not selling out) the full orchestra at list/discount price.

And the harder-to-sell mezz and balcony seats will seem that much more appealing, and probably priced more in line with what a lot of their intended audience is probably interested in paying for a night's entertainment.

That said, I do still find the whole endeavor a little confusing. What is the thinking here? Why are they trying to sell this particular show on Broadway? And immediately after last seasons' awards, when that's what's on peoples' theatrical radar? Are they hoping that summer tourist season will give them good numbers? That they're so out-of-the-mainstream that the normal "rules" won't apply? I'm legitimately curious.

[ARTc3]

Posted: 4/22/14 at 5:39pm

^ All excellent questions that I too share. I am curious.

[perfectlymarvelous]

Posted: 4/22/14 at 6:31pm

I also find it a little curious that they're choosing to open in June rather than waiting for the fall or at least closer to the end of the summer. But I also feel like a significant part of their intended audience for this is not really people for whom the Tonys matter at all. I'm very curious as to what this will turn out to be.

[devonian.t]

Posted: 4/22/14 at 6:45pm

I think it looks innovative and bold. Maybe it will work, maybe not. Either way, it's not exactly an "attack".

I wish West End producers would be as bold.

[Playbilly]

Posted: 4/22/14 at 7:07pm

I'm all for producers trying something new. Especially with a non-conventional show. Perhaps they assume this is not going to an Tony-bait show, so why compete?

[everythingtaboo]

Posted: 4/22/14 at 10:31pm

I'm excited about the change. It's intimate but still allows for 1200 capacity (and I'm sure they won't be discounting the orchestra so that'll help the grosses) and sounds very interesting with the projection images onto the stage floor that you'd never see if you were sitting in a normal orchestra.

[RippedMan]

Posted: 4/23/14 at 1:34am

I'm kind of super excited for this. I thought it was a juxebox type show, but it's not. It's just based on the writings. So that's kind of cool and interesting. And so far I've loved the direction they've taken with their marketing.

I'm sure the idea is that they want to get buzz going for the show while tourists are in town over the summer instead of opening in Sept when all the tourists have gone home, etc.

[HogansHero]

Posted: 4/23/14 at 8:09am

Lots of naive misunderstanding in this thread, much of it already addressed, but as to opening summer vs. fall:

did it ever occur to you to connect the dots between the radical reconfiguration and the timing? Landlords often rent vacant theatres to inexperienced producers at undesirable times on the theory that the show will either invent a new model and surprise everyone or (more likely) be long gone before the prime rental period comes around. So the Nederlanders are covering domant weeks with rent and revenue, with almost no risk: if the grosses take a significant hit over typical, the show will not be there when it matters.

[ARTc3]

Posted: 4/23/14 at 10:57am

Checked out the configuration on Ticketmaster. As the Palace's stage is high and the distance between the stage and mezzanine close, the changes are quite substantial. The vast majority of the orchestra (everything under the overhang) is not accessible. Currently, they're selling the first few rows as premium.

I love the idea of reconfiguring Broadway houses into new and interesting seating arrangements. I just wish that this was more "unique" than creating a stadium situation between the apron of the stage and the mezzanine.

* * *

I would like to point out, that in a recent thread - don't remember which - I opened a discussion regarding non-procenium seating within a Broadway house. Some posters considered the idea and openly discussed such possibilities. Others - and you know who you are - made it clear that such an idea was preposterous within the current Broadway economic climate. They insisted, gone were the days of such productions as Dude and Candide, etc. "Holler" isn't going to the extreme of those productions, but the reconfiguration is still quite impressive.

Just want those who insist they they know everything about Broadway and what is and isn't possible to take note. There is still the possibility of change. It is not necessarily a bad thing.

Not sure I worded this as articulately as I'd have liked, but you get my meaning...

Updated On: 4/23/14 at 10:57 AM

[HogansHero]

Posted: 4/23/14 at 11:06am

Art-I recall commenting on your earlier suggestion. What they are doing here is nothing like that, and therein lies the distinction. This is a pretty simply undertaking of removing some seats, adding a set of risers, installing seats on the risers and then reversing the process at strike. What you were proposing was creating a black box where a proscenium (perhaps a landmarked one) existed.

