Sometimes, like in The Great Comet, the producers can make some really boneheaded moves.
The lead producer (the name escapes me) and Mel Brooks deciding to set the premium ticket price for Young Frankenstein at $470 (Or some number like that) before previews even start was kind of stupid.
Harvey Weinstein doing a number from Finding Neverland on the Tonys before they even opened with a star that isn't even in the show was also pretty dumb and rubbed off the wrong way to people.
I'm drawling blanks on other boneheaded decisions so, what do y'all think were not the brightest moves some producers have made.
In Transit's producers kept the show on Life Support throughout virtually it's entire run. It ran during Christmas freaking weekend, one of the most lucrative times of the year for Broadway, and couldn't even gross 500k. They should have cut their losses, posted a closing notice after a week like Amelie, and get this to amateur licensing as fast as they can so they can try to make some of their money back.
Dallas Theatre Fan said: "The lead producer (the name escapes me) and Mel Brooks deciding to set the premium ticket price for Young Frankenstein at $470 (Or some number like that) before previews even start was kind of stupid."
It seems to me that virtually everything Harvey Weinstein did with Finding Neverland would go into the Boneheaded Hall of Fame. The ham handed way he jettisoned one respected Broadway name after another virtually ensured that the knives would be out when the show opened, and that is exactly what happened.
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May 1988 and though the Broadway musical adaptation of CARRIE was doing well in its advance box office ticket sales during its preview period, the German producers took the harsh reviews too literal and jumped the gun and chose to close the show a handful of days after the show opened. Today producers would keep the puppy running as long as tickets are selling. I'm sure it still would flop today but at least it would have lingered long enough for a cast recording, etc.
Setting On the Town in the Lyric Theater, which is a total barn and wrong for this delightful but intimate show. I absolutely adored that revival. But it had no chance in such a barn.
BrodyFosse123 said: "May 1988 and though the Broadway musical adaptation of CARRIE was doing well in its advance box office ticket sales during its preview period, the German producers took the harsh reviews too literal and jumped the gun and chose to close the show a handful of days after the show opened. Today producers would keep the puppy running as long as tickets are selling. I'm sure it still would flop today but at least it would have lingered long enough for a cast recording, etc. "
Nowadays they would have recorded the cast recording before the opening, so it wouldn't have mattered when they closed.
I'm glad that Harry Potter is going into the Lyric (FKA Ford Center), as I don't think it has EVER had a financially successful show in it except maybe 42nd Street like fifteen years ago. It's just too damn big, but Potter fans will finally fill it (probably for the next decade).