Tuesday, November 30, 2010

Look Out! There Goes The Spider-Man?

Look Out! There Goes The Spider-Man?

Something occurred Sunday evening that even Michael Riedel of the New York Post probably didn't expect ever would. Spider-Man: Turn Off The Dark actually began preview performances.

Premature to be sure, but a preview nonetheless.

But now a column by The New York Times' Patrick Healy questions whether Spider-Man will have legs. His story indicates that the Foxwoods Theatre's new General Manager Erich Jungwirth has begun introducing himself to producers, asking them to consider his 1,932 seat venue for their Broadway shows.

Just smart business or a desperate move?

For the record, I have my ticket to see Spider-Man on Saturday, December 18. It was initially to be among the final preview performances before the previously scheduled December 21 opening, but now it will simply be one of nearly 50 previews leading up to the new opening night of January 11.

To be honest, I can't wait to see it. And no, I am certainly not hoping for a colossal failure. Since I pay for every ticket to every show I see, I go into each one hoping for the best. Whatever Spider-Man: Turn Off The Dark turns out to be, it will likely be one to really remember.

This is Steve On Broadway (SOB).

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.



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Monday, November 29, 2010

Broadway Box Office Tweets - Week Ending November 28, 2010

George Gershwin Theatre Box Office (Home to Wicked)
Broadway Box Office Tweets - Week Ending November 28, 2010

If you follow me on Twitter, you most likely know that each Monday, I offer my quick analysis of each preceding week's box office on Broadway.

As this week's analysis makes extraordinarily clear, it's holiday season yet again, meaning that family-fare shows pull in the biggest audiences.

For your viewing pleasure, here are my tweets in chronological order for the week ending November 28, 2010.

3:30 pm November 29 - Thankful Broadway box office way up 19.06% last week, grossing $26,365,126. That's $5 million+ week over week increase

3:31 pm November 29 - Broadway capacity up just 1.47% last week to 71.03%, or 270,277 seats sold out of 363,588 possible

3:32 pm November 29 - Broadway's average ticket price skyrocketed to $89.14 last week from just $78.96, explaining huge overall gross

3:33 pm November 29 - 10 Broadway shows grossed $1 million+ each last week, twice as many as week earlier

3:34 pm November 29 - Broadway's $1 million+ club: WICKED, LION KING, ELF, ADDAMS FAMILY, JERSEY BOYS, BILLY ELLIOT, MARY POPPINS, MERCHANT, PROMISESx2, PHANTOM

3:35 pm November 29 - Sold-out WICKED stays Broadway's #1 show grossing $2,150,665, breaking $2 million mark like it did last holiday season

3:37 pm November 29 - WICKED also had last week's highest average ticket price on Broadway: $148.61

3:38 pm November 29 - MERCHANT OF VENICE was Broadway's top grossing play last week, taking in $1,160,360 with avg ticket price of $140.31

3:39 pm November 29 - MERCHANT OF VENICE also had Broadway's highest capacity with standing room only crowd of 102.6%

3:40 pm November 29 - Surprisingly, only THE MERCHANT OF VENICE and WICKED attracted capacity of 100% or more last week on Broadway

3:43 pm  November 29 - Broadway shows attracting capacities of 95-99%: SPIDER-MAN (1 performance) LION KING, JERSEY BOYS, BILLY ELLIOT, ELF

3:44 pm November 29 - Broadway shows attracting capacities of 90-94.9%: MARY POPPINS, PHANTOM, ADDAMS FAMILY, DRIVING MISS DAISY

3:45 pm November 29 - 1st Broadway preview for SPIDER-MAN grosses $200,605 on 99.7% capacity and average ticket price of $104.32

3:46 pm November 29 - Broadway's lowest grossing show last week: PITMEN PAINTERS taking in $127,483 on 55.9% capacity. Avg tix priced $43.84

3:47 pm November 29 - Last week's lowest capacity: A FREE MAN OF COLOR at 45% grossing $194,194 on average ticket price of $51.70

3:48 pm November 29 - Broadway's cheapest ticket last week was THE PITMEN PAINTERS. Average ticket price of only $43.84

3:49 pm November 29 - Broadway shows with under 50% capacity: TIME STANDS STILL, ELLING, LA BÊTE, COLIN QUINN, FREE MAN OF COLOR

3:51 pm November 29 - PHANTOM OF THE OPERA posts biggest week over week capacity gain of 29.8% to 91.1%, grossing $1,024,656 last week

3:52 pm November 29 - With original London stars, MARY POPPINS also posts huge capacity increase of 27% to 91.8%, grossing $1,206,630

3:53 pm November 29 - Top capacity decline on Broadway last week? ELLING, down 30.2% to 47.7%, grossing just $198,048 before closing Sunday


So, dear readers, 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.

This is Steve On Broadway (SOB).



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.

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Friday, November 26, 2010

Elling Turns To Ending

Elling Turns To Ending

Well, that was quick.

No sooner had Simon Bent's Elling opened on Broadway this past Sunday and its producers have announced it's closing. This Sunday, November 28. After just nine regular performances.

The play fared poorly with many critics, as well as at the box office. Last week, the Doug Hughes-helmed comedy grossed only $145,070. All of which is quite a shame for a show that boasts Denis O'Hare, Jennifer Coolidge, Brendan FraserRichard Easton and Jeremy Shamos

Since I've been on vacation, I haven't even had an opportunity -- yet -- to write my review for the show. But I can tell you that I certainly enjoyed the show, which snuck up on me and left me a wee bit teary eyed at the end -- perhaps a surprise for all the folks who walked out of the production who never knew what they missed.

