Now is just not the time to launch a Michael Jackson musical.
Maybe Lynn Nottage should instead write a serious drama about an author trying to figure out how to write a play about a very famous performer who's controversies won't go away but who's artistic achievements are still loved--seems a better use of her talents than a musical that has to be interrupted by another hit song every 3 minutes.
But also remember, Michael Jackson's particular private
HogansHero said: "@vampire no. what's in the papers is just a projection. investing in a show is like getting on a boat and sailing into a pitch black cave, hoping that it doesn't spring a leak. "
Such a brilliant way to put it. (a single script change can cause a ensemble quick change and explode the wardrobe weekly cost, a cast change adds to the cost--actually all cast cost
I have a soft spot for Grab Me a Gondola, a 1956 West End hit that ran 673 performances but is now largely forgotten. Not necessarily a great musical but so much fun. How can you not love a production number extolling the virtues of mink bikinis or the shapely film starlet who's "Cravin for the Avon".
As Hogan stated, there are many additional expenses related to a tour, but other items are less than New York's high cost of everything. (for example a lower cost SET Equity contract vs Production Contract on Broadway).
zainmax--the weekly guarantee for a tour usually is less than the shows broadway breakeven--but that is only the amount the local presenter guarantees to the show itself before all the local costs, which can huge (and vary greatly from
Anyone know Forbes' source for road grosses? I haven't noticed them published regularly since variety stopped reporting them in 2012.
Wonder just how massive the Hamilton road grosses are when they play mega-houses like the Fox in St Louis and Atlanta? In the old days there would have been congratulation ads and news releases, but with what I'm sure are massive numbers maybe its an embarrassment of riches (literally).
wow, I had no idea the Ahmanson ever brought a non-equity tour. Do you remember if Beauty and Beast was a limited engagement or a full subscription show?
The Ahmanson Theatre is a a part of the Center Theatre Group in Los Angeles and both this theatre and the Mark Taper Forum operate under a Lort A contract, so it is an union house for actors as well as technicians and musicians. I not sure if dance presentations (like the current Mathew Bourne Cinderella) are Equity or a different union contract. If anyone has more information, I would be curious what happens when/if a SET Equity tour with a lower minimum plays the house. Most of the futures
The tour is currently in St Louis with a $104 top ticket price, and running ads like there's no tomorrow. The ad (also on the show's website) mentions the usual "direct from Broadway" but also makes a very big deal of Tony award winning director Bartlett Sher. I am just wondering how much actual involvement Bartlett Sher actually had with this production. The tour started performances October 17, 2018 while the Bartlett Sher production of To Kill a Mockingbird started perfor
Love it or hate it, Cats gets a great send up in the second to last episode of Unbreakable Kimmy Schmidt. Musical orchestration fans will want to listen until the end of the credits as the show's music department does an inspired take on Cats' 80's sound. (sorry in advance if I didn't punctuate "Cats' 80's" correctly, I'm to old to care anyone)
At least in the most recent revival, the focus at the end of the first act is on Claude's solo. I really only vaguely remember what was the background/counterpoint. I'm sure the tv version can suggest the same thing without anything explicit.
To bad this isn't on a premium cable or streaming service (or at the least being broadcast late at night, possibly in an off week for Saturday Night Live).
The Muny in St Louis with almost 11,000 seats used to regularly host touring productions (though they haven't in recent years). As the outdoor theatre doesn't have a fly house, many shows had sets created specifically for the Muny. Probably the best/worst example was a 1985 stop of the national tour of Dancin'--a 14 member cast totally lost on the 95 foot wide Muny stage.
Such a wonderful performer. So pleased I got to see her perform live three times--in her signature role in Hello Dolly (1982 national tour), in the national tour of Sugar Babies (with Robert Morse and Gene Detroy's Marquis Chimps) (Carol did a Sophie Tucker tribute unique to this tour) and an amazing afternoon at Legends (with Mary Martin) (with the two ladies having a great day and the audience loving every minute).
link below to Carol in The Show Girl, her only stage pe
For those not familiar with the Forbidden Broadway parody songs--this is a quote from one of the best ones--Grimm Hotel. (recorded on Forbidden Broadway volume 3)
Not the Hulu Theatre but the main arena-- back in my circus days, I remember the excitement of first entering the Artists Entrance at the Garden only to greeted with the slowest elevator on earth. Soon enough, entering up the loading ramp, dodging delivery trucks. (and off to my temporary office between the elephants and royal yaks)
Be vary careful not to be sucked into the black hole that is Tanz der Vampire. You will soon be obsessing over who sang which roles best. Watching Total Eclipse in every language imaginable. Comparing the William Dudley/Sue Blaine design with the Kentaur design. Charting the evolution of Braver than we are/Red Boots Ballet. And never getting tired of the massive spiral staircase raising up from below the stage. (which of course then leads to obsessing over the even bigger Rebecca stairca
I am clearly spending too much time reading both theatre and theme park boards--I saw the title "moving seats" and immediately wondered if King Kong had added "motion seats" in the Broadway Theatre. I'm glad we haven't reached that point.
(hogan--correct if i'm not remembering correctly or add additional information)
the figures were are talking about are for licensed production (big and small) with smaller groups (usually those that the licensing company would have trouble auditing the box office figures) usually paying a flat amount for a set number of performances while larger professional groups pay a percentage that will vary on the popularity of the property (generally starting at 6% but going up to 10% (maybe
I am thankful to have been able to attend so many exceptional productions over the years. I usually find that the circumstances of the specific performance can make a significant difference in the overall experience. Those times when you had no idea just how powerful the performance will be. Or those rare moments when you know something very special is happening (especially if you feel it won't ever be quite so magical again).
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