Tuesday, March 27, 2007

In The Company Of Underperforming Shows

In The Company Of Underperforming Shows

Take a look at this past week's box office totals for Broadway, and you'll see familiar names in the top two slots in terms of both capacity and total dollars earned. Wicked remains Rialto's top grossing show with $1,380,917 and 100% capacity. Jersey Boys continues its reign as the top capacity show at 100.7% while earning $1,166,505, enough to make it the second top-grossing production of the week yet again.

But look down the list, and you'll see largely well-reviewed shows in the bottom five, both in terms of capacity and earnings for the week:

Lowest Grossing Shows:

Journey's End ($157,884)
Prelude To A Kiss ($198,534)
The 25th Annual Putnam County Spelling Bee ($251,860)
Talk Radio ($305,723)
Company ($314,585)

Lowest Capacity Shows:

Journey's End (41.2%)
The Producers (53.9%)
Company (56.5%)
Talk Radio (61.4%)
Grey Gardens (71.4%)

Look below those numbers, and you'll find that the limited run of Prelude To A Kiss has the distinction of having the lowest average ticket price of just $42.88, followed by Journey's End at $47.10. That tells me that Prelude To A Kiss has been very successfully selling cheap seats through TKTS -- enough that the Roundabout Theatre production has been boosted to 78.2% of capacity. Journey's End, on the other hand, appears to be flat out suffering from America's battle fatigue from all things warlike. Indeed, The Playgoer reports that the end of this limited run show may be expedited.

No surprise on the other end of the spectrum as Jersey Boys and Wicked provide the one-two punch in terms of highest average ticket price, coming in at $118.51 and $95.42, respectively.

Granted, a couple of the shows that turn up on the bottom end have run their course: The Producers and The 25th Annual Putnam County Spelling Bee -- the former is already set to close, while the latter's Chicago sitdown incarnation closed Sunday. Grey Gardens' 70%+ capacity is probably not sounding alarm bells at the Walter Kerr just yet.

But Talk Radio's placement on both charts demonstrates that not even a critically-acclaimed performance by Liev Schreiber, who was dubbed "the finest American theater actor of his generation" by Ben Brantley, is enough to attract theatregoers.

Much to my personal chagrin, Company appears to be losing steam. In a week where the majority of shows enjoyed an upward bump at the box office, Company lost 5.8% of its capacity week over week, although if there's a silver lining, its average ticket price increased from $63.50 to $66.49.

After finally getting around to seeing this production last month, I was struck by how good it actually is, and I couldn't help but think how deserving it was of a larger audience. But judging from its box office, it could very soon be placed in the company of other closing shows. That would be a shame.

This is Steve On Broadway (SOB).
Click here for Company tickets.
Click here for Grey Gardens ticket information.
Click here for Jersey Boys ticket information.
Click here for Journey's End ticket information.
Click here for Prelude To A Kiss tickets.
Click here for Talk Radio tickets.
Click here for The Producers ticket information.
Click here for The 25th Annual Putnam County Spelling Bee tickets.
Click here for Wicked tickets.

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Monday, March 12, 2007

Did Critics Find Talk Radio Worth Tuning Into?

Did Critics Find Talk Radio Worth Tuning Into?

Last evening, Eric Bogosian's twenty year old play about Talk Radio opened on Broadway. With heavy duty talent like Robert Falls at the helm and Liev Schreiber at the mike, critics were roundly enthusiastic about the latter's performance, even if they were mixed on the overall result.

Proclaiming Talk Radio "gut-grabbing," The New York Times' Ben Brantley waxes rhapsodic on Schreiber: "Directed by Robert Falls, who provides a solid frame for his incandescent leading man, this revival may not make a case for Mr. Bogosian’s 1987 drama as a play for the ages....But like the original production...it allows its star to grab an audience by the lapels and shake it into submission. Anyone familiar with Mr. Schreiber’s stage work...will regard this opportunity as a privilege. With Talk Radio Mr. Schreiber, who won a Tony two years ago for his performance in Glengarry Glen Ross, confirms his status as the finest American theater actor of his generation, a man capable of presenting clouded, complicated minds with searing clarity....Mr. Schreiber offers a balance between intelligence and instinct, both invigorating and reassuring, that is made for the theater. You know you’re in the hands of the ultimate professional."

