The thing that bugs me about Deaf West kickstarter is that if he'd been honest, I feel like he's still get a lot of support. If he'd said, "look, we're performing at the tonys because we want it preserved and we feel strongly about getting the message out there. However, it's very expensive to do so, especially if we don't get anything commercial out of it, and we're looking for donations to defray some of the costs." Insert some feel-good stuff abou
I don't find him as objectionable as many. Most of the criticism seems to come down to the fact that he's gimmicky and/or tryhard in how he's promoting his shows. And, yep. He is. He does a lot of tricks/gimmicks to generate press and he's not nearly as good as other producers in ensuring his hand is hidden. (Hamilton is marketed just as ruthlessly/manipulatively, they're just a lot better at looking classy and hiding it)
In Hamilton, the candles that come out for Helpless/Satisfied aren't automated at all. There's not room backstage for it. They are manually set into the track, then pushed out with a pole. (And presumably pulled in the same way)
Broadway's a crap investment in general. The vast majority of shows do not recoup. Now, recoupment is certainly a goal, financials are important, absolutely. But if 'will I make money on this show' was the sole consideration, there would be precious little investment.
People invest for all kinds of reasons, everything from a show being a passion project, to ancillary benefits, to thinking that this one in particularly will be that longrunning it. I'm not proposing
Also, don't a decent number of school groups see Beautiful? I know people have commented that their grosses tend to drift downward over the summer and hold steady in the fall/off months, contrary to the usual.
So they might be okay. Fall will tell I think. The very earliest I could see a close would be January, if their advance falls off a cliff. Otherwise, I think we'll get another year
HogansHero said: "At the current pace, OOTI is sustaining at the rate of contributing around $10k to paying down what must be a fairly substantial deficit."
Exactly. Not awful by any means, but people are worrying what will happen once summer ends.
I think it's very clear that OOTI is not going to recoup their investment, barring a miracle. This may be the best hope for the show; people are employed, the show is being shared with a close to full audience e
gypsy101 said: "i love Hamilton and want this filmed performance as much as anyone but this seems like an odd business strategy. i feel like this could take away good money from the many live productions. still excited for it and when it finally is released"
I love it for this exact reason; it may finally put to death the myth that releasing a proshot will kill sales of the live show.
Anyone who's a dedicated theatre fan has already seen the bootleg.
I appreciate the fact that LMM is using his money and industry clout to just greenlight a bunch of theatre projects in the mainstream. He's got dedication, that's for sure
they're not doing awful, but CITS is a hard theatre to make the financials work. The tickets are expensive but an average ticket price of $105 says that MOST of the tickets they're selling are discounted in some way. The lowest priced ticket I'm seeing is $89, and there's not many of those. most are the $159 ones. Therefore, the majority of people seeing the show are not paying face value for the tickets.
Some shows/theatres can make that work more than others, bu
CPannullo said: "I’m gonna predict a Once On This Island closing in January followed by a spring transfer of Hadestown to Circle In The Square"
I know as of last winter Hadestown did not want Circle in the Square and were keen to keep the proscenium staging. Source was a friends roommate who worked on the show in a capacity that makes me trust the info. Now, that was six months ago when they were still looking to transfer this fall, now they're doing a tryo
UncleCharlie said: "Maybe they were asking the best value OF SEATS THAT WERE CLOSER."
That's certainly what it sounds like to me. They were told the $40 seats were back of orchestra, full view, and that the $169 seats were a good deal closer, and that he felt they were good value for money. Others may disagree, there are shows I'd pay $169 to get that perfect view and call myself lucky, there are also plenty I'd say eh, the $40 ones are fine.
I'm excited, I thought it would be another few years before we started hearing this. To relive all the magic of the OBC in HD would really be something. Kudos to the Hamilton team, who do seem to be keen to release it as soon as it could possibly make sense.
Ingrid was a great Sonya when we saw it. It's not necessarily enough of a part to say "Yes she can carry a show as the lead" but I really enjoyed what I saw. It was not a carbon copy of Brittain's, but it was grounded and well thought out.
Miles2Go2 said: "No problem. It’s hard to keep up! I am hoping with all these empty theatres that Jagged Little Pill transfers. I just hope they don’t rush it as the consensus from Boston is that they need to do considerable work on the book."
I think it's rarer and rarer these days to see significant changes from a tryout and a broadway run, unfortunately. Same with Moulin Rouge; they clearly need significant edits to the book if they want to have a
Seems like this fall/winter is going to be a slaughter.
Already posted notices or are limited engagements scheduled to close
School of Rock Hello Dolly Bronx Tale Spongebob Springsteen Play That Goes Wrong The Boys In The Band Straight White Men
Otherwise
Carousel and Beautiful both have weak grosses and I could see closing (Fall/winter depending on advance, doesn't Beautiful usually do better in the off
My reading of Sarah is that she is definitely suffering from mental illness, possibly postpartum - I have worked with mothers who have had psychotic episodes after the birth of a child. Then she either tries to kill her baby or perhaps thinks he's already dead and tries to bury him, only to realize he's alive. The mental illness angle is supported by her extremely unrealistic plans to help Coalhouse.
BroadwayConcierge said: "poisonivy2 said: "Leslie Odom Jr. And Javier Munoz have made no bones about the fact that there was a fierce money dispute."
That was between the cast and management though, no? Not between co-stars..."
I don't think it would be fair to say anyone disliked each other. It was a big cast. Some got on better than others. Part of the cast had been friends for years before the show.
