Why does HAMILTON, FUN HOME, AMERICAN IN PARIS, WICKED, KINKY BOOTS, etc., succeed when shows like THE VISIT, DR ZHIVAGO, AIRLINE HIGHWAY, fail? (And some shows seem to have moderate success IT SHOULDA BEEN YOU).... What separates the winners from the middle and the bottom?
Yes, ultimately, if nobody is buying tickets, then of course a show will fail. But what are the defining characteristics of musicals that succeed versus those that fail or sort of limp along?
I just started reading a biography of Richard Rogers and am learning that most of his shows before and after Hammerstein are rarely revived or remembered. So is it because of Hammerstein that we even remember Richard Rogers today? Ironically, Rodgers has a theater on Broadway named after him and Hammerstein does not. Wonder why?
But it comes to this: THERE IS NO ANSWER. If there was, every show would be a hit....because every producer would know which shows to cast.
Some shows with a serious message succeed, some don't. Some shows with big names succeed, some don't. Some revivals succeed, some don't.
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 same question could be asked about films or books
"
And the answer would be the same. Success is a mystery.
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.
To answer my own question (lol) it is all about emotional engagement. The audience has to feel emotionally moved or connected somehow to the characters and show.
"To answer my own question (lol) it is all about emotional engagement. The audience has to feel emotionally moved or connected somehow to the characters and show."
To answer my own question (lol) it is all about emotional engagement. The audience has to feel emotionally moved or connected somehow to the characters and show.
Can't be that. Wicked is successful.
But Wicked does move an audience (even though there are some people on these boards who don't like Wicked).
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 only possible correct answer is that there is no answer, but we can dig a bit deeper to get a sense of why there is no answer.
For the most part, the key is confluence and that can take on many variations-a show that arrives at a uniquely good time (either in the cosmos or just on Broadway), a show that brings together multiple talents at the top of their game or just a show with producers that are tapped into audience zeitgeist and adroit marketing, etc etc. (All of these can of course work in the reverse.)
It is always a roll of the dice, and statistically the results are consistent with the odds of winning at craps.
"I just started reading a biography of Richard Rogers and am learning that most of his shows before and after Hammerstein are rarely revived or remembered. So is it because of Hammerstein that we even remember Richard Rogers today? Ironically, Rodgers has a theater on Broadway named after him and Hammerstein does not. Wonder why?"
With his earlier partner Lorenz Hart, Rogers and Hart composed some of the most memorable songs of the Great American Song Book.
"when I’m on stage I see the abyss and have to overcome it by telling myself it’s only a play." - Helen Mirren
Baffled there's anyone who can't fathom why Wicked is such a mega-hit.
Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement