As if it weren't bad enough that Love Never Dies director Jack O'Brien and choreographer Jerry Mitchell already jumped ship for what they certainly must hope is smoother sailing with their other more promising project -- you guessed it -- Catch Me If You Can -- the irony of the Marc Shaiman/Scott Wittman/Terrence McNally musical capturing Love Never Dies' place at the Simon Theatre must add insult to injury for Sir ALW. One can only imagine the intrigue that's taken place behind the scenes. (UPDATE: Producers for Love Never Diesannounced on October 1, 2010, that the show would not be mounted on Broadway during the 2010-11 Theatrical Season.)
For composers Shaiman and Witttman, this will mark a homecoming of sorts as their only other full-fledged Broadway musical -- the Tony Award-winning Hairspray -- occupied the Neil Simon for six and a half enormously successful years. If Catch Me If You Can catches on with critics and audiences, it'll become the first regular show to have succeeded since their earlier work closed at the beginning of last year.
While casting has yet to be announced, such acclaimed Broadway draws as Norbert Leo Butz, Aaron Tveit, Tom Wopat and Kerry Butler starred in the out-of-town tryout in Seattle last summer. I know I'm not alone in hoping each of these talented actors can be caught yet again to reprise their roles on the Main Stem.
Previews for Catch Me If You Can are scheduled to begin March 7, 2010, and open April 10.
As for Andrew Lloyd Webber? Well, perhaps he'll think twice about never saying never when naming a musical.
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Last Sunday evening while I was stilling coming down from this, Fox season premiered "The Simpsons." Now ranking as American television's all-time longest running comedy series, "The Simpsons" is now in its 22nd season.
As arguably prime time television's premier satirists, the writers for "The Simpsons" used Sunday's episode to send up Broadway in one fell swoop, thanks to Lisa Simpson and her friends. Practically faster than you can say "Great White Way," Mame,Angels In America- Perestroika (yes, Perestroika specifically), Betty Comden, Elaine Stritch and Andrew Lloyd Webber are all conjured up in a few blissful moments that any Broadway fan should appreciate.
Is it just me, or are we starting to see a true renaissance of Broadway references included in the Hollywood-branded pop culture?
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Brief Encounter (The SOB Review) - Studio 54, Roundabout Theatre Company, New York City, New York
**** (out of ****)
Returning to any show that completely immerses you with one spellbinding ripple after another is often fraught with peril. Will it stand up the second time around or will those earlier memories suffer from a backwash that crashes hard from being far less satisfying?
In revisiting Emma Rice's excellent Brief Encounter, which opened last evening at Studio 54, I realized I need not have worried about whether this play with music would hold up to a repeated viewing or further scrutiny. As much as I loved the show earlier this year in Minneapolis, I found my heart and soul swimming yet again, this time even deeper in a sea of bliss. In short, Brief Encounter is better than ever.
Rice's ingenious adaptation of Noël Coward's screenplay cleverly punctuates live action -- often breaking the fourth wall -- with some of Coward's signature tunes. Before the show even begins, Rice sets the mood as her supporting players are out in the orchestra section of the theatre, serenading the audience as it playfully interacts with them as movie theater ushers from a bygone era. However, what they're really ushering in, quite simultaneously, are two distinct eras.
The first era harkens back to that pre-World War II time when Coward was in his prime. Brief Encounter is nothing if not a truly cinematic melodrama in which two lovers first meet by complete happenstance in a train depot restaurant. Laura (Hannah Yelland) gets a speck of dirt caught in her eye. Having already caught the eye of a doctor, Alec (Tristan Sturrock), she receives immediate attention from him.
But because this is England, circa 1930s, and these are English characters replete with the proverbial "stiff upper lip," the inhabitants of Brief Encounter are quite proper, if not repressed, in expressing themselves and their feelings. Compounding the matter for Laura is that she's a married mother of two who has settled into a humdrum life. As much as the spark of love from Alec appeals to her, she's reticent in allowing herself to be completely swept away.