Calling the production "more timely today than it was 20 years ago," New York's Daily News critic Joe Dziemianowicz is largely positive: "The play is built around Barry's bilious on-air jabs at callers and offair arguments with staff at the studio, realistically designed by Mark Wendland. Whenever Schreiber is talking, Radio crackles with intensity....I was...disappointed by some of Barry's callers, who include an array of bigots, pregnant teens and a woman fixated on her garbage disposal. After a few exchanges, the misfits sounded cartoony and contrived. It's a misstep in Robert Falls' otherwise solid production."

Eric Grode of the New York Sun appears mostly impressed: "Mr. Falls does a fine job enlivening the necessarily static act of sitting at a microphone, but he stumbles with the arrival of Chet (Sebastian Stan), a hopped-up youth who comes to the station for a live chat. His arrival is meant to signify a turning point, as Barry soon loses control of both his callers and his own emotions. But Mr. Stan's performance, while diverting, lacks the unpredictable menace that this pivotal segue requires. Even without it, though, Mr. Schreiber twists Barry's arrogance, helplessness, and self-loathing into a memorable freefall."

In his mostly favorable review, David Rooney of Variety writes: "The bleak cynicism behind the play now seems prescient in its observation of a media in which news has been co-opted by entertainment and personal crises are fodder for public consumption. The mesmerizing hold of the central character -- and Schreiber's performance -- is all the more remarkable given that the play is dramaturgically less than rock-solid....[A]s both an actor's tour-de-force and a stinging cultural analysis, Talk Radio offers plenty to chew on."

Taking note of the "verbal overkill" in his two-and-a-half-stars review, New York Post's Clive Barnes separates the great performance from the piece: "I could have done with less of Talk Radio itself -- or simply more of a real play than this nowadays obvious and repetitive character study in self-hating, control-freak absorption. For despite the energized, valiant efforts of director Robert Falls and the whole cast, quite apart from Schreiber's own deeply controlled virtuosity, the play, opening last night at the Longacre Theatre, today has the weary air of a one-trick pony, bristling with bells and whistles, stuck on a treadmill."

Noting that listening to Talk Radio is "not particularly satisfying work," the Associated Press' Michael Kuchwara offers this mixed assessment: "Time has taken a toll on the play, particularly its phone conversations, which seem less edgy and more predictable than they did when Talk Radio first was presented off-Broadway two decades ago. Fortunately, in this revival, which opened Sunday at Broadway's Longacre Theatre, Barry is portrayed by Liev Schreiber, an intense, idiosyncratic actor who is fun to watch."

Since each critic provides ample fodder for upcoming ads to tout Talk Radio (irrespective of what they've said about the show itself), will this be enough to attract more audience members to a show that has been struggling in the 40 to 50% range of capacity during previews? Guess we'll have to keep tuning into the box office figures during this show's limited run, which is scheduled to end on June 24.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
Talk Radio: Opens To Callers Tonight (March 12, 2007)
The Little Dog Left (February 19, 2007)

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Sunday, March 11, 2007

Talk Radio: Opens To Callers Tonight

Talk Radio: Opens To Callers Tonight

Twenty years ago, playwright Eric Bogosian crafted a new play that would go on to be nominated for the Pulitzer Prize. That work, Talk Radio, will finally open on Broadway this evening.

In the Robert Falls-helmed production, Tony-winning actor Liev Schreiber portrays a radio talk show host who's given to verbally assaulting his audience. The limited run of Talk Radio is scheduled for the Longacre Theatre through June 24.

Will receptive critics be tuning in to this first Bogosian play to hit the Great White Way? Find out tomorrow as I round up the reviews.

This is Steve On Broadway (SOB).

Click here for tickets.
Rekated Stories:
The Little Dog Left (February 19, 2007)

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Monday, February 19, 2007

The Little Dog Left

The Little Dog Left

Yesterday marked the final Broadway performance for The Little Dog Laughed. After slogging through middling reviews and less than 50% capacity crowds through most of its run, the comedy by Douglas Carter Beane has finally been put to rest after just 112 regular performances.

What's particularly stunning is that there are no other new plays by American playwrights currently running on the Great White Way, unless you happen to count Eric Bogosian's Talk Radio, which was written in the 1987, but never produced on Broadway until now. Undoubtedly, Tony voters will label Talk Radio a revival.

Even though I didn't find The Little Dog Laughed nearly as satisfying as I had hoped it'd be, I trust that come Tony time, the exhilarating tour de force performance by Julie White will still be remembered. And that's no laughing matter.

This is Steve On Broadway (SOB).

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