This is Steve On Broadway (SOB)

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.




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Thursday, November 25, 2010

Broadway's Thanksgiving Schedule

Broadway's Thanksgiving Schedule

It's "Turkey Lurkey" time. But by the time you read this, I'll be on the ground in London for my traditional English Thanksgiving.

No, the British don't actually observe our uniquely American holiday. But it tends to be my own personal tradition as I travel to London most years to enjoy a nice four day weekend. And this just happens to be one of them.

But since you might be itching to see a Broadway show this holiday weekend, here's the full schedule of what's playing when. Note that the only shows performing on this Thanksgiving Day are A Life In The Theatre, A Little Night Music, American Idiot, Chicago, Elf, In The Heights, Promises Promises (bet they'll be singing "Turkey Lurkey Time" with bawdy abandon!), The Phantom Of The Opera, The Scottsboro Boys and West Side Story.

Also note that the following Broadway shows will be featured as part of Macy's 84th Annual Thanksgiving Day Parade: American Idiot, Memphis, Million Dollar Quartet and Elf. Each certainly captures varying aspects of the American experience to be sure, but thanks to Macy's sponsorship of Elf, it's a given that it would be featured in the parade. As a bonus to Broadway fans, the beautiful and brilliant Betty Buckley will also participate in this year's parade, which will be broadcast on NBC beginning at 9 a.m. EST today.

No matter where you are this Thanksgiving, and regardless of your nationality, please accept my deepest appreciation for making Steve On Broadway (SOB) one of your regular theatre stops. I can't thank you enough for your candid feedback and comments. I'm especially grateful to so many of you for your friendship.

Happy Thanksgiving!

This is Steve On Broadway (SOB).



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.





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Wednesday, November 24, 2010

Millions To Finally Get Sense Of Spidey Musical Sunday

Millions To Finally Get Sense Of Spidey Musical Sunday

For many Broadway shows, there's no better place than Macy's Thanksgiving Day Parade to show millions of Americans what you've got through the television exposure on NBC, let alone the estimated 3.5 million who line New York City streets.

Yet, this Sunday, Spider-Man: Turn Off The Dark will reach tens of millions via TV's venerable "60 Minutes" news magazine (see video above). It's all too much of a rarity for "60 Minutes" to focus on Broadway. So kudos to CBS for focusing on at least one of the Great White Way's newsworthy musicals.

For the millions of football fans who stay tuned to CBS, they'll get an inside look at the musical that's still causing headlines and headaches for the beleaguered, delayed $60 million production. Spider-Man: Turn Off The Dark is supposed to start previews on the very same day as the broadcast: November 28.

Will you be turning on The Dark?

This is Steve On Broadway (SOB).


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.




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Tuesday, November 23, 2010

Yet Another Great Performance For Sondheim

Yet Another Great Performance For Sondheim

In this seemingly all-Sondheim, all-the-time year -- due in large part to the celebration of the great Stephen Sondheim's 80th birthday -- all of America will have its chance to observe this living legend's work as "Sondheim! The Birthday Concert" finally airs as part of PBS's "Great Performances" tomorrow night, November 24.

Think of this as a perfect way to begin your Thanksgiving, as the show -- hosted by David Hyde Pierce -- offers a loving Valentine through song.

Originally presented by the New York Philharmonic at Lincoln Center’s Avery Fisher Hall on March 15 and March 16 of this year, "Sondheim! The Birthday Concert" includes performances by Patti LuPone, Audra McDonald, Mandy Patinkin, Bernadette Peters, Donna Murphy, Michael Cerveris, Elaine Stritch, Nathan Gunn, and many more. Paul Gemignani conducts and Lonny Price directs songs and orchestral pieces from Sondheim musical theater favorites such as A Funny Thing Happened On The Way To The Forum, Little Night Music, Company, Follies, Sunday In The Park With George, Sweeney Todd, and more.

Sounds like a winner. I'll be setting my DVR. How about you?

This is Steve On Broadway (SOB).

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.




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Monday, November 22, 2010

Broadway Box Office Tweets - Week Ending November 21, 2010

George Gershwin Theatre Box Office (Home to Wicked)
Broadway Box Office Tweets - Week Ending November 21, 2010

If you follow me on Twitter, you most likely know that each Monday, I offer my quick analysis of each preceding week's box office on Broadway.

Some people live for the latest sports stats, while I love poring over each week's box office totals on the Great White Way. So for your viewing pleasure, here are my tweets in chronological order for the week ending November 21, 2010:

7:00 pm November 22 Broadway box office down slightly last week (6.2%) to $21,333,678 in grosses

7:01 pm November 22 Broadway capacity down 5.05% last week to 71.03% or 255,508 seats sold out of 360,160 possible.