Which leads to the second era that those Brief Encounter ushers have shown our way to -- a new era in theatre that seamlessly blends the live action on (and off) the stage with silver screen images and Gemma Carrington and Jon Driscoll's Tony-worthy projection design (if there actually were such a category). The result is a theatrical experience unlike any other -- theatre of the future. That experience allows unfettered access into the hearts and minds of Laura and Alec as love's crashing waves wash over them, almost quite literally.
Yelland and Sturrock are picture perfect as the two lovers. While Alec may go overboard for Laura in more than the figurative sense, neither Yelland or Sturrock overplay their hands into anything resembling camp -- a decidedly difficult task when doing melodrama.
Rice's supporting cast is equally superb, including Annette McLaughlin as Myrtle, the restaurant proprietor, and Joseph Alessi in the dual roles as Myrtle's suitor and Laura's husband. Gabriel Ebert and Adam Pleeth will melt your heart with their splendid renditions of some of Coward's most tuneful songs.
The magnificent Brief Encounter succeeds on so many levels, but particularly because it dares to be different. It'll have you swooning, too.
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While Blackwell does wonders with that wonderfully articulate and silky smooth mouth muscle, I found myself absolutely tongue-tied on stage. (And if you're wondering, "What's with his mouth, anyway?" I was swirling around a much-needed breath mint so as not to offend my beautiful donor.)
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After a solid run in London that concluded earlier this month, the revival began previews at Broadway's Music Box Theatre just last week (September 23) and opens October 14 for a limited run through February 13, 2011.
Since I've already provided a snapshot of the play here, I'll simply leave you with the brand, spanking new trailer above, appropriately attached in part to a London taxi cab.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
4:54 pm September 27 - Broadway's box office bounced upward 9.55% last week to $16,471,177
4:55 pm September 27 - Broadway capacity rose 1.93% last week to 77.13% or 206,325 seats sold out of 268,945 possible.
4:56 pm September 27 - Broadway's average ticket price fell from $77.13 to $74.15 last week. (Several new show in previews are papering)
4:57 pm September 27 - Broadway's $1 million+ grossing shows last week: WICKED, THE LION KING, JERSEY BOYS & BILLY ELLIOT (barely on last 1)
4:58 pm September 27 - PROMISES PROMISES, THE ADDAMS FAMILY and MEMPHIS each gross over $900,000 on Broadway last week
4:59 pm September 27 - Broadway shows with 90%+ capacity last week: WICKED, JERSEY BOYS, BILLY ELLIOT, A LITTLE NIGHT MUSIC
5:00 pm September 27 - WICKED once again Broadway's top grossing show last week: $1,495,013 at 99.8% capacity. Average ticket price: $103.48
5:01 pm September 27 - WICKED and JERSEY BOYS tie for Broadway's highest capacity crowds last week at 99.8% capacity each
5:02 pm September 27 - THE LION KING had Broadway's highest average ticket price last week: $111.81. Grosses $1,269,344 on 84.6% capacity
5:04 pm September 27 - Among shows playing 8 performances, PITMEN PAINTERS had lowest gross: $200,807 but 85.2% capacity. Av tix price $45.34
5:05 pm September 27 - Among shows w/ 8 perfs, BRIEF ENCOUNTER had week's lowest average ticket price: $33 grossing $224,905 at 85.0% capacity
5:07 pm September 27 - AMERICAN IDIOT had last week's lowest capacity at 52.6%. Grosses $480,566 w/ average ticket price of $66.77
5:09 pm September 27 - Only MARY POPPINS and AMERICAN IDIOT attracted less the 60% capacity last week on Broadway
5:10 pm September 27 - 8 Broadway shows grossed less than $300,000 each last week With exception of NEXT TO NORMAL all the rest are in previews
5:11 pm September 27 - Week's biggest capacity gain last week was for BRIEF ENCOUNTER up 22.1% to 85%
5:12 pm September 27 - Week's biggest capacity drop was 11.6% for AMERICAN IDIOT http://bit.ly/9TmDOn Expect rebound next week on this news: http://bit.ly/avFmY7
5:14 pm September 27 - All but 7 Broadway shows scored capacity gain at box office last week.
