It's hard to say that any of those would be commercially successful for long runs, but I'd like to see a future life for at least SOFT POWER, A STRANGE LOOP, and POWER STRIP.
I was unable to make the trek to NYC to catch A STRANGE LOOP, and am still gritting my teeth over it. I'd love for it to transfer to Broadway, though I'll admit it doesn't seem like the MOST commercially viable thing in the world. I'd at least like for it to get another run here in Chicago.
Curious why Secret Life of Bees didn't make the list. It obviously could use some revisions, but that already seemed Broadway bound looking at the cast and crew. I wonder if it might come back soon?
Soft Power definitely seemed like it was aiming for Broadway based on the production level alone (huge orchestra, large set pieces, large cast), and I'd love to see something like it play commercially, though it seems to be directed very much towards people well versed in theater with all its callbacks.
I think Seared could definitely do a limited engagement on Broadway, especially if they keep the same cast. Heroes of the Fourth Turning as well, which could be more viable if they're shortlisted for the Pulitzer like a lot of people seem to think could be possible. And I'd love to have more people see Fairview, so I'm thinking it could possibly work in the Hayes.
I loved Octet, but I just don't see it as a Broadway production (though Dave Malloy seemed to tease that it would be coming back in some form or another). Scotland, PA with a bit of reworking could also possibly do well (though I'd say they should spend a year or two on it), and same with The Wrong Man.
I saw Ross Golan is reworking it as a one-man show and taking it to London. Given the nature of the original cast recording, I think that might be what makes the show work,