7:02 pm November 22 Broadway's average ticket price last week was $78.96, up from $77.93 week before

7:03 pm November 22 WICKED, THE LION KING, JERSEY BOYS & BILLY ELLIOT, PROMISES PROMISES each gross $1 million + last week

7:04 pm November 22 WICKED was Broadway's top grossing show (again!) taking in $1,509,711 on 96.3% capacity. Average ticket price $108.36

7:05 pm November 22 Week's highest avg ticket price ($134.40) & capacity (102.4%): MERCHAQNT OF VENICE, grossing $793,110 - top among plays

7:06 pm November 22 MERCHANT OF VENICE, WICKED, JERSEY BOYS & DRIVING MISS DAISY only Broadway shows attracting capacity of more than 90%

7:07 pm November 22 Broadway shows attracting less than 50% capacity last week: A LIFE IN THE THEATRE, LA BÊTE, AMERICAN IDIOT

7:08 pm November 22 A LIFE IN THE THEATRE had lowest capacity on Broadway: 45.1%, grosses $213,364 w/avg ticket price: $55.22

7:09 pm November 22 ELLING had Broaday's lowest avg ticket price of $22.03 last week. Grosses $145,070 on 77.9% capacity

7:10 pm November 22 COLIN QUINN LONG STORY SHORT had Broadway's lowest gross of $143,902 on 62.9% capacity. Avg ticket price: $48.70

7:11 pm November 22 ELLING had Broadway's highest increase in capacity last week. Up 13.4% to 77.9% in advance of yesterday's opening

7:12 pm November 22 THE PEE-WEE HERMAN SHOW had week's biggest capacity drop of 14.8% to 70.5%. Grosses $594,217

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.

This is Steve On Broadway (SOB).



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.

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Friday, November 19, 2010

Will Fat Pig Become Cash Cow On Broadway?

Will Fat Pig Become Cash Cow On Broadway?

After first premiering to great acclaim at Off-Broadway's MCC Theater in 2003, Neil LaBute's Fat Pig is being fattened up just a little bit more for its 2011 Broadway debut.

The playwright himself prepared to carve it up via his directorial debut on the Great White Way. Comedian Dane Cook and stage and movie actor Josh Hamilton are slated to star, although neither theatre nor dates have been confirmed.

According to David Ng of The Los Angeles Times:
LaBute's plays are famous for their controversial and blunt-force subject matter, as well as their high density of swear words. Fat Pig tells the story of Helen, an obese woman who gets into a romantic relationship with Tom, a slender thirtysomething man. Causing trouble is Tom's obnoxious friend Carter, who antagonizes Helen about her weight. Cook will play Carter while actor Josh Hamilton will take on Tom. The actress playing Helen will be announced at a later date.
While I haven't yet seen a production of Fat Pig, I was a huge fan of LaBute's devastating play The Shape Of Things and I truly admired reasons to be pretty. So count me among the intrigued, including on whether this casting can turn the production into a cash cow.

This is Steve On Broadway (SOB).


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.




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Thursday, November 18, 2010

Final Weeks For 21 Broadway Shows

Final Weeks For 21 Broadway Shows

As incredible as that headline sounds, it's for real.

A whopping 21 Broadway shows out of 39 will be closing between now and the end of January 2011. Yes, over half of the shows currently on the Great White Way will be gone in less than two months.

Among those 21 shows, 17 of them are scheduled to close during the month of January (although one could possibly extend beyond). That number may seem inordinately high, especially coming off two consecutive Januarys in which we lamented the closing of an unusually large number of shows due to the perennial winter doldrums coupled with a poor economy.

However, unlike the last two years, 10 of the shows set to close in January are limited runs shuttering on schedule. And among the four shows concluding performances between now and the end of the year (including one, pictured right, that hasn't even opened yet), all but one of them is also a limited run closing as scheduled.

Additionally, it should be noted that of the seven other shows closing in January, five of them -- A Little Night Music, Fela!, In The Heights, next to normal and West Side Story -- will not only have been performing on Broadway's boards for over a year, but each has earned at least one Tony Award, including In The Heights' Best Musical Tony from 2008. And did I mention next to normal's belated Pulitzer Prize?

With box office doing quite well in recent weeks -- grosses hit $22,656,843 just last week -- it's fair to say that things seem to be looking up for the Great White Way, which is relatively flush with green. Of course, it's entirely possible that there are additional closing notices looming for other Broadway shows that aren't faring well at the box office. But I won't speculate here on what else may not be long for this world.

Here's the current schedule of shows set to close between now and the end of January:



  • A Life In The Theatre - Limited run closing early on November 28, 2010

  • Mrs. Warren's Profession - Limited run through November 28, 2010

  • The Pitmen Painters - Limited run through December 12, 2010

  • Donny & Marie: A Broadway Christmas - Limited run December 9-30, 2010

  • Brief Encounter - Limited run extended through January 2, 2011

  • Elf - Limited run through January 2, 2011

  • Fela! - Closing notice posted for January 2, 2011

  • Promises, Promises - Closing announced for January 2, 2011

  • The Pee-Wee Herman Show - Limited run through January 2, 2011

  • West Side Story - Closing announced for January 2, 2011

  • Colin Quinn: Long Story Short - Limited run through January 8, 2011

  • A Free Man Of Color - Limited run through January 9, 2011

  • A Little Night Music - Closing notice posted for January 9, 2011

  • In The Heights - Closing notice posted for January 9, 2011

  • La Bête - Limited run closing early on January 9, 2010

  • Rain: A Tribute To The Beatles Limited run through January 9, 2011

  • The Merchant Of Venice - Limited run through January 9, 2011

  • next to normal - Closing announced for January 16, 2011

  • Time Stands Still - Limited run through January 23, 2011

  • Women On The Verge Of A Nervous Breakdown - Limited run through January 23, 2011

  • Driving Miss Daisy - Limited run through January 29, 2011



  • So, dear readers, which of these shows are you going to make a point of seeing before they close?

    This is Steve On Broadway (SOB).


    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.


