Is A Time To Kill on the chopping block?

LiveLoud22 Profile Photo
Chorus Member
Saw the show for a second time Tuesday night and enjoyed it - they truly took advantage of the preview period. Really significant rewrites and changes from when I saw it in the first week of previews.

Couldn't help but notice that, even though the theater was filled last night, it seemed HEAVILY comped. Saw some industry folk in there who had received comps. I also took a look at the #atimetokill hashtag on instagram - saw a number of posts where people took photos of their tickets, most of which were comped or discounted. Taking a look at the grosses from last week seems to indicate the same thing - high attendance, pretty low grosses. I honestly hope it pulls off a healthy run and lasts into the new year - Patrick Page truly deserves a Tony nom, and it would be awful if his performance was overlooked come springtime.
Updated On: 10/18/13 at 02:11 AM
Broadway Star
I don't think a comped show in previews means too much. If the reviews come in favorable and the box office doesn't pick up then, that will be a different story...
Now t/d/b/a haterobics on here.
LiveLoud22 Profile Photo
Chorus Member
Oasisjeff, my fear is that the comping is way more pervasive than one or two shows. Based on the really low grosses/high attendance (especially from last week's full 8 performance schedule), they've been comping and discounting like crazy throughout the entire preview period.

Updated On: 10/18/13 at 02:16 PM
GlindatheGood22  Profile Photo
Broadway Legend
God I hope not. I vowed I'd see whatever show Mary Louise Parker and Tonya Pinkins came back to Broadway in, but I didn't think I'd get that lucky twice in the same season.
I leave the room smiling.
CapnHook Profile Photo
Broadway Legend
A show like this is not going to be a runaway hit. It needs time to build it's word-of-mouth. Let it open on Sunday and we'll see what the reviews do to the box office.

It's a tricky play to sell. I hope it can hang on.
"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."

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