ggersten said: "Sauja said: "Other things spiked because it was their last week, and we already lost a few shows last week, but I do think it's notable that Tootsie had the worst percentage of gross potential this week, the lowest attendance, and one of the lower average prices. Things just aren't looking good for them. I wonder how long the show has. To January if it's lucky?"
I know it's really all about the money that comes in, but mor
My favorite musical is Mame (of course, I am referring to the 1966 and 1981 productions, which benefited from a great Mame and terrific Vera's and Gooch's).
The best musical I have ever seen falls into two categories: great but flawed; and just great. In the former, I would name Follies; in the latter, probably Sweeney Todd.
Re plays, I would say that my favorite play / production ever was A Moon for The Misbegotten, with Dewhurst and Robards; but that I think the
hollebolle said: "I already bought the the $90 seats they have available in rows G and H of the mezzanine (I.e. the small rows of three at the ends). Anyone know why those are full view, but the ends of closer rows are partial? (Did that sentence make sense?)"
Geometry. If you are on the extreme side, you are going to see more of the stage from further back.
The worst seats I ever had in a theatre were when I saw Tommy decades ago.
The article didn't say that Manilow was complaining about the grosses -- he must have a zillion dollars -- but about attendance, i.e., looking out at a lot of empty seats. As someone else pointed out, in a limited engagement, with a limited number of performances per week, it is only filling the theatre at 82% of capacity. If some performances are selling out, that means that some performances were possibly 60% - 70% attended.
This is entirely the wrong question to ask and does not understand why some people are frustrated with the show. And 'sin' is a pretty loaded word to use in itself.
Had the show been structured even slightly differently, with no changes to the plot, I suspect audiences would leave the show feeling very differently about Evan as a character.
I think the extreme majority of attendees at a DEH performances feel e
Dollypop said: "Patti LuPone tells the story about making her debut in a play called WOMAN IN CHAINS. Joe Papp was producing it and during intermission he ran backstage and announced he was closing the show right then and there. He then went on stage and sent the audience home.
LuPone's character didn't appear until the 2nd act, so her debut was put off for a while."
That is a great story...makes one wonder just how bad the show was, as he allowed
DoTheDood said: "How badly does a show have to do to only have one performance? I'm also curious on if they are even more uncommon now, why would that be?"
Producer's vanity. That is what kept Honeymoon in Vegas, Disaster, King King, Amazing Grace, that musical that played at Circle in the Square a few seasons ago and others running much longer than sane people would allow. It is like they convince themselves into thinking word-of-mouth
GreasedLightning said: "I 100% believe that Beetlejuice’s Tony performance helped them tremendously. A rare feat."
I definitely agree. Would go one step further:and Tootsie's was hurt by their number, which was as mediocre on TV as it was live. But it is word-of-mouth that is killing it. People don't want to pay for even somewhat discounted tiekets if their friends were all lukewarm in their appraisals.
JSquared2 said: "CindersGolightly said: "What’s Erin Davie’s role like? Is there a potential nomination for her in this show? She’s so overdue for Tony recognition it’s insane."
How exactly is she "so overdue"?? She's been in 5 Broadway shows -- and 2 of those were as a replacement!"
You beat me to it. I was going to say the same thing. There is more hyperbole in this board than a Trump s
I did not see a lot of closing night performances over the years (college in Boston, worked in Manhattan and lived in NJ...didnt really relish going back to NYC after commuting 5 days. But I saw a ew that were memorable...both the shows and the performances.
I was at the last performance of Gypsy with Angela Lansbury at the Winter Garden. The audience was not over-the-top at any point in the show. However,when Lansbury finished Rose's Turn, the audience stood as o
I can't say for Beetlejuice, but I have seen shows from that area of the theatre a few times, and the seats are really bad. I did it once for Mame,just before Angela Lansbury was leaving, which is why I accepted them...those or nothing. Same with Follies early in the run. (I was also 20 years old and if you wanted cheapskates in the beginning of the run, that was where you sat). I love both performances, but had also seen both shows previously, so missing part
poisonivy2 said: "The only difference was TGC had a great score and one of the most inventive productions of all time.
Tootsie is a B- musical."
I think you are right, maybe even a little generous. Great book - A; excellent cast - A-; tacky sets - C-; pretty awful score - D- or F; pedestrian choreography - C-; adequate direction - C.
The issue is not about transphobia one speck; if people want to make it about that, let 'em'.
The issue is about word of mouth on the show. Many of (most of?) the people on this board do not represent the larger world of theatregoers who see a limited number of shows a year and have seen the price of tickets go up! up! up!
Unlike many posters here who will buy tickets to shows that they know are seriously flawed / boring (based on WOM, reviews, etc.), t
GavestonPS said: "One of the most thrilling theater experiences I ever had was a matinee of FOLLIES in 1971. Yes, the matinee ladies were shuffling their shopping bags, but more importantly, they were talking about having seenEthel Shutta in THE ZIEGFELD FOLLIES of 1919!
Each principal got at least two entrance applauses--when she entered and when she paraded with her sash during "Beautiful Girls".
I saw the show again the following year with a more mi
I have to admit that I hate not having the song list in order, with the characters identified.
-- Shoot me, but I like to understand how many songs the leads have. If someone in the supporting cast has a greasing in Act 2, I like to see if they get another shot in Act 2
-- When I look back, the inclusion of the song list frequently makes my memories of the performance more vividly. Even when I played the OCR for a good-not-great show a thousand times 40 years
Wick3 said: "I recall for OBC of Hamilton, Lin-Manuel Miranda didn't perform on Sunday matinees (his alternate Javier Munoz did.)
For School of Rock, Alex Brightman performed every performance for several months but later in his run, I recall his alternate Will Blum would perform at one of the matinees.
For Dear Evan Hansen, a few monthsafter the Tony Awards they made it official thatBen Platt won't perform at Wed/Sat matinees (his alternate Michael Lee
I suspect that Tootsie's word of mouth must be awful. I know that no-one I know who has seen it has been more than lukewarm. With that rotten score, it doesn't have a chance.
i think the reason it was not as successful as was anticipated was b cause you were never made to care about any of the characters as individuals. The score is very good, and the first 15 minutes are magical. It remains too much an ensemble show. I remember at the curtain call the last three people taking their call and I had to be reminded who one of them was.
This is one of the shows I was most disappointed with ever, because I did love the music going in. It just didn’t en