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    Wednesday, November 17, 2010

    Come January, All Bêtes Are Off

    Come January, All Bêtes Are Off

    Talk about poor timing on my part.

    No sooner do I post my SOB Review for the outrageously funny La Bête than the revival announces an early closing for January 9, 2011 -- five weeks earlier than originally planned.

    By the time the comedy closes, it will have played 101 regular performances -- 76 more than the original production that bombed back in 1991. The current production wasn't even attracting 60% capacity at the box office last week. Unbelievable given all the talent involved.

    Personally, I'm downright disappointed that this play didn't do better. It was incredibly well-crafted by director Matthew Warchus and brilliantly acted, particularly by Mark Rylance, who deserves a Tony nomination for his virtuoso work.

    If there is a saving grace, it's that Rylance has indicated that he's set to begin rehearsals for a Broadway incarnation of Jerusalem, a play that blew away virtually everyone who had a chance to see it in London earlier this year. Rylance would reprise his Olivier Award-winning turn as Johnny "Rooster" Byron, and quite possibly do it at the very same theatre where he's currently treading the boards for La Bête.

    To get a taste of what else to expect from Rylance, here's the trailer from the London production of Jerusalem:


    After seeing Rylance in La Bête, I'm already salivating for his next star turn. If you haven't already seen La Bête, do yourself a favor and get to the Music Box Theatre before it closes in January. You can thank me later.

    This is Steve On Broadway (SOB).


    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.


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    Tuesday, November 16, 2010

    99 And Counting...

    99 And Counting...

    Talk about one long running hit!

    If you're a regular reader, you might recall last year when I wrote about my (then) 98 year old Gramps. Guess who's turning 99 today? 

    This past weekend, much of my family gathered in northwest Arkansas to celebrate this exceptional man. We're so enormously proud to have him in our lives that I'm pleased to reprise my post from one year ago today with a few subtle changes.

    Charles Loucks and 99 Reasons We Love Him

    Ninety-nine years ago in tiny Tipton, Indiana, a middle-aged farmer’s wife named Mary Frances Loucks gave birth to a bouncing baby boy. She and Charles Sherman Loucks would call the infant Charles Francis Loucks. Charles Loucks became the youngest of many children this sizeable farm family would welcome into the world.

    Charles, or Charley as his friends call him, would migrate to Minnesota shortly after high school. Not too long after he arrived, he would meet and then marry an Iowan named Marian Lucille Plummer. Together, they would have two children, Barbara Joyce and Donald Dean (pictured, flanking my Gramps this past Sunday), who in turn provided their parents with five grandchildren, including yours truly.

    Now, as all of us – including his 14 great grandchildren and 9 great-great grandchildren (with another on the way!) – proudly celebrate our beloved Gramps’ 99th birthday, I’m using the occasion to pay tribute to this wonderful man by expressing 99 of the countless reasons why we love and adore him so very much. We’re so very blessed to still have this exceptional man in our lives.

    So, in no particular order, I give you my 99 reasons:

    1. He loves dogs and currently has an adorable Chihuahua named Lady as his very faithful companion.

    2. He remains open to learning new tricks.

    3. He once emulated magicians by pulling a table cloth out from under a table full of glasses without moving a one. He decided not to try and tempt fate twice.

    4. Over the past ten years, he taught himself how to operate his own personal computer, which he continues to use in emailing family and friends.

    5. He continues to volunteer at his local cable access television station in Bella Vista, Arkansas, and has even operated its camera from time to time over the last dozen years.

    6. He has mastered his church’s sound mixing board.

    7. He is a man of immense faith.

    8. He still believes he can drive a car, and yes, he continues to possess a valid license.

    9. But he will acquiesce when we insist on taking the wheel.

    10. He’s traveled to all 50 states, and driven in 49 of them.

    11. He used to enjoy getting our adrenaline pumping by driving us across Minnesota’s frozen lakes during the wintertime.

    12. He continues to purchase a new automobile each year, whether he needs one or not.

    13. He just renewed his passport, so he’ll be good to go for the next ten years.

    14. He recently told me he’d love to go to Chile next.

    15. In 2006, he ventured to China for his first time in just over 60 years.

    16. Shortly after the close of World War II, he was part of a detail that swept mines from the Yangtze River in Shanghai.

    17. He served his nation proudly during World War II, enlisting in the U.S. Navy even though he could have avoided service altogether since he was already aged 32, had a wife and two children, and was already serving his community as a St. Paul firefighter.

    18. He would be honorably discharged after having been promoted to the rank of Carpenter - Second Class.

    19. He’d serve in the waters around Europe, Africa and Asia during World War II.

    20. He and his shipmates onboard the destroyer U.S.S. Baldwin proudly escorted President Franklin D. Roosevelt to Yalta. He even caught a glimpse of Winston Churchill once there.

    21. He is the epitome of a true patriot and exemplifies the very best in America.

    22. While the navy was on a six week hiatus in New York City during the war, he took in countless performances of the Rockettes at Radio City Music Hall.

    23. He is an exceptional storyteller and is always pleased to regale me with highlights from his life.

    24. Knowing how much I love his stories, he once sat down in front of a video camera and chronicled much of his life for posterity (and me).

    25. He’s always been drama-free, which has been a good thing given the drama his descendants have indulged in.

    26. When he was just 17 years old and a senior in an Indianapolis high school, he performed alongside other minors as orphans in a play headlined by Ethel Barrymore.