Do any of these results surprise you? Is you favorite show teetering on the brink of breakaway success or failure? Either way, feel free to comment below.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
In addition to all the glorious stars from Broadway's firmament, what I loved about the day was the opportunity to see many friends, including theatre bloggers Kevin Daly (Theatre Aficionado at Large), Linda Buchwald (Pataphysical Science), Byrne Harrison (Stage Buzz) and Elisa Schneider (Willing To Be Lucky), and meet other theatre bloggers like Jodi Schoenbrun Carter (Off-Stage Right) and Andrew Asnes (Theater Advisor).
But certainly the highlight for me, personally, was donating to Broadway Cares/Equity Fights AIDS, an organization that is doing so much for so many. To that end, in addition to buying items from various tables, as well as ponying up ten dollars here and there for a chance to have my photo taken with a few of the assembled Broadway stars, my biggest donation came as a surprise even to me.
I had left the event to see a show, only to come back and find a live auction in high gear. [title of show] star Susan Blackwell was up on the stage -- with Heidi Blickenstaff at her side -- auctioning off something. But I wasn't quite sure. It all seemed so very spirited when I arrived, and the bidding was already in the $200 range. I asked someone standing next to me what they were auctioning off. She told me it was a chance to get licked by Susan Blackwell.
"Of course!" I thought. I completely forgot that I had read on Broadway.com that she would offer up one of her famous face-lickings to the highest bidder. I couldn't resist, especially since I knew I had wanted to make a real tangible donation to BC/EFA and had not yet had the opportunity that day.
Photo Courtesy of Peter Gibbons
So I stuck my hand up. I'm not sure exactly when, but I think it was around the $450 mark. Each time I was outbid, I'd either nod or give a subtle signal to Susan Blackwell that I was still in it, and up the bidding went until she finally reached a threshold that seemed to surprise her where she asked the two highest bidders (including me) if we'd both donate that amount so both of us could be Susan Blackwelled.
We both eagerly agreed, and next thing I knew I was up on the stage. Proving why I'm not in entertainment, she asked me to state my name and I could hardly blurt it out. "My name is Steve." She asked me a quick question and I blurted out a reference to her [title of show] character that seemed to be lost of the audience, and she asked me what I did so I could donate that amount. I told her I was in PR (a profession that has in fact been very good to me).
Photo Courtesy of Peter Gibbons
Then Susan Blackwell proceeded to provide a nice and soft slow lick down the left side of my face. Then she got on my right side and did the same thing down my right cheek. But wait! There's more! She licked across my forehead and then down the ridge of my nose. Silly me, I know I had my eyes shut the entire time, but I was thinking, "My God! Susan Blackwell is licking my face." And you know what? I felt good!
It's my understanding that there were, in fact, lots of cameras capturing the moment, and a video will soon surface on Broadway.com as part of their regular "Side By Side by Susan Blackwell" feature so you can see it all for yourself.
Photo Courtesy of Peter Gibbons
Of all the donations I've ever made in my life, I have to say that this was the best one ever, and without a doubt the sweetest and most satisfying. Not only was I proud to part ways with my money for a little tongue action from the truly stellar Susan Blackwell (OK, it was actually a lot), but she was doing it for an incredibly vital and important cause in which I completely believe: Broadway Cares/Equity Fights AIDS.
Photo Courtesy of Peter Gibbons
Thank you, Susan, for risking your tongue on my salty face in support of BC/EFA. We'll always have Shubert Alley. Talk about a perfect day!
If you weren't able to attend, but would still like to donate to Broadway Cares/Equity Fight AIDS, please click here. No amount is too large or too small, but your support will be greatly appreciated.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
If you've clicked onto this particular story thinking you're going to get a review on that brand new film out this weekend, think again.
Sorry. But stick around and continue reading anyway.
Instead of a movie review, I've learned about another new social network. This one is intended as a social media platform that caters to live theatre audiences, while cultivating new ones. Together, the Alliance of Resident Theatres (ART)/New York and TheaterMania.com have launched the New York Theatre Network (NYTN), which officially launches on September 28, but is already live.
According to media materials provided to me, NYTN will serve as a "multi-prong theatre hub" used as:
An information source, an event site, and a home for social networking, dedicated to deepening the engagement between artists and audiences in the theatre capital of the world.
