The Great Comet to Rise Again in Tokyo

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The Great Comet to Rise Again in Tokyo#2
Posted: 1/31/18 at 8:56pm
I would book a visit to Tokyo strictly for this
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The Great Comet to Rise Again in Tokyo#3
Posted: 1/31/18 at 9:01pm

What's not to believe?

If we're not having fun, then why are we doing it? These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
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The Great Comet to Rise Again in Tokyo#4
Posted: 1/31/18 at 9:23pm
Iím very happy to see that my favorite new musical of the past several years will live on.
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The Great Comet to Rise Again in Tokyo#5
Posted: 9/19/18 at 6:04am

Here is the production's website, with some cast introduction videos etc (hosted on that Toho youtube channel mentioned in the recent Japanese musicals thread).

https://www.tohostage.com/thegreatcomet/index.html

The Great Comet to Rise Again in Tokyo

 

Updated On: 9/19/18 at 06:04 AM
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The Great Comet to Rise Again in Tokyo#6
Posted: 9/19/18 at 7:01am

You can't believe it because...?

 

This is old news, and the production starts in a few months.

don't message me thinking im taylor trensch?? what would he be doing on bww?? you can't possibly be that dumb bye
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The Great Comet to Rise Again in Tokyo#7
Posted: 9/19/18 at 7:48am

^ In fairness to the OP, this thread was started back in January, when (to my knowledge) the production wasn't old news.

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The Great Comet to Rise Again in Tokyo#8
Posted: 9/19/18 at 8:01am

I feel like the most surprising thing about that initial article is that after 18 years of licensing, Suessical investors still haven't made back their initial investment. 

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The Great Comet to Rise Again in Tokyo#9
Posted: 9/19/18 at 10:02am

raddersons said: "I feel like the most surprising thing about that initial article is that after 18 years of licensing, Suessical investorsstillhaven't made back their initial investment."

Revenue to investors from licensing is an extremely small slice of the pie. It is a percentage (typically 40%) of the AUTHOR'S ROYALTY not the box office. So let's say a show grosses (net) $100 million. The royalty for a production like Comet in Japan might be 6% +/-, which would be $6 Million. 40% of that would be $2.4 Million before not-insignificant overhead. And of course amateur and school licensing is going to bring in a few thousand dollars each which means you need a huge number to make an impact and when they occur over a period of years you have overhead in each. (i.e. the money does not simply magically appear in the investor's bank account.)

 

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The Great Comet to Rise Again in Tokyo#10
Posted: 9/20/18 at 2:40pm

HogansHero said: "raddersons said: "I feel like the most surprising thing about that initial article is that after 18 years of licensing, Suessical investorsstillhaven't made back their initial investment."

Revenue to investors from licensing is an extremely small slice of the pie. It is a percentage (typically 40%) of the AUTHOR'S ROYALTY not the box office. So let's say a show grosses (net) $100 million. The royalty for aproduction like Comet in Japan might be 6% +/-, which would be $6Million. 40% of that would be $2.4 Million before not-insignificant overhead. And of course amateur and school licensing is going to bring in a few thousand dollars each which means you need a huge number to make an impact and when they occur over a period of years you have overhead in each. (i.e. the money does not simply magically appear in the investor's bank account.)


"

What was the total loss on Suessical? I find this information surprising as well given the span of years and the (perceived) extent of licensing for the property unless investors lost close to 100% of total investment and there were priority loans that sucked up initial licensing revenue returns. Saying this as someone who used to be that "overhead" on other shows who magically made money appear in the investor's bank account :) 

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The Great Comet to Rise Again in Tokyo#11
Posted: 9/20/18 at 3:00pm

Cough it up, Vampire! The Great Comet to Rise Again in Tokyo

I do not know but it is worth noting that there were multiple corporate hands in the till on that show, including the sort that are very good at making profit disappear. 

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The Great Comet to Rise Again in Tokyo#12
Posted: 9/20/18 at 4:46pm

HogansHero said: "raddersons said: "I feel like the most surprising thing about that initial article is that after 18 years of licensing, Suessical investorsstillhaven't made back their initial investment."

Revenue to investors from licensing is an extremely small slice of the pie. It is a percentage (typically 40%) of the AUTHOR'S ROYALTY not the box office. So let's say a show grosses (net) $100 million. The royalty for aproduction like Comet in Japan might be 6% +/-, which would be $6Million. 40% of that would be $2.4 Million before not-insignificant overhead. And of course amateur and school licensing is going to bring in a few thousand dollars each which means you need a huge number to make an impact and when they occur over a period of years you have overhead in each. (i.e. the money does not simply magically appear in the investor's bank account.)
"

The more you know. I knew they didn't make a ton on licensing, but didn't' realize it was so low. When we a four show runs at my college years ago (of shows with similar licensing fees as Suessical), it cost around $3000. Using this math, the investors made a total of $72... split between all of the investors. Funny to think that some months when there's only one production up, they're getting checks for $1.00. Sure takes a lot of productions to make that money back. 

Thanks for the tidbit of info, Hogan!

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The Great Comet to Rise Again in Tokyo#13
Posted: 9/20/18 at 7:03pm

Not quite that bad. The Great Comet to Rise Again in Tokyo The 6% refers to a larger production where royalty is a percentage of revenue, but not to amateur/school/etc where it is a flat sum. It's still not a huge sum; there are a lot of fingers in that pie. 

