The Shining - Ivo Van Hove/Simon Stone Aug 22
2019, 12:12:03 PM
I’m not sure why but I guess there was an additional (?) press release about this today, and a couple of people started new threads on it. I’m just bumping this thread so people can see the earlier discussion and hopefully continue using this thread
Rainah said: "How's best actor looking? Isaac Powell and Tveit are contenders I imagine"
On paper it's shaping up to be a pretty weak category this year, if only just because of the roles themselves.
I thought Tveit was underwhelming, personally, but realistically I could see him getting a nomination. Powell is in a good position right now, with such an iconic leading role. I wasn't wowed by his acting in Once On This Island, but
I was sitting in the mezz all the way house right for Alice By Heart, and it was a perfect view. And it had the advantage of being far enough away from the stage that the actors couldn't see me cringing and giggling at inappropriate moments.
Mike Barrett said: "And The Lehman Trilogy still hasn't announced yet."
IIRC, the prevailing rumor was that Lehman Trilogy was going into the Beaumont. But with the Beaumont now booked for both the fall and the Spring, I can't help but wonder if something fell through with Lehman, and it's not transferring after all.
Jordan Catalano said: "BWW: OMG can we pleeeeeease have an original musical this season?!
“Flying Over Sunset”: Hi, guys!
BWW: Ugh, Can we have an original musical that fits my personal taste with only people I personally approve of this season?! "
Obviously, I am one of the people complaint about Kitt, but for the record, I am not one of the people who has been complaining about the lack of original scores.
MOULIN ROUGE SRO UPDATES Aug 20
2019, 01:41:05 PM
I did SRO last week. I got to the box office around 2:30 and there’s was no line, and the box office employee told me they hadn’t started selling them yet, but I should check back at 3pm. So I came back right at 3 and they sold me the first two SRO tickets. Nobody was behind me in line.
As someone above said, you can’t see the Elephant or the windmill, but you can go down the aisle and take a look at them before the show, during intermission or after the show. Otherwise the view is per
chrishuyen said: "Doesn't that put How I Learned to Drive in a very gray area though since it's the same director and original stars so we don't know if behind the scenes they just decided that now was a good time to remount that original production on Broadway (not saying that's what they're doing but could be a possibility).
I ageee that the remounting of the original staging makes it a tad confusing. And so in this case you&
Brooks0214 said: "JBroadway said: "Damn, I was really excited about this up until I read Kitt’s name. What a shame. So few original scores this season, and one of them will be bland and devoid of any character. "
I’m not incredibly famously with Kitt, could you explain what you mean?"
Literally everything he has written after Next to Normal has been unbelievably bland (some would argue that even Next to Normal i
It’s not about looking at press releases, it’s about looking at the context. We just have to look at the origin of the material and timing of the new production, and ask the question: what is being DONE here? Is someone (the producer) taking an established play and REVIVING it (i.e, bringing it back after the original production had been left for history) or is this a culmination of a show’s road to Broadway?
For example, shows like Hadestown and The Visit had bee
I feel like the last couple seasons this board hasn’t had nearly as much confusion about what’s a revival and what’s original. We were doing so well! Nobody even batted an eye when the Tony committee stopped announcing when shows qualified for the Classics Rule.
But it seems like there’s suddenly a lot of confusion and mistakes around it again. Rule of thumb: if the producers are reviving the show, it&rsqu
Caye2 said: "So what is the new policy now with ACCESS10 tickets? When do they become available for sale?"
I don't know exactly what the new policy is - not sure if it's a set number of weeks after general tickets, or if it changes from show to show. But when in doubt you can always call Roundabout for the Access10 date - that's how I knew. Snagged Access10 to both shows this morning.
Personally, I find that even the more short-tempered box office workers will at least tell you where the seat is. I have, occasionally, asked about rush seat location before buying, and they have always told me. For me, the real variable is whether or not they let you choose between different rush seats. THAT always depends on the mood of the employee, and/or the show's policy. But it doesn't sound like that's what you're looking to do. I think if you make it clear that you
So I guess this begs the follow-up question: where does most of the money go when it comes to capitalization? I would be curious to see a pie chart of sorts. It seems like a lot of the high expenses of Broadway shows involves labor and theatre rentals, both of which are included in the weekly running cost, not the capitalization. So how exactly do shows (particularly plays) rack up mid-six-figure production costs? I would have guessed that most of th
First of all, when a show transfers from, say, London or Off-Broadway, I imagine that the financials of the Broadway production are considered separate from those of the original production. Especially if the original mounting was not created with the intention of moving it to Broadway. Is that correct?
If so, my main question is this: if a production like this is being directly transferred from a financially separate run, wouldn't that drastically lower the capitalizatio