Think of a compendium of the New York theatre offerings beyond Broadway. True to the mission of ART/New York, NYTN is filled with information about plays, musicals and venues comprising some of the nearly 300 members of ART/New York's Off-Broadway and Off-Off-Broadway community.
To reach those potential audiences that contemplate life beyond Broadway:
NYTN is unique in that it puts both the larger theatre with a sizable advertising budget and the smallest theatre with no advertising budget on a level playing field. As the “MenuPages” of the theatre world, NYTN allows users to browse in multiple ways -- satisfying every appetite. NYTN also allows fans and member theatres to deepen their relationship by interacting through open discussion boards that can be created by the theatre company or the fans. NYTN’s social networking function allows users to see what their friends are sharing and liking and then makes recommendations to users based on their own preferences as well as their friends’. Additionally, users can view videos associated with the shows and purchase tickets to shows through the site.
Personally, some of the best shows I've seen in New York City over the past few years have been those out of the Broadway spotlight. It's encouraging to see an opportunity for those offerings to reach new audiences.
I applaud the combined efforts of ART/New York and Theatermania.com to harness the power of social networking to -- as ART/New York Executive Director Virginia Louloudes has so eloquently stated -- "Bring live theatre back into popular culture ... and demonstrate that theatres are affordable and accessible to everyone."
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
"First when there's nothing but a slow glowing dream..."
Unfortunately, truer words may have never been more prescient than those opening lines to the signature tune for Flashdance - The Musical were last evening. There was nothing but dreams for audiences who had tickets as maniacal technical issues forced postponement of the first preview for Flashdance The Musical at London's Shaftesbury Theatre until tonight. (What? They couldn't get the water bucket to work properly?)
Sparks will fly as the West End Premiere of Flashdance - The Musical explodes onto the stage starring Matt Willis as Nick and Victoria Hamilton-Barritt as Alex.
Set in Pittsburgh USA, Flashdance - The Musical tells the story of 18 year old Alex, a welder by day and ‘flashdancer’ by night, whose dream is to obtain a place at the prestigious Shipley Dance Academy. Flashdance - The Musical is full of pulsating raw energy and breathtaking choreography by Arlene Phillips (and) promises to be the theatrical event of the year!
If you're a young New Yorker, you'll be forgiven for thinking the musical takes its name from one of the Big Apple's most prominent strip clubs. But it's actually based on the enormously popular, yet critically reviled, film from 1983.
The musical will feature many of the songs from the movie soundtrack, including the title tune, along with 14 new songs composed by Robbie Roth and Robert Cary.
What's my feeling? Well, I realize the Brits do love this kind of show. But for every Priscilla Queen Of The Desert, there seem to be two or three Dirty Dancings and We Will Rock Yous proliferating exponentially in theatre spaces all over the West End.
Will this show have it all? We'll know in a flash when reviews come in after the show opens October 14.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Yesterday came news that the stylishly inventive Australian auteur has his eyes set on bringing that cult film to the stage via a new musical. Through "Strictly Ballroom," Luhrmann may have singlehandedly reinvigorated a flagging dance genre, well over a decade before the likes of "Dancing With The Stars" and Broadway's Burn The Floor.
Luhrmann is certainly no novice to the Great White Way, having produced and directed the magnificent La Bohème, which earned both him and the show Tony nods back in 2003. For me, having been a fan of his visionary work on the silver screen, his reimagined Puccini opera was the single best show I had seen that entire season. And I'm still been raving about the beautiful, if unsung, design elements offered by Luhrmann's wife, Catherine Martin to this day. I once wrote rather wistfully:
Credit Baz Luhrmann with the spellbinding genius for making one of the most enduring of operas into an accessible and excellent theatrical event. Not since Dorothy landed in Oz have I witnessed as glorious a transformation from black and white to full blown color as I did during this amazing production. In this case, it occurred when love was in full bloom. I only hope that Luhrmann won’t stay away from Broadway too much longer.
According to The New York Times' Patrick Healy:
Mr. Luhrman said that while the plot, central characters, and some of the music from the movie would be transposed to the musical, he was approaching the design, atmospherics, and some elements of the score and lyrics with “an open mind and excited imagination.”
