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?
a-mad said: "this whole "Tootsie vs Beetlejuice" thing is getting a bit ridiculous. The way this message board seems to be going lately, you would think that the producers of each show have it out for each other or something. Can they both succeed or fail on their own terms and not as dueling shows being pitted against each other?"
To me, the reason they're interesting to consider in tandem is that they opened back to back with wildly different buzz. Ad
This all felt so unlikely to be coming in this fast, but sometimes the gossip is all correct! Well done to those of you who spread the word!
I don't know much about the show, so I will say only that it is my sincere hope that everyone keep an eye on their spelling and the difference between "lightning" and "lightening." Thrilled to see everyone's got it right in this thread so far!
The reviews were brutal, weren't they? I can't imagine the next new Mamet going to Broadway, especially after the disastrous runs of China Doll and The Anarchist. He's well past his prime as both a dramatist and a provocateur. It truly feels like this would be some producer just throwing money in the trash.
It's hard for me to be toooooo sad about a show closing when it's had such a wonderful run. But I'm still a bit bummed. I loved this funny, warm, beautiful show.
I know the chances are slim to none, but nothing would make me happier than the chance to see the original three waitresses again. Mueller, Settle, and Glenn were all so special in those roles. In any case, huzzah to a wonderful run. And write us another musical, please, Ms. Bareilles!
Not sure how to feel about this one. I think it's stronger than DADDY was, but to me, they both felt like incredibly promising works from a playwright who will be an exciting talent once he gets past some of his more obvious efforts to shock. He does use the play's shock value to try to say something. I think he hasn't perfected the ability to get past the concept enough and as deeply into the themes and ideas as he obviously intends to. My fear is that if his first work is gettin
Not sure how to feel about this one. I think it's stronger than DADDY was, but to me, they both felt like incredibly promising works from a playwright who will be an exciting talent once he gets past some of his more obvious efforts to shock. He does use the play's shock value to try to say something. I think he hasn't perfected the ability to get past the concept enough and as deeply into the themes and ideas as he obviously intends to. My fear is that if his first work is gettin
Mike Barrett said: "Someone mind brushing me up on the history of Amar? Otherwise, I’m thrilled this will be my first cast for a professional production of West Side Story"
Amar was fired by the NYC Ballet for harassing another dancer by sharing videos of her having sex with...him? Another dancer? I can't remember exactly who did what sharing and who was involved, but it was a really icky story that made him sound dreadful. I don't love that he
LesWickedly, I've also been surprised that after the initial impossibility of scoring tickets to Harry Potter, it rather quickly became an easier ticket. It's still doing incredibly well, but I expected more out of it. Ditto Frozen. Both have years ahead of them, but maybe not as many as would have initially been expected.
I'm interested in the weekly nut for Waitress and Beautiful. Both have had fantastic runs and recouped. I adore both shows. But I wouldn
