AADA81 said: "When the musical "Up" opened at the Uris Theatre (now the Gershwin) in the early '70s, the creative team was sure that theater management was responsible for the show's quick demise. When the show was licensed for subsequent productions, they changed the name to "Up Uris"."
Not quite true, but the real story is still pretty funny - once they saw the name on the marquee they realised they'd made a mistake, and it was chang
It's not dated at all, (ok, the letters would probably be snapchats or whatever), but because of the episodic nature of the 'plot', and the fact that the audience only gets her side of the story, the audience is left feeling empty. There's no resolution to her problems, there's no growth, there's no real dramatic or emotional arc. It's hard to feel for her after the third bad relationship. She doesn't even have a name!
In THE CRUCIBLE there's a character who comes on simply to announce the arrival of another character at the beginning of act 4. One sentence. What's more, it's not like there's an ensemble for them to join for the rest of the show. Killing time backstage was so dull I forgot to take off my watch one night...
It's interesting that you start your list at 1972. Follies still won best score, and Verona beat out out two shows which are certainly more "commercial": Grease - which would go on to become the longest running broadway show - and Jesus Christ Superstar - which despite being quite a phenomenon was not even nominated for the top prize.