Since the creative workshops set for Sydney are still a few months away, audiences won't see Strictly Ballroom - The Musical anytime soon. And as shows like Priscilla Queen Of The Desert have demontrated, it can take years for a show to wind its way from Australia to Broadway.
But strictly between you and me, with Luhrmann at the helm, I have little doubt that it will be worth the wait.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Theatre's Biggest News Of The Day Comes From Other Desert Cities
Perhaps the biggest theatrical news from yesterday didn't come from Broadway. But it was pretty darn close. And it was for a play that was originally planned for a Broadway berth.
Stockard Channing, Stacy Keach, Linda Lavin (and) Elizabeth Marvel will be featured in the cast of its upcoming production of Other Desert Cities, a new play by Jon Robin Baitz, directed by Joe Mantello, beginning performances Thursday, December 16 at the Mitzi E. Newhouse Theater (150 W. 65 Street.). Opening night is Thursday, January 13 at 6:45pm.
In Other Desert Cities, Brooke Wyeth (to be played by Elizabeth Marvel), a once promising novelist, returns home after a six year absence to celebrate Christmas in Palm Springs with her parents (Stockard Channing and Stacy Keach), former members of the Reagan inner-circle, her brother, and her aunt (Linda Lavin). When Brooke announces that she is about to publish a memoir focusing on an explosive chapter in the family’s history, the holiday reunion is thrown into turmoil and the Wyeths are both bound together and torn apart as they struggle to come to terms with their past.
Sounds pretty intriguing to me.
Expect this to be a much sought after ticket, especially given its opening date set amidst so many Broadway and Off-Broadway show closures about the same time.
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No doubt banking that the best way to spread Christmas Cheer, is singing loud for all to hear, Warner Brothers Theatre Ventures is returning to the Great White Way with the musical version of one of my recent Holiday film favorites: Elf (2003).
Elf - The Musicalis set to play Broadway's Al Hirschfeld Theatre beginning on November 2, 2010. The tuner will open on November 14, just in time for the Holiday season that begins in earnest over Thanksgiving.
Currently scheduled through January 2, 2011, the limited engagement will get a boost this Saturday at 12:30 p.m. when Arcelus officially opens the Hirshfeld box office with prize giveaways including chances for young audience members to win walk-on roles.
On the official Elf - The Musical website, the stage adaptation is described as follows:
Will audiences be willing to pass through the seven levels of the Candy Cane forest, through the sea of swirly twirly gum drops, and perhaps even walk through the Lincoln Tunnel just to see this stage adaptation? As Broadway's only real Holiday show this season, the production just might provide the elfin magic Warner Brothers is hoping for.
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If you're a big Broadway fan, the Great White Way's storied Shubert Alley apparently is the place to be this coming Sunday, September 26, from 10:00 a.m. to 7:00 p.m.
Every year, some of the Broadway stage's most illustrious luminaries gather in Shubert Alley to raise funds for BC/EFA by signing autographs and posing for photographs -- as well as even selling items from shows, ranging from costumes to pieces of music -- all in exchange for donations.
The Grand Auction serves as the highlight of the day when the highest bidders can win, among other items, walk-on roles in some of their favorite Broadway shows.
Even if you can't attend, there are plenty of silent auction items on which to bid. Go ahead. Bid. And be happy you've given!
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The official site for the show indicates that this limited engagement will run 11 weeks through January 8, 2011. The site describes the show as follows:
Comically channeling the demise of every great world empire, Colin Quinn (SNL) takes the audience through an uproarious history of the world in 75 minutes. From his personification of Caesar as the original Italian mobster to his depiction of the pizza-ordering styles of imperialists and colonialists, Quinn is at his satirical best, taking on the attitudes, appetites and habits that toppled the world’s most powerful nations. Directed by Jerry Seinfeld, Long Story Short proves that throughout human history, the joke has always been on us.