    27. He also performed in a high school production of “The Pirates of Penzance.”

    28. He has personally met Frank Sinatra, even though he admits that he wasn’t particularly a fan.

    29. He’s also met Milton Berle, who made him laugh.

    30. He once told me he wanted to meet Anne Murray (pictured left), so I arranged a backstage meeting with the Canadian singer after a concert stop in Tulsa. Gramps was stunned.

    31. He can be a bit shy.

    32. He was supposed to personally meet and greet President Harry S. Truman, but was so overcome when observing the president’s uncanny resemblance to his deceased father that he retrenched into a corner of the reception room.

    33. He learned how to pilot a plane after World War II, but because he was $12 short of the final payment necessary to enable him to fly solo, he never received his license – and he never told my grandmother that he had even been practicing.

    34. He has only ever been married to one woman, my grandmother, in a union that lasted 63 years until her death in 1995.

    35. He met my grandmother on a blind date.

    36. His pen “slipped” as he was signing his marriage license. Back in those days, the minimum legal age to get hitched without parental approval was 21. But he feared his parents would not approve, even though he was just shy of 21 years. When he signed the marriage license, his pen “slipped” so it appeared that he was born in 1910 rather than 1911.

    37. He spent half of the money he had on his honeymoon – an exorbitant $15 on a trip to Brainerd, Minnesota. It was exactly half of all the money he had to his name.

    38. He was so in love with my grandmother that he was clearly heartbroken when she died. He still tears up when he talks about her.

    39. After her passing, he uprooted himself by moving to a remote part of Arkansas where he owned some land. He built a new home for himself – at age 85.

    40. From 1939 through 1975, he served with distinction as a proud St. Paul firefighter.

    41. Out of hundreds of applicants to become a St. Paul fireman during the Depression, he would earn the third highest scores on the civil service examination.

    42. By the time he was forced to retire, due to the mandatory retirement at age 65, he had been promoted to the position of Fire Chief in St. Paul.

    43. He once loaned his trumpet to his nephew George Myers, who would not only go on to become one the military’s most revered players, but he would also play taps at funerals for many dignitaries.

    44. He has always been a great instructor.

    45. He helped teach me how to water-ski.

    46. He was patient with me even when I tried learning how to play golf.

    47. He continues to actively play golf to this day.

    48. He regularly shoots a golf score under his age (and typically beats his younger golfing buddies).

    49. He scored his first hole-in-one back in 1935.

    50. He scored his last hole-in-one as recently as 2004 – at age 92.

    51. All totaled, he has scored five holes-in-one. Although he nearly scored a sixth, the ball bounced back out of the cup landing just a foot-long putt away.

    52. One of his earliest memories is smoking a cigar at the age of 8 at his eldest brother’s wedding reception (his brother Noel was a World War I veteran). He ended up rolling down a hill in a tire and was briefly knocked out, coming to after the reception had ended.

    53. As children, he and another brother were thrown from their family horse because they were a little overeager in trying out the spurs they received as a gift. The duo wanted to be cowboys.

    54. He can be a bit of a daredevil.

    55. He went parasailing in Mexico at age 79.

    56. He became an expert ski jumper back in the 1930s.

    57. After he went home from his first planned attempt at ski-jumping, he couldn’t help but kick himself for not trying. When he went back for a second attempt, he saw teenagers skiing off the jump with ease and thought, “If they can do it, so can I.” While his first jump proved dangerous (he landed on his head), he dusted himself off and went right back up to the top and tried again. Successfully.

    58. He is a model of perseverance.

    59. He succeeded in learning how to build houses when moonlighting from the Fire Department.

    60. He helped my father build the very first home I ever lived in.

    61. He and my grandmother purchased their first residence back in the 1930s for a whopping $2,500. (When I was just a child, I took comfort in knowing that they were just blocks up the street from us.)

    62. He sold that same house during the 1970s for over $75,000.

    63. He built his own lake home, which was one of our family’s favorite gathering places for special occasions, including a couple of mine.

    64. He and my grandmother made every attempt to attend virtually all major milestone events in our family – everything from graduations and confirmations to performances in musicals and concerts to weddings – even after we moved to Milwaukee.

    65. He is tremendously fit for his age.

    66. In addition to playing golf, he stays in shape by clearing brush from the woods adjacent to his home.

    67. He’s routinely mistaken for someone 20 years younger.

    68. He makes more money now through his pension than he ever did via his regular paycheck – proving that living long is the best revenge.

    69. When his own mother died, he received an “inheritance” totaling $15. He always jokes that the longer he lives, the less inheritance there will be for us. But we all implore him to spend it.

    70. Nonetheless, he is a very frugal man.

    71. Yet, he is exceedingly generous, as he proved yet again last Christmas.

    72. He likes to pick up the check at restaurants.

    73. He became an expert woodworker before he was a firefighter.

    74. His work from over 70 years ago can still be found in both the Ramsey County Courthouse (St. Paul) and the city’s First National Bank Building.

    75. He also designed the single most beautiful inlaid wooden table I’ve ever seen.

    76. He likes Peanut M & Ms.

    77. He likes his ice cream, something his son and this particular grandson inherited.

    78. He is still very spry.

    79. He is exceedingly lucid.

    80. He cries every time we say goodbye.

    81. He possesses a spark in his voice whenever we talk on the phone, beginning with his boisterous, “Hello, there!”

    82. He maintains a terrific sense of humor.

    83. He continues to be admired by the ladies.

    84. He was quite mischievous growing up.

    85. He can still recall when everyone had a horse and buggy, as well as when his father bought their first car.

    86. When gas prices hit $4 per gallon two years ago, he recalled how a tank of gas was costing more than his very first automobile, a used Ford Model T, which he purchased in the 1920s for a mere $40.

