Just got an email from The Guilty Ones Fan Club saying that Spring Awakening is extending two weeks. So much for an "extremely limited run". I guess that means they're doing pretty good in sales.
What show is supposed to come in after them though? Is there a problem with the production?
When the production makes such a big deal about "ABSOLUTELY X number of weeks," it's always frustrating to me when they extend. Like it's an amazing production and I'm glad it's extending, but I feel like the producers definitely take advantage of the audience in some respects. If you can extend, say limited, say extremely limited, but don't tout "ABSOLUTELY x weeks."
Waitress the musical wants the Brooks Atkinson for March 2016. Meaning that S.A. has to close or move by early January 2016.
I'm hoping that somehow they will manage to find another theatre to move to, or that Waitress changes their decision and switches to another house. This revival deserves a few Tony nominations at the very least, and closing before the nomination cut off date runs the danger of the committee forgetting about it.
The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
I generally don't mind extensions unless you could only get a terrible seat and they announce two more weeks and you could have gotten a better one.
I did grow frustrated when I bought my $30 balcony Little Shop with Ellen Greene seat for a "one night only" event and they announced two more shows and I could have sat much closer for the same price.
depending on which theatre American Psycho goes to, S.A. could consider moving to the Belasco or the Booth, since Hand to God is closing January 3rd.
The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
c0113g3b0y-I think a more likely scenario is that Waitress perhaps moves to the Nederlander and Spring Awakening stays put. It's really expensive for a show to move. Unless the producers of Waitress are willing to pay the costs of the move (like the producers of The Audience paid for the moving costs of It's Only a Play in order to secure the Schoenfeld), I'd suspect the Nederlanders may try to work something like that out if Spring Awakening can extend further.
I hope they can-it's gorgeous. I just saw it...and am still thinking about what a feast for the eyes, ears and heart this production is. (Austin McKenzie is amazing as Melchior...just incredible. I hope he gets a nod.)
Someone else in the "Amazing Grace sets closing date" thread said that Amelie would most likely take the Nederlander in spring. Also, isn't Waitress a more intimate-scale kind of musical? Would the creative team want to move to the Nederlander, which has around 200 more seats compared to the Brooks Atkinson? Although you are right that the Nederlander organization might work something out. I forgot that the two theatres I mentioned earlier belong to the Shubert org.
The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
Mr. Musical said: "When the production makes such a big deal about "ABSOLUTELY X number of weeks," it's always frustrating to me when they extend."
Aside from people who want to buy tickets to the last show, I can't see why this would matter. One imagines they were told they did have to vacate by a certain date, and then that date changed. Otherwise, why all the drama?!
"Like it's an amazing production and I'm glad it's extending, but I feel like the producers definitely take advantage of the audience in some respects."
It's supply and demand. There's demand, and apparently they have the means to supply. The production can now be seen by that many more people, so I'm not sure how it affects anyone negatively, other than creating the feeling that you have somehow lost something.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
It's not so much whether the physical production will fit at New World Stages, but more a question of whether they can make the economics work there. Right now they are a cast of 27, including swings, which is very large for an Off-Broadway show. Add in the band, crew, and management and I would be very impressed if Ken Davenport was able to make it financially feasible Off-Broadway.
AEA is totally on point. Let's also remember that the show is currently losing money, and in a limited run situation, a 2 week extension can be a decent bet to add much needed revenue to the pot. That assumes of course that they can break even in mid-January, which is not a foregone conclusion even if they have a bang-up December. The translation of the extra 2 weeks is that the landlord doesn't need the theatre for those 2 weeks for the next show.
c0113g3b0y said: "Waitress the musical wants the Brooks Atkinson for March 2016. Meaning that S.A. has to close or move by early January 2016.
I'm hoping that somehow they will manage to find another theatre to move to, or that Waitress changes their decision and switches to another house. This revival deserves a few Tony nominations at the very least, and closing before the nomination cut off date runs the danger of the committee forgetting about it.
"
I don't think its the matter of finding a theater to move to. I believe its the availability of the actors as to why it's so limited.
If they had the audience to sell those additional two weeks, I would say good for them. But I'm not sure they do. Up to this point, Davenport has done nothing to show me he's a smart producer. So I guess we'll see.
I'm genuinely confused why there is talk of Spring Awakening extending longer or moving to stay on Broadway. Did you guys see the grosses last week?
This pisses me off too. I'm so happy for the cast and crew and this great production that it's extending. But don't use that b.s 'STRICTLY LIMITED ENGAGEMENT' marketing b.s. if there's a chance of extending, and if you are going to try to. So lame.
this is now the second show Ken Davenport has produced thats claimed and screamed up and down about no extension possible and then they extended and people wonder why he has no credibility.