A formal announcement hit right about the time I initially posted this story. This is a transfer of Quinn's recent run from the Bleecker Street Theatre that ended September 4. It marks Jerry Seinfeld's first Broadway credit as a director.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Since I'm such an avid fan and ardent supporter of Chicago's Steppenwolf Theatre, I'd be remiss if I didn't also mention that I'm excited to see another Steppenwolf ensemble member, Martha Plimpton, in the premiere of her new FOX comedy series, "Raising Hope." Like "Detroit 1-8-7," "Raising Hope" also starts this evening.
Is there nothing Martha Plimpton cannot do? First, as the wine-swilling pontifica-ting, pompous Pope Joan and then as an English teen, both as part of Caryl Churchill's Top Girls, she was simply mindblowing.
But as Gladys Bumps in the current Broadway revival of Pal Joey, Plimpton proves nothing short of a complete revelation. We already knew this Tony-nominated actress had the dramatic chops, but who knew she also possesses such an sensational singing voice? Her "Zip" alone is worth the price of admission. Along with her sly moves, it truly does appear that there's nothing Plimpton can't do.
So why not television as a series regular?
On "Raising Hope," Plimpton stars as a new grandmother, Virginia Chance. On the TV series' official site, Plimpton answers a Q&A. In addition to rating her own parents "on a scale from Jimmy to June Cleaver," Plimpton says that if she were writing an episode of the show, she said, "I think it'll be essential that Virginia end up in sequins with dancing boys in tight thongs."
I'll be tuning in this evening for pure Plimpton, with or without those dancing boys.
"Raising Hope" premieres on FOX tonight at 9 p.m./8 p.m. Central.
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Broadway Served As Detour On Road To Detroit From Chicago
While I don't ordinarily write much about television, I'll be tuning in this evening to ABC as it premieres its gritty new cop drama "Detroit 1-8-7."
Regular readers of Steve On Broadway (SOB) probably already know my overriding reason for watching. It's because the new series stars Jon Michael Hill, a Steppenwolf ensemble member and Tony nominee earlier this year for his incredible performance in Superior Donuts. Among the many things I said in advance of his Broadway debut last fall, I advised:
Now, with the transfer of Superior Donuts, New Yorkers will get to know one of the Windy City's formerly best kept secrets. Now that the word is out that Jon Michael Hill is coming to Broadway, do yourself a favor and see him early to get those bragging rights for you'll be seeing a true star of tomorrow shine today.
Of course, by tuning in to "Detroit 1-8-7" tonight, you'll have further bragging rights for seeing this "true star of tomorrow" in his ascent, now before a national audience. Hill will be portraying Lt. Damon Washington, described by ABC as follows:
Change is coming for Damon Washington. This homegrown kid is making a career change by becoming a homicide detective and he'll be making diaper changes as a brand new daddy. He has a solid track record on the beat and brings his enthusiasm to prove his keep in homicide. Washington anxiously awaits the "baby call" during his first day chasing down killers. His spirit and eagerness serve as a nice compliment to his resourcefulness and smarts.
Washington has to quickly adapt the art of balancing his personal and professional lives. His struggles growing up in Detroit will hopefully prep him for the growing pains he'll get on the job and in his marriage.
We're confident he'll learn and mature with a little guidance. We're just wondering if that'll come from his new partner, Louis Fitch. Time will tell if Washington has what it takes to earn Fitch's respect. We'll also get to see if his positive spirit rubs off on his hardened partner.
Personally, there's no doubt in my mind that in making his auspicious television debut in such a vital, promising role, Jon Michael Hill's name is on the precipice of household status. And deservedly so.
Just remember, for many of you, you first read his name here, just over four years ago.
