I believe it was always a limited run, and this was actually an extension. It's not doing great business at the moment, but frankly, good on them for finding an audience for such a bold and challenging take on the material! It has already done better than I had feared it might perform.
kmissa said: "I wonder how many Africans Americans that aren’t friends of anyone involved are genuinely fans of this show. Everything about this is offensive. There has to be a better way to tell a story than with twerking slaves. I know I know the playwright is black and gay, but he seems to have his own self hate issues."
I have a question about this. I don't think you've seen the show if you believe there are twerking slaves. I think you've seen
I find it interesting that in the past 4 weeks, Mormon has dipped below capacity for the first time since previews. It's obviously in ZERO trouble and will run for several more years. Just an anomaly I found interesting.
I was surprised to read the comments here about there being $40 orchestra tickets to Harry Potter this Wednesday. Then I looked up a random Sunday in a month (10/6), and it's majority unsold. Given how hard it was to get tickets at first, I'm surprised by h
Pose2 said: "Not triggered, I just find it annoying and repetitive. It's like they want people to be out of work or something. Lots of people love this show and it's pretty much full every night, so perhaps they can hate on something else for awhile?"
You find it “annoying and repetitive,” but you were literally the first person who brought it up calling a mediocre week “AMAZING” and saying “suck it haters
Pose2 said: "AMAZING week for Tootsie. Suck it haters!"
I don't understand this comment. It still had the lowest capacity of any show and the lowest percentage of grosses not to mention one of the lowest ticket prices. Beyond which, it doesn't seem like the discussion here has been about wanting Tootsie to close--it's more that it seems to be doing rather poorly, making a long run seem unlikely. I have zero stakes in this--I thought Tootsie was f
COMPANY eyeing a spring 2020 transfer at a Shubert theater Aug 30
2019, 08:04:29 AM
I can’t believe after all that, they announced in the middle of the night. Heh. But I can’t wait. Loved this in London. Adored Leno in The Band’s Visit and Indecent, and I think she could be extraordinary in this. And Patti...she’s just so f’ing good in this.
Now can we start guessing when they’ll announce more casting? :)
There have been so very many "Any second now" posts about this announcing. I can't imagine they'll do it at the end of a day or the end of a week. But all signs do point to a transfer. Think we need to just...breathe and let it happen when it happens.
Can report that my lottery tickets were Mezz A, all the way to the right. Behind the elephant, if you will. Highly obstructed view, but you can't beat the price!
Love Esparza, but I have to admit that Rebeck's name doesn't engender a good deal of faith. To those who saw and enjoyed: are you fans of Rebeck's other work, or did this feel like a departure or improvement?
Moulin Rouge nudges The Lion King aside to be the second highest grossing show this week. I have to admit that I didn't realize it was going to be SUCH a hit!
It's across from the entrance to the right side of the mezzanine. Walked by it on the way to my seats, and it looked lovely through the open door. Wouldn't personally spend $70 for it, but it looked nice nonetheless. The Hudson does a similar deal for their Ambassador Lounge, yes? That one's cheaper at $40 but doesn't include the champagne. Haven't had a chance to take a peek at that one.
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?
Caught this in London, and as said elsewhere above, Clarke is a stunner. I had quibbles with a few design elements and a casting choice or two, but it was all in all a wonderful production. I'll look forward to seeing Clarke again and can't wait to see who we're going to get as Emmie!
I adored the show in London. Redgrave, while a tremendous actress, was miscast--her Southern American accent was distractingly odd. I still sobbed through her scenes. But seeing Lois Smith who feels PERFECT for the role...I can't wait.
BigEasyBroadway said: "I was just about to mention THE PERFORMERS. I happened to be in NYC that week and got a ticket for what I had no idea ended up being closing night. When we left, the notes were posted on the doors to get refunds...I hadn't noticed them on the way in."
I ALSO saw The Performers in the wake of Hurricane Sandy, having walked to the theater from Brooklyn just because I was so antsy to get out. It feels like everyone who was at those performance
I've read but not seen the play. I seem to remember a very mixed reception to the Reaser/Butz revival at 2nd Stage being the reason I chose not to go. It's also possible the timing just didn't work out, and I convinced myself people didn't like it so I didn't feel as bad for missing it. :)
Cannot wait to see these two tackle these roles. This one's really exciting.
Hogan, I'm curious about the idea that there isn't anything structural preventing it. Aren't there rules now requiring actors be paid through a certain time after they're notified of closing or something like that? I don't know the rules, but I had the sense there was something like that which would make running a show out for an additional week or two no more expensive than closing after opening night. I could be wrong, but I thought there was sommmmething like this?
