But can now say its official, that the Palace is a barn and is a massive place to fill, who is the target market for this musical? A smell a big fat flop here.
That late of an opening will make it ineligible for the Tonys, correct? Shows had to open by April 25th last year to qualify and this won't even start previews until May 26th.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
This show will be considered for next Tony season. I am kind of interested in this show now that I know it is not a biography piece. I also think opening in the summer when all the tourist are here is a smart choice. Hopefully that choice pays off.
So now Kenny Leon is directing A Raisin in the Sun AND Holler If Ya Hear Me within two months of each other? I have to ask, is he the only African American person allowed to direct shows on Broadway? Surely there's anybody else African American that can bring the black experience to the stage.
"Hey little girls, look at all the men in shiny shirts and no wives!" - Jackie Hoffman, Xanadu, 19 Feb 2008
Not discounting your point, but Kenny did direct the reading of this and has apparently been involved with the project for some time, and also previously had directed Denzel in FENCES (and had worked on numerous August Wilson productions for years before that) so this is more likely two project coalescing in quick order one after another than one man having a monopoly on the African-American experience on Broadway.
But your point is well-taken in general.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
I don't see this show as having any broad appeal...which does not bode well for its long term success.
"Noel [Coward] and I were in Paris once. Adjoining rooms, of course. One night, I felt mischievous, so I knocked on Noel's door, and he asked, 'Who is it?' I lowered my voice and said 'Hotel detective. Have you got a gentleman in your room?' He answered, 'Just a minute, I'll ask him.'" (Beatrice Lillie)
Check out the little soup of producers - all dewy nubes (except for one, who has worked on 4 major flops in the last 4 years).
Even if the material wasn't inextricably linked to violence, misogyny, etc., I wouldn't have high hopes for this project (although it should be acknowledged that Shakur showed a semi-soft side at times). I won't be attending, anyway.
I love Wayne Cilento and his work, but this has me scratching my head a little. I'm curious to see how this is going to turn out, and how it's going to be done overall. I can see this having a audience in Vegas, but Broadway? I'm not sure. I'm waiting for some sneak peeks soon.
The Palace is simply way too big for this. I just don't see it lasting past Labor Day unless it really surprises us. Honeymoon in Vegas would have been a better choice for The Palace.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.