"Detroit 1-8-7" airs on ABC at 10 p.m./9 p.m. Central.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
4:40 pm September 20 - Broadway's box office up 8.36% last week over previous one, grossing $14,602,873
4:41 pm September 20 - Broadway capacity up 2.87% last week to 73.34% or 178,387 seats sold out of 240,032
4:42 pm September 20 - Broadway's average ticket price last week was $77.13 down from $77.54 one week earlier
4:43 pm September 20 - WICKED, THE LION KING and JERSEY BOYS only Broadway shows to each gross over $1 million last week at box office
4:44 pm September 20 - BILLY ELLIOT and PROMISES PROMISES each gross over $900,000 at box office on Broadway last week
4:46 pm September 20 - Broadway's #1 grossing show is also #1 capacity: WICKED grossing $1,479,055 at 99% capacity. Av tix priced $103.21
4:48 pm September 20 - THE LION KING had week's highest average ticket price on Broadway of $110.77. Grosses $1,210,030 on 81.4% capacity
4:50 pm September 20 - Among Broadway musicals playing 8 performances, NEXT TO NORMAL had week's lowest gross: $198,017. 57.9% capacity
4:52 pm September 20 - Among shows playing 8 performances, WEST SIDE STORY drew week's lowest capacity of 55.3% BUT MARY POPPINS drew 55.8% grossing $540,903
4:54 pm September 20 - Among all Broadway shows PITMEN PAINTERS had week's lowest gross $189,291 Average ticket price: $49.28. 73.9% capacity
4:55 pm September 20 - BRIEF ENCOUNTER had Broadway's lowest average ticket price: $42.14. Gross: $212,473 Capacity: 62.9%
4:57 pm September 20 - FELA! had Broadway biggest capacity increase of 11.7% to 75.8%, grossing $463,706. Average ticket price $74.24
4:58 pm September 20 - NEXT TO NORMAL had Broadway's biggest capacity decrease week over week. Down 8.6% to 57.9%
4:59 pm September 20 - WICKED and JERSEY BOYS only two Broadway shows last week to attract capacity crowds of over 90%
5:03 pm September 20 - Grossing under $500,000: AMERICAN IDIOT,FELA,ROCK OF AGES,CHICAGO, MRS. WARREN'S PROFESSION, BRIEF ENCOUNTER, NEXT TO NORMAL,PITMEN PAINTERS
5:04 pm September 20 - MARY POPPINS, WEST SIDE STORY and NEXT TO NORMAL only Broadway shows under 60% capacity last week.
Feel free to comment and let me know if you're surprised by any of these results.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
For Lombardi On Broadway, Winning Is The Only Thing
You may think that Broadway and football go together about as well as chocolate and tuna fish.
So how do you inspire football fans to seek out a Great White Way production? Very craftily, as it turns out.
In her insightful Theatre Development Fund (TDF) story, Linda Buchwald examines the dilemma facing the marketers for Eric Simonson's Lombardi, which is hoping to score a winning touchdown on Broadway this fall. The show is using advertising on sites like the NFL's, along with social networking via YouTube, Facebook and Twitter as cheerleaders capable of bringing football fans into a new, albeit significantly smaller "arena" -- Broadway's intimate Circle in the Square Theatre.
Sport produces great human drama and there is no greater sports icon to bring to theatrical life than Hall of Fame football coach Vince Lombardi, unquestionably one of the most inspirational and quotable personalities of all time. Dan Lauria ("The Wonder Years") and two-time Emmy Award winner Judith Light head the cast of Lombardi, a new American play by Academy Award winner and Steppenwolf Theatre Company member Eric Simonson. Though football’s Super Bowl trophy is named for him, few know the real story of Lombardi the man -- his inspirations, his passions and ability to drive people to achieve what they never thought possible.
To any naysayers, I'd just remind you that as the New York Jets' quarterback Mark Sanchezdemonstrated at this year's Tony Awards, the respective fan bases of Broadway and football need not be exclusive. We'll see next month whether Lombardi can score with critics and audiences alike. But as a proud cheesehead myself, I'm certainly game to be cheering on Lombardi.
Previews for this open-ended run begin September 23, 2010, with opening night slated for October 21.
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Dearest Wheedle describes the choice role as "an aging, drunken and sexually voracious movie star. The character is one of Williams' great stage monsters."
Later yesterday, The New York Times' Patrick Healy (sorry, no new nicknames I know of for this reliable reporter as of yet) confirmed that the production would move forward in the fall of 2011, adding that it would be under the watchful eye of estimable director David Cromer.
This production will mark Kidman's first Broadway appearance since her notorious debut in The Blue Room(1998-99). If Yank!comes to fruition during Broadway's 2011-12 Theatrical Season, then Cromer will have two major works on the Great White Way next year. As Cromer proved to Chicago audiences earlier this year, he has a gift for pinpointing and illuminating Williams' emotional core.