[RippedMan]

Posted: 4/23/14 at 12:38pm

I wish there were some Broadway houses that would allow for more inventive stagings. Like a large black-box theater, etc. But I suppose a 1,000 seat black box would be difficult. I love environmental stagings or interesting spaces, so I'm always disappointed with such traditional shows on Broadway.

[mjohnson2]

Posted: 4/23/14 at 12:53pm

Anybody know the budget for Holler? I would estimate around 11 Mil, but any info would be great.

[HogansHero]

Posted: 4/23/14 at 1:59pm

Ripped-we've been down this path before but the bottom line is that the closest thing we have to a black box opportunity is also the hardest venue to rent. So no sensible business person would build what you are asking for.

[Broadway61004]

Posted: 4/23/14 at 6:18pm

In other news, Studio 54 is under attack as they ripped out all the seats and turned them into cabaret tables. And the Helen Hayes is under attack, as they hung giant set pieces all throughout the audience.

This stuff happens all the time. I'm sure the Palace will be fine after this closes quickly.

[Patti LuPone FANatic]

Posted: 4/23/14 at 6:20pm

When I first saw the title of this thread, I thought: a. The Palace Theatre is under attack on Broadway or b. Buckingham Palace faced some sort of attack. : )

[ARTc3]

Posted: 4/23/14 at 6:47pm

HogansHero, what was Candide and Dude, but a series of risers? Agreed, their configurations were far more complex than what is being constructed for the The Palace currently, but isn't changing the seating configuration basically building risers none-the-less?

Also, on a much "smaller" scale is the removing of seats and replacing them with tables and chairs for Cabaret at Studio 54. Even Golden Circle seats at Rocky explores a new seating configuration. And, that one happens during the show. How much did that cost?!

My point is, there is the possibility of unique, seating on Broadway. Economics is always important, but sometimes amazing things happen and creative vision dictates finding unique solutions.

I'd also add with young directors like, Alex Timbers (Bloody Bloody Andrew Jackson, entire theatre turned into a saloon; Here Lies Love, Off-Broadway, but limited seating and everyone dancing in a club environment; Rocky, see above) I think we might see some truly unique productions in the coming years.

Updated On: 4/23/14 at 06:47 PM

[HogansHero]

Posted: 4/23/14 at 7:30pm

Art-yes there are smallish things that can be done, but these do not get anywhere near creating a black box like you were pining for. And it is interesting to note that most of the grand experiments you are promoting have failed. And I feel confident Rocky and Holler will too.

[forgetmenotnyc]

Posted: 4/24/14 at 1:49pm

With some 600 seats under the risers, you would wonder if the NEW PALACE configuration could create the kinda permanent change that movie theatres are known for...creating 2 in 1 - a PALACE DOWNSTAIRS space w/stage under the new orch. seats & set aside for performance times around mainstage hours? Landmarked theatres can probably get away with being able to "temporarily" remove some 300 seats or so, still leaving a good size house under there.

Updated On: 4/24/14 at 01:49 PM

[jdrye222]

Posted: 4/24/14 at 9:12pm

I think this seems like a great idea for the Palace. Those seats under the overhang have always been terrible.
I can't wait!
"Under attack" is just a stupid description of what they are doing here.

Also - I'm not convinced this show will flop .... It may be something super interesting --- and there IS a world beyond the people who post here.
Kenny Leon is certainly no slouch. And those songs are incredibly emotional and meaningful.

[AHLiebross]

Posted: 4/24/14 at 10:37pm

As an under five-feet-tall person who doesn't have the courage to ask for a booster seat in the theater, I welcome the idea of converting to stadium seating. I've taken to trying for front row seats to avoid having a basketball player, or worse, a football player (in other words, wide, even if not quite as tall) in front of me.

At first I agreed that the audience for any show about a rapper is likely to be young, and therefore might not have the money that middle-aged folks have to spend a fortune at the theater. However, then I remembered that Tupac Shakur has been dead for a long time -- since 1996. Many of his fans are now middle-aged, and presumably have the bucks to see everything but Book of Mormon, which requires a bank account the size of Mitt Romney's.

It's slightly off-topic, but a comedian appeared at a fundraiser at my synagogue about ten years ago. He said Jewish folks weren't surprised by the tragic death of a promising young talent such as Tupac Shakur because, when you read "Tupac" backwards, as if it were Hebrew, you get "caput." Sick, but hilarious.