Broadway Flops succeeding in Europe

[Call_me_jorge]

I just went through a rabbit hole of Instagram photos and I noticed that pretty woman was opening a production in Hamburg and it got me wondering how can such a disaster of a show consider this to be a smart move. I kept going and noticed it wasnt only Pretty woman, but quite a few Broadway Flops are running to packed houses over in Europe due to Stage Entertainment. Anastasia has 3 productions selling to packed houses, ghost the musical is still going strong over there. Is this a relatively recent occurrence? Are all these flops guaranteed a successful run over in Europe?

[LizzieCurry]

Not recent: See also Starlight Express and Jekyll & Hyde.

[fashionguru_23]

I think its all personal preference. I mean, up until about 2 years ago, Disney's Tarzan was playing non stop since it premiered in German in 2007. 

To me, it only seems to be either popular titles adapted from movies to the stage, or the music is written by international superstars. 

[markypoo]

_jorge:

Kindly enlighten me as to just how you yourself define a flop.

[Wick3]

LizzieCurry said: "Not recent: See also Starlight Express and Jekyll & Hyde."

Wasn’t the theater in Germany specifically designed for Starlight Express? Someday if I’m in Germany would love to see it again sitting in the seats that turn!

[Dallas Theatre Fan]

9 to 5 is doing pretty good on the West End right now. 

[Call_me_jorge]

markypoo said: "_jorge: 

Kindly enlighten me as to just how you yourself define a flop.."

Any show that fails to recoup its initial investment 

[Islander_fan]

Wick3 said: "LizzieCurry said: "Not recent: See also Starlight Express and Jekyll & Hyde."

Wasn’t the theater in Germany specifically designed for Starlight Express? Someday if I’m in Germany would love to see it again sitting in the seats that turn!"

Yes it was. And, interestingly enough, they had a one time only performance in English recently. And, there have been many former “Billy Elliott’s” from the West End who have performed in the Germany production of Starlight over the years.

Interestingly enough, I was reading an interview with the head of stage entertainment, He said that the audiences that attend their productions around Europe tend to favor style over substance. That was one of the reasons why something like Tarzan did well there and not so hot here. They tried to put on shoes that are well known golden age of musicals type shows. But, they don’t do well there at all. But that’s one reason why I think something like Paramour would do great business there although flopped hard here in New York. They have been know to attach themselves to shows on Broadway as producers with the goal being to take it to Germany or other European markets. They were one of the producers of Pretty Woman for example when it was on Broadway. Not shocked to see it in Germany as a result 

[ErmengardeStopSniveling]

The musicals that succeed overseas are not unlike the Hollywood films that make bank internationally: visually-oriented spectacles. Or, to put it crudely, properties with universal themes that audiences can enjoy without understanding English (even if the films/musicals have subtitles or are translated).

Some shows have international investors who get the rights for a certain territory (UK, Australia, Asia, Europe, etc) in exchange for investing in the Broadway production. Tootsie, like Pretty Woman, has already announced preliminary international plans. Some people wait to come to the table after the Broadway opening.

[Mark_E]

Legally Blonde was a big hit in London and as has been mentioned further up, 9 to 5 is doing good business. Both big movies.
Compare to Spring Awakening and Drowsy Chaperone which failed over here.

[Raven4]

Tarzan received a big overhaul before it was brought to the Netherlands and Germany and looked much better than it had on Broadway. However Little Mermaid still failed and didn't live on after a Dutch tour. 

Anastasia has been reasonably successful in Madrid only. The German production played for less than a year in a half-empty theatre (although pricing is ever an issue) and the Dutch production has only just opened to luke-warm reviews. Pretty Woman is also only just opening. Whether it becomes a success remains to be seen. Rocky flopped on both sides of the Atlantic. 

That said, yes, of course European producers like Stage Entertainment try to back internationally known titles like Pretty Woman and Anastasia that stand a chance of survival here. Hamilton would never work - it's more or less untranslatable, people have no idea who he was and few are interested in the story of America's founding fathers told in rap and hip hop. 

Another thing is that countries like Germany have no long musical tradition. They "discovered" musicals through the big blockbusters of the 80s and 90s (Cats, Phantom, etc.) and still believe that musicals need to be visual spectacle and come with a lot of larger-than-life ballads. Hence the popularity of Frank Wildhorn in Germany. Stage Entertainment is doing well to bring stuff like Cirque du Soleil's Paramour that's also style over substance. Starlight Express keeps doing well because it's reasonably priced, it's one of the few to take the kids to and the only big musical in the most densely populated state of Germany.

[qolbinau]

"9 to 5 is doing pretty good on the West End right now."

I just find it so interesting - because Europe and London is stereotypically more 'cultured' than the US, I have found that people assume Broadway is the more commercial, trashier, less artistic platform for musical theatre than the West End. But in reality it's the complete, complete opposite - New York City is high art for musicals and we should be so proud of that.

 

[ScarletSongs]

As some others have mentioned, Stage Entertainment invests in a lot of musicals that already have a name and/or a fanbase: Tarzan, Rocky, Pretty Woman, Amélie, Sister Act, Aladdin... Therefore, these shows are brought over (or some of them are even tried out in Germany before they go to Broadway) because they already put money into them. So, no matter if they flop on Broadway, they just try to grab the German audience's attention. To a certain level, this works. But you rarely get a sold out house with these shows even if some of them run more successfully than others.

The German audience tends to choose a show that they already kind of know - that's why the Disney musicals are well-frequented. But also, in the big theatres there is not much else to choose. Almost all productions by Stage Entertainment (which is the biggest musical theatre production company in Germany) are based on a movie or another pre-existing material. They rarely produce something new or more artsy. So the audience just goes into those big name shows because that's all they have to choose from.

When Next to Normal was put on by a city theatre, the press was ecstatic because it was so different from the "big show, happy ending" type of musical that the Germans are used to.

And here comes another factor into play: The city theatres.

Unlike America, Germany has no Broadway. The closest you get is Hamburg, which has currently 4 big theatres run by Stage Entertainment and a huge number of smaller theatres with more niche shows and plays. But most bigger cities have their own city theatre which brings plays, operas and musicals on stage and offer season tickets. These productions are not bound to the original staging and design of the shows they play, so you could watch a production of Cabaret or Jesus Christ Superstar in 7 different cities and each of them would have a completely different design, staging and sometimes might even focus on different elements of the story. Therefore, these shows are usually much more interesting because the director develops his/her own vision based on the material.

As mentioned before, Frank Wildhorn's musicals are usually well attended because they have a lot of "drama" and are mostly set in an historic european setting - which seemingly works better in Europe than in America. Also, they fall in the same category of "a musical based on a story the audience already kind of knows". This even lead Wildhorn to write a show especially for the european market: "Rudolf - Affaire Mayerling" about the crown prince and son of Elisabeth, empress of Austria. These historic stories work quite well in the German speaking countries.

So, yes, some Broadway flops make their way to Europe and some do perform better but not all of them.

[Fan123]

If you're interested, the below 2016 article, focusing on the inverse question ('why would Broadway hits, flop here?' ) for Germany, mentions some of the points covered above. It also theorises that due to the monopoly of Stage Entertainment, a lack of competition means less drive to innovate or diversify in the genre, which in turn keeps the musicals audience relatively narrow, which in turn further encourages safe programming choices.

http://kulturpoebel.de/2016/02/warum-die-broadway-hits-in-deutschland-nicht-funktionieren/

[GiantsInTheSky2]

Audiences responded to Chaplin better overseas (after some script and design changes) than they did here, too.