The first Broadway production of Sweet Bird Of Youth in 1959 was directed by Elia Kazan and starred a 34 year old Geraldine Page opposite the similarly aged Paul Newman as Chance. That luminary cast also included Sidney Blackmer as Boss Finley and such future stars as Bruce Dern, Diana Hyland and Rip Torn. Kazan, Page and Torn would also receive Tony nominations (Torn received a Theatre World Award for his portrayal of Tom Junior). The mounting would enjoy a 375 performance run at the Martin Beck Theatre (now the Al Hirschfeld), opening on March 10, 1959, and lasting through January 30, 1960. Page would go on to earn an Oscar nomination for the 1962 film version.
The first and only Broadway revival of the work came nearly 35 years ago for a very brief 48 performance run at the Harkness Theatre (which was razed in 1977). Edwin Sherin's direction tilted the show with a lopsided disparity in its leads' ages, pitting the 61 year old great Irene Worth opposite a relatively youthful 32 year old Christopher Walken. While the show was short-lived, Worth would earn her second of three Tony Awards.
With such a plum acting role capable of attracting acclaim and laurels, could Kidman see a Tony in her future? Stay tuned around June 2012.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Despite earning mixedreviews, Promises Promises showed enormous box office promise right up through two weeks ago when the tuner was still grossing over $1 million in ticket sales.
The only times those figures ever went south of a cool million were when its much-loved leads -- Kristin Chenoweth and the Tony-nominated Sean Hayes -- were temporarily away. Initially, contracts for the duo were through December 26 of this year. In their closing notice announcement, Promises Promises producers indicated that they were able to extend those contracts through the January 2 closing date (although Chenoweth will be out October 15-27 and December 29-January 1).
With the exception of Tony-winner Katie Finneran, who stole the show as the deliriously funny Marge and who is leaving the show October 10 due to a pregnancy, all other principals are remaining with the production until it closes. Finneran's replacement, Molly Shannon, takes over October 12 for the balance of the performances. This will mark Shannon's Broadway debut.
Early on, this revival of Promises Promises made headlines as Hayes seemed unnecessarily targeted by a Newsweek reporter, who asserted that the actor's sexuality made him unbelievable as a romantic lead. Chenoweth fired back, labeling the gay reporter as "knee jerk homophobic." Then, when Hayes hosted the Tony Awards, he and Chenoweth enjoyed perhaps the strangest televised liplocksinceMichael Jackson and Lisa Marie Presley. But no matter -- both only seemed to fuel box office demand.
While I certainly didn't hate the show, I didn't exactly love it, either. I was somewhere in the middle with my two-star review, mostly because I found the first act so incredibly lumbering, yet surprised in my delight with the second, buoyed by Finneran's charms. But as a fan of "The Apartment," which served as Promises Promises' source material, I was disappointed by how flat the musical's story fell. And the shoe-horning in of songs like "I Say A Little Prayer For You" and "A House Is Not A Home" just didn't work for me.
Still, I had hoped for a second act miracle for the production itself. Just as Finneran lifted the entire musical after Promises Promises' intermission, the thought of an inspired recasting of the leads along the lines of what was accomplished with A Little Night Music intrigued me. But those hopes were dashed as it appears that the production and creative team gave up on finding anyone suitable as a box office draw that could replace either of them. Instead, that same team appears to be limiting its focus on prepping another upcoming 60s-era revival, How To Succeed In Business Without Really Trying, for Broadway in the Spring of 2011.
But suppose for a moment that the show were to receive an 11th hour reprieve, whom would you cast as Chuck Baxter and Fran Kubelik?
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Rain: A Tribute To The Beatles Limited run extended through May 31, 2011 (Show will go on hiatus starting January 15 and reopen at Brooks Atkinson Theatre on February 8)
Rock Of Ages - Open-ended run (Show will go on hiatus starting January 9 and reopen at Helen Hayes Theatre in March)
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
Ironic: Catching Neil Simon Theatre 'Cause It Could 