    87. He also remembers gasoline-free Sundays, when autos were only used on Sundays in case of emergencies.

    88. He remembers how awkward it was to use party-line phones with everyone knowing his family’s business. But by the same token, they knew everything about their neighbors, too.

    89. He grew up without electricity, but they heated everything with coal.

    90. He understands the virtues of sacrifice.

    91. He recognizes just how far he’s come.

    92. He’s honest.

    93. He has immense integrity.

    94. Although he’s consistently voted for Democrats in presidential races beginning in 1940 right through 2008, he voted Republican during his first time at the polls because his farm family was strictly Indiana GOP.

    95. He loves his family unconditionally, no matter who votes Republican.

    96. He’s tremendously proud of his offspring, and just as the average face of America is changing with more color, so is the burgeoning rainbow hue in his family.

    97. He looks forward to turning 100 years of age.

    98. He loves us.

    99. He gives us countless reasons to love him right back.

    Happy birthday, Gramps! With love, sincere appreciation and best wishes for your 100th year!


    This is Steve On Broadway (SOB).
     
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    Monday, November 15, 2010

    Broadway Box Office Tweets - Week Ending November 14, 2010

    George Gershwin Theatre Box Office (Home to Wicked)
    Broadway Box Office Tweets - Week Ending November 14, 2010

    If you follow me on Twitter, you most likely know that each Monday, I offer my quick analysis of each preceding week's box office on Broadway.

    Some people live for the latest sports stats, while I love poring over each week's box office totals on the Great White Way. So for your viewing pleasure, here are my tweets in chronological order for the week ending November 14, 2010:  

    3:30 pm November 15 - Broadway box office grossed $22,656,843 last week. Up 10.24% (well over $2 million) week over week

    3:31 pm November 15 - Broadway capacity up 4.28% last week to 76.09% (or 276,473 seats filled out of 361,312 possible)

    3:32 pm November 15 - The average ticket on Broadway was priced at $77.93 last week, up from $76.12 week before.

    3:33 pm November 15 - WICKED, LION KING, JERSEY BOYS, PROMISES PROMISES, ADDAMS FAMILY, BILLY ELLIOT each gross $1 million+ last week

    3:35 pm November 15 - Broadway's top grossing show again last week: WICKED at $1,567,087 on 98% capacity and $110.47 average ticket price

    3:37 pm November 15 - Broadway's top capacity: MERCHANT OF VENICE at 100.8%. Gross of $848,045 makes it top play. Avg ticket price: $121.69

    3:39 pm November 15 - Broadway top avg ticket price: DRIVING MISS DAISY at $123.77. Gross: $681,345. 85.6% capacity (Redgrave ill last week)

    3:40 pm November 15 - Broadway shows over 90% capacity last week: MERCHANT OF VENICE, WICKED, JERSEY BOYS, LION KING, BILLY ELLIOT

    3:41 pm November 15 - Broadway shows w/avg ticket price $100+: DRIVING MS DAISY,  MERCHANT OF VENICE, JERSEY BOYS, WICKED, LION KING, ADDAMS FAMILY

    3:42 pm November 15 - Broadway's lowest grossing show: COLIN QUINN LONG STORY SHORT at $132,930. 54.3% capacity. Avg ticket price $52.13

    3:43 pm November 15 - Broadway's lowest capacity: A LIFE IN THE THEATRE drawing just 37.2% capacity. Gross: $206,017.Avg ticket price: $64.70

    3:45 pm November 15 - Broadway's lowest average ticket price: ELLING at $34.51. Gross: $188,300 on 64.6% capacity.

    3:46 pm November 15 - Broadway shows below 60% capacity: A LIFE IN THE THEATRE, AMERICAN IDIOT, COLIN QUINN LONG STORY SHORT, LA BÊTE

    3: 48 pm November 15 - LOMBARDI scores biggest weekly capacity increase of 20.2% to 85.5%. Grosses $373,063. Avg ticket price $69.01

    3:50 pm November 15 - COLIN QUINN LONG STORY SHORT has week's biggest capacity drop of 14.7% to 54.3%. But gross way up over 50%.


    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.

    This is Steve On Broadway (SOB).



    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.

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    Today's Secret Word? "Winner!"

    Today's Secret Word? "Winner!"

    Congratulations to Tanya Elder from New York, New York, who has just won two free tickets to see The Pee-Wee Herman Show on Broadway!

    As those of you who entered know, because Paul Reubens (aka Pee-wee Herman) has so effectively used social networking to promote his critically-acclaimed show, eligible entries for this SOB Contest needed to subscribe to this blog, follow me on Twitter (and then retweet one of my contest messages) and follow me on Facebook.

    After congratulating Tanya Elder (@Elderta) via Twitter a short while ago, she tweeted:

    OMG!!! Wow!! Thank you!!!! @SteveOnBroadway @peeweeherman

    Winning tix just made my day and PeeWee brings a smile to my face. I await instructions on the tix. Thanks again! @SteveOnBroadway
    Congratulations again, Tanya!

    Thank you to everyone who entered the contest. By subscribing to Steve On Broadway, you'll automatically be entered in future contests!


    This is
    Steve On Broadway (SOB).