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The Great Comet to Rise Again in Tokyo#14
Posted: 9/20/18 at 7:42pm

(hogan--correct if i'm not remembering correctly or add additional information)

the figures were are talking about are for licensed production (big and small) with smaller groups (usually those that the licensing company would have trouble auditing the box office figures) usually paying a flat amount for a set number of performances while larger professional groups pay a percentage that will vary on the popularity of the property (generally starting at 6% but going up to 10% (maybe even more).

for shows that are massively sucessful (say Hamilton, Rent, Phantom, Wicked) the show will either mount its own national and international productions (sometimes with a local partner) and get a much more generous part of the profits or license an official production (say to a truck and bus tour or an out of the way country and also get a much more substantial return.

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The Great Comet to Rise Again in Tokyo#15
Posted: 12/27/18 at 4:01am

Is anyone else from the board seeing this? I'd love to have a meet up! The Great Comet to Rise Again in Tokyo

They added an extra show as it's gained a lot of traction out here and rush tix are offered. Soo excited

don't message me thinking im taylor trensch?? what would he be doing on bww?? you can't possibly be that dumb bye
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The Great Comet to Rise Again in Tokyo#16
Posted: 12/27/18 at 7:44am

Why has my post re: oak been deleted? Let’s not forget the past. Let’s not. This forum is ridiculous.

"Itís the fractured quality in [Bernadette Peters'] singing voice and line readings that puts across the character as someone for whom resentment is sliding into madness." - NYtimes on Follies (2011).
Updated On: 12/27/18 at 07:44 AM
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The Great Comet to Rise Again in Tokyo#17
Posted: 12/30/18 at 1:50am

Some of the merch for this production is darned cute. Character-themed lollies and Matryoshka pins. Kawaii desu yo.

https://www.tohostage.com/thegreatcomet/goods.html

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The Great Comet to Rise Again in Tokyo#18
Posted: 12/30/18 at 2:07am

DM, I quite like some of your comments[and you are a very busy lady who has a say in most threads] but is it really necessary to say the above--you are a legend already so no more points to be gained.

From someone whose comments are really rather useless and demoted to a stand by.

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The Great Comet to Rise Again in Tokyo#19
Posted: 12/31/18 at 2:45am

Fan123 said: "Some of the merch for this production is darned cute. Character-themed lollies and Matryoshka pins. Kawaii desu yo.

https://www.tohostage.com/thegreatcomet/goods.html
"

When I purchased some tickets in person, they gave out a mini blanket with the logo on one side and stars on the other. It was only at one ticket vendor though as I went to another and there was no freebies. 

don't message me thinking im taylor trensch?? what would he be doing on bww?? you can't possibly be that dumb bye
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The Great Comet to Rise Again in Tokyo#20
Posted: 12/31/18 at 11:15am

I agree re the Broadway production, what went down was nothing short of disgusting.

However the Japanese are the single most racist country on earth. They don't even attempt to hide it and nor do their laws and traditions. My brother lives in Japan and is married to a Japanese woman and they have 2 children. The level of descrimination their children have to go through on a daily basis to even get an education because they are concidered 'mixed' race would blow your mind. They are in operate classes to 'normal' Japanese children and are also taught a different version of the language because they are seen as 'lesser' Japanese.

Updated On: 12/31/18 at 11:15 AM
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The Great Comet to Rise Again in Tokyo#21
Posted: 12/31/18 at 11:59am

There is a lot to unpack with the situation with Oak and Great Comet. Something that has been unpacked on many, MANY other threads. 

I for one would like to be able to discuss subsequent productions of Great Comet without rehashing things from a year and a half ago. I'm not saying they're not worthy of discussion, but rather I felt like the original comment was trying to veer the discussion back to the topic of Oak when it was only *very* tangentially related.

As for the Japanese production - at least two of the performers are former Takarazuka Revue members. Kiriya Hiromu, who will play Helene, is a former otokoyaku (male role player) and Top Star of Takarazuka's Moon Troupe. Ootsuki Sayu, ensemble, is a former musumeyaku (female role player). I'm sure there are a bunch of other Takarazuka OGs who I'm missing.

As a frequent visitor to Japan I am sad that I'm missing this production, but I'm excited to hear reports. If it does well, I wonder if we'll see another iteration in the Kansai region (Toho, the production company, also has a number of theaters in that area).

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The Great Comet to Rise Again in Tokyo#22
Posted: 12/31/18 at 12:12pm
The Oak thing will always make me bitter, but I dont think it should be brought up every time this show is being discussed, especially when the production in question isnt even Broadway. I think we should celebrate that its managing to find a new life elsewhere, and hold out hope for it to someday return to the English-speaking world in some form.
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The Great Comet to Rise Again in Tokyo#23
Posted: 12/31/18 at 2:15pm

I was able to snatch 2 tickets to the added performance on the 17th. Flying in from Thailand to see this (as well as 3 other shows Rebecca, Love Never Dies and Hunchback in Nagoya).

The Great Comet is now completely sold out and they just sent out an email announcing Rush/Cancellation Line type day-off tickets (first-come first served) and also standing room tickets (for merely $30) these can be purchased in advance and still available for some shows as of now.

After rushing 30 shows a year in New York, I'm spending as much on 4 shows in Japan. The pricing system amazes me on how basically the whole theatre is one price except like the very last row which is significantly cheaper.

http://www.youtube.com/RandomJingjo
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The Great Comet to Rise Again in Tokyo#24
Posted: 1/4/19 at 10:11pm
I was invited to the media/family&friends show last night and it was stunning. The set is not close to what it was on Broadway or even in Brazil as the staging is just flat and theres no turns or twists - but wow. Yoshio Inoue as Pierre is brilliant, and his voice is so powerful that you ignore the fact he is not as scruffy as American Pierres. The costumes are beautiful, and Balagas was my favorite.


I will be attending opening night tonight and every show for the next 4 days - very excited!
don't message me thinking im taylor trensch?? what would he be doing on bww?? you can't possibly be that dumb bye
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