This is a question that I get sent *all* the time, so I'm going to take the opportunity to answer it here today... Why does BroadwayWorld.com delete certain posts on the message board about the closing of a particular show?
David walked into the valley
With a stone clutched in his hand
He was only a boy
But he knew someone must take a stand
There will always be a valley
Always mountains one must scale
There will always be perilous waters
Which someone must sail
-Into the Fire
Scarlet Pimpernel
How about when someone on the board breaks an actual news story (i.e. a closing), the thread gets deleted, and then BWW posts it as their "breaking news"???
Because the owners had the sense to start their own site, and can take info from whatever sources available - including posts to their own site.
If someone feels they have better access to more informative knowledge, let them start their own site and deal with all this nonsense - like people posting for free and Bitching about the process.
MusicSnob1 -- are you suggesting that BWW *learns* of a show's closing via the message boards, deletes the "scoop" threads, and then publishes it as breaking news? If so, that's ludicrous because generally when a production is coming to an end, it's not "news." BWW has their own insiders and direct sources to get the "scoop" from.
So perhaps the threads ARE deleted because it IS speculation until it is confirmed?
I think in some instances threads such as the "Riedel: RAGTIME to Close January 3?" haven't been deleted because they are discussions about published news stories.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Of course there is an in-between. Perhaps a show closes and comes close to recouping. Perhaps a show is a critical success but doesn't get an audience.
Perfect examples of productions that are neither hits nor misses: RAGTIME, CAROLINE OR CHANGE, perhaps even OLEANNA.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
No, you're wrong. A hit returned its investment and a flop did not. Variety created this, not me. Even if they're a buck short of returning their investment it's still technically a flop.
What if a show returns its investment to the dime but makes absolutely no profit before it closes? Does that mean it is a hit, flop, or in-between?
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
I have had it up to here, and I am pointing six feet above my head, with the stupid Variety-like lingo definitions of "hit" and "flop" being trotted out here with accompanying levels of condescension by those who simply refuse to believe that language evolves and different words have shades of meaning, influenced by many things INCLUDING THE CONTEXT IN WHICH THEY ARE USED.
Go gab about a some Legit Hit in Pitt Preem all you jargonites.
I don't think that a "serious journalist" (wherever that delineation lies) would say everything is either one or the other. Why does everything have to be so binary? Just because a show doesn't turn a profit doesn't automatically make it a flop.
To be FACTUAL things can only be a hit or a flop. This means in financial terms because it can be PROVEN.
When you use anything else, it is totally subjective.
Yes, I suppose you could venture into critical success, but has there ever been a time when EVERY printed review has been a rave? (MOST shows have some retractors) Then who decides OFFICALLY how many thumbs up make for a critical success?
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Everything in between (hits and flops) I would take to mean the non-commercial shows by Roundabout, Lincoln Center Theater an other non-profits.
As for "scooping" - the rush some people feel to be the first to break a story - particularly when it involves a closing notice - leads to people posting info BEFORE any final decision has been made by the producers.
You can't trust the assertions of people here who claim to be in the know. You want to know if a show is closing? Pick up the phone and call Boneau/Bryan-Brown or The Hartman group (or whoever handles the production) and ASK THE SHOW'S REP!
J.F.C.
Cast albums are NOT "soundtracks." Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com