    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. However, in conjunction with SpotCo, two tickets for The Pee-Wee Herman Show will be given away to one lucky reader. 

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    La Bête (The SOB Review)

    La Bête (The SOB Review) – Music Box Theatre, New York, New York

    ***1/2 (out of ****)


    Last week, I wrote about a new show on Broadway that would be funny if it wasn’t so sad.

    Fortunately, today I get to write about just the opposite -- a revived comedy that could easily be sad if it just wasn’t so hysterically funny.

    Rarely has the term “laugh riot” been more befitting than for the new Rialto revival of American playwright David Hirson’s previously underappreciated 1992 comedy, La Bête -- set in 18th Century France and written to ape the style of Molière. In fact, as if taking a cue from the title (French for “the beast”), I was howling with delight.

    While the play is written in rhyming couplets, Hirson’s prose never sounds the least bit forced or unnatural. Enormous credit for that achievement goes to Matthew Warchus, who’s mercifully steering this extraordinary revival. Warchus’ ear for the appropriate cadence lifts the entire production to an astonishing loftiness, as in equaling Mark Thompson's impressive, towering book case, as opposed to being haughty.

    Indeed, part of La Bête’s subversive charm is that it pretends to pander to the lowest common denominator, even as its subliminal moralizing is much more high-minded, intelligent and thought-provoking, and ultimately heartbreaking.

    Centering on a troupe of serious French actors, led by Elomire (David Hyde Pierce), La Bête appeals to a populist voice as they’re called upon by an unlikely source to join forces with the dubious talents of the beast in question. The beast is actually an ass -- a street performer named Valere (Mark Rylance). That the insisting voice is none other than their primary patron, the Princess (Joanna Lumley), illustrates just how low that common denominator can go in a quest for popular entertainment over substance.

    The remarkable Rylance is nothing short of an acting genius. Quite effortlessly, he once again demonstrates why he is -- hands-down -- one of our greatest living stage treasures. Rylance seems to chew just about everything except for the scenery, particularly via his hilarious, non-stop 30-plus minute monologue that must be seen to be believed. It’s the kind of singular, virtuoso performance that audiences will be talking about for years to come.

    His delusional, American-accented Valere is so incredibly full of himself -- a true legend in his own mind, if you will -- that he serves as a perfect archetype for all the bloviating excess that much of the rest of the world seems to view in the United States. Valere is the type of narcissistic name-dropping dullard who simply remains clueless to the disdain others around him feel.

    With great irony, Rylance is practically holding up a mirror to his American audiences, daring us to laugh at what we have collectively become. And the amazing thing is that we do. We’re in on the joke, even if we're doubled over with this kind of laughter can makes us a wee bit uncomfortable.

    As Elomire, Hyde Pierce plays the perfect straight man to Rylance. While he rarely gets a word in edgewise, Hyde Pierce remains nothing if not a master in expressionism, reacting to each and every boast from Valere with requisite double-takes of a man thoroughly frustrated. He’s the yin to Rylance’s yang.

    Which is what appeals to the Princess in trying to blend their polar-opposite talents together. In her Broadway debut, Lumley imbues her Princess with unpretentious grace. It’s as if there was a people’s princess long before Diana, even if there’s a brooding, petulant child lurking underneath the regal exterior. And after witnessing Lumley's performance, it's hard to even imagine that the role was written as a Prince.

    What is most astonishing about La Bête is that while it easily plays to all audiences, its most deceptive allure is that at its very core is a beating heart, exposing the pandering for what it is and hoping beyond hope for something more stimulating and intelligent. And for those who can see past the play's façade of folly, they’ll find that and more. But laugh too hard, and is just might escape you.

    This is Steve On Broadway.


    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.




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    Sunday, November 14, 2010

    David Gallo: Designing Broadway And Beyond (The SOB Interview)

    David Gallo
    David Gallo: Designing Broadway And Beyond (The SOB Interview)

    On Friday, I provided the first portion of my interview with Tony Award-winning scenic designer David Gallo, discussing his Snow Globe creation for Broadway Cares/Equity Fights AIDS.

    Today, I'm pleased to share the rest of my interview with this affable, engaging and immensely talented designer in which we discussed, among other topics, August Wilson, his incredible inspiration for The Drowsy Chaperone and even how one of his works is now in the Smithsonian Institution.

    Here's the SOB Interview:

    Steve On Broadway - You had a long association with August Wilson’s works.

    David Gallo - That’s correct. My daughter’s name is August as well.

    SOB - That's amazing. Can you tell me a little about the experience of working with this great playwright?

    DG - It was just the highlight of my career. To even be alive during the same time period with such an extraordinary talent and such an important voice for forever, you know, with world literature. So that enough, but to be able to participate on them was just the highlight of a career to be able to bond with August and be able to work with him directly in developing the visuals aspects of his stories, you know, the words that he was putting together. It was amazing.

    August Wilson's Fences
    What was it like? I mean, it was great. It was about fourteen years of my life. It was a new challenge every day. Always interesting, you know, because my initial exposure to August was doing a production of Fences almost 20 years ago, which was the first time I had really any connection to the plays themselves. And then I designed the premiere productions of his later works and getting to the point where I was designing productions of August Wilson plays before the plays were written.

    SOB - Wow!

    DG - Yeah, it got to that point where we would discuss the ideas before he would even have typed out a word, I would already have pen to the paper.

    SOB - Well, I was going to ask you how much influence does a director’s vision have on what ultimately you see?

    DG - Well a director, a lot. But in this case the playwright, you know, usually not so much. But this was special. He was very much a part of all that stuff. He was a huge influence. And the settings were always so much more than met the eye.

    Hughie -  1996 Broadway revival
    SOB - With respect to your first design on Broadway, which was for Hughie, you were working at Circle in the Square (a theatre in the round), which in and of itself presents some interesting challenges. I’ve seen many shows that have worked in that space, but so many that just don’t. What were your challenges there.

    DG - Well, that space is like really tough. As you know it’s a very difficult theatre to master. And a particular challenge for Hughie is it’s a play that really has just two characters. There’s only two people in it, and one of them is the focus -- the role that Al Pacino played -- and he wanders around a bit. And then the other one played by Paul Benedict is a character that literally never gets out of his chair.

    So you’ve got to get a pretty tight ground plan because to get something like that to work in that context is always a little bit tricky. It’s not like a busy play with a lot of characters and a lot of movement and everything is running around that space and you really have to use that space. We pretty much were committed to a very particular play with a very particular presentation style. Yeah, that theatre is not easy.

    SOB - I’ve also admired your work in The Drowsy Chaperone. I thought that scenic design was absolute genius. What was your inspiration for that?

    The Drowsy Chaperone - Man in Chair's apartment
    DG - A guy I knew who was that character.

    SOB - Really?

    DG - Yes. I read that play and I said, “Holy s***! I know this guy.”

    I called my friend and I said I’m coming over with my camera, and I photographed every centimeter of his apartment. The set wasn’t a replication of that apartment, but it was seriously inspired by that guy’s apartment.

    He lived in the same place since the late 1970s in a Hell’s Kitchen walk-up on the fifth floor. You know, he actually has his bathtub in his kitchen, you know, and it’s completely filled with musical theatre and opera records. He hangs out there and plays these records. Really, that’s his thing. He’s also a designer -- I mean he has a life. I mean he’s not, you know, as weird as our character. He’s the real thing. So the inspiration came from that.

    The Drowsy Chaperone - Play within the play
    And then the play within a play was all sort of based on the work of Joseph Urban, the great designer, at the beginning of the century. What if Joseph Urban had actually designed The Drowsy Chaperone. What would it look like?

    SOB - I also loved your elaborate designs for Memphis and thought you were really robbed of a Tony nomination.

    DG - I never really considered that too much, but we certainly liked the way it turned out certainly.

    SOB - It’s also your first Broadway show with a projection design credit?

    Memphis (Photo by Wolfram Ott)
    DG - Yeah. The first one on Broadway. I’ve done other things.

    SOB - Do you think projection designs are here to stay?

    DG - Well, yeah, I mean they’ve been around for over a hundred years. So it’s not like it’s new. There’s a lot more that we can do with the ability to make it more effective right now. I think that they’re almost a little too in vogue at the moment. But I think used effectively I think they’d be great. But they’re not going anywhere.

    We just opened another one, the Colin Quinn thing – we designed all the projections for that, too.

    SOB - You also did the set design for that.

    DG - That’s right. It’s sort of my thing.

    SOB - It certainly gave me the impression of being right in the middle of a Greek amphitheater.

    DG - Oh you saw it?

    SOB - Yes.

    DG - Good for you.

    SOB - Now you have to settle a bet. I was talking with someone about your projection design for Memphis and we were arguing back and forth as to whether it was a live video feed or it was taped.

    DG - During the second act when they’re on? It’s all live. It was impossible to do tape.

    SOB - And how does it feel to have gotten this far and have something in the Smithsonian?

    DG - That actually happened in ’98 or ’99. It was freaky.

    SOB - It’s "America’s attic."

    DG - I guess so and we’ve cluttered it up with junk. They asked, and they actually had a whole bunch of my stuff and they ended up settling on one thing. But that’s what they wanted to do, and there it is – somewhere in the basement next to the Ark of the Covenant.

    I don’t know. It’s never left my bio. I always thought it would. But it’s always still in there. I guess it’s interesting. I don’t know anywhere else with stuff in the Smithsonian.

    SOB - I don’t know anybody else with anything there.

    DG - So, it’s cool. You know. I mean, when you think about it, you donate it and now it’s not yours anymore, and if I want to go see it I have to have a good reason like it’s my own thing and they’re very clear that you can’t ever have anything back again.

    I got some stuff in another museum and that was sort of trippy because I went there to give a lecture and they were like, “Well, while you’re here…” They had a model all laid out and they wanted me to glue it all back together because it had been damaged. And they’re like, “Only you can do it because you’re the original artist.” I know it’s weird. All these art archivists and art restorers are sitting there watching me glue this thing back together again. Weird.

    SOB - What’s next for you?

    DG - Right now we’re doing Madagascar, the movie -- we’re doing a live version of that. We’re doing a big splashy musical version of Madagascar.

    And then we’re just getting started working with a rock band Phish and so we’re designing a New Year’s experience extravaganza for three dates around New Year’s. And then we’re doing scenic design and projections for a very large scale Frank Wildhorn musical -- new musical -- that’s going to happen in South Korea. And then we’re doing another in China. We’re pretty busy. And then I’m going to Stuttgart next week because we have a show opening in Stuttgart, and we just had one open in Rome recently, too.


    I ended my conversation with a couple design-oriented recommendations for David Gallo while he's in Stuttgart. I'm sure I'm not alone in looking forward to what this designing genius does next.


    This is Steve On Broadway (SOB).

    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.



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