Profile for two ladies tickets

ErmengardeStopSniveling said: "A few things worth noting:

• The figures in that WhatsOnStage article are not verified. It may be that the show cost more than $2 mil pounds in London and/or will cost less than $14 mil in New York. Every capitalization has a minimum and a maximum, and sometimes they don't need to raise the max. Exchange rate alone adds minimum 25% to the London capitalization, plus major differences in union/labor/ad costs.

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Christopher Ryan Grant was a Johnny Cash understudy in Million Dollar Quartet on Broadway. I happened to be at one of the performances where he went on and he was atrociously bad. Hopefully in the past 14 years since then his Johnny Cash impersonation has gotten better. 

 

I was able to snag a couple of tickets. I'm so excited. I chose the mobile ticket delivery option. When I go into the confirmation email, there's a big red square that says: get tickets. But when I click on it, it just comes up as seat locations, there is no QR code. Is there supposed to be a QR code? Will that come later? I've never done mobile ticket delivery through Carnegie Hall so I'm not quite sure how it works there. 

In the early 1990s Paul Vogel wrote a beautiful play called The Baltimore Waltz, it was semi autobiographical about her brother's death from AIDS. I have not seen Mother Play yet but it sounds like there may be some crossover in the subject matter? For those familiar with both plays are they connected in anyway? Are we given the same information in both shows?  Baltimore Waltz was heartbreaking to sit through, I'm not sure I could do it again. 

As other people have stated the reviews will most likely be mixed to negative. The Tony nominations come out on April 30th. Hopefully, they have enough of an advance to keep running until then. 

PJ Harvey definitely drew me to this piece as did the story by Dickens that they're using as source material. I wish they were doing it in the Dorfman, I like that space much better.
Since London Tide doesn't start previews for a couple of weeks, we don't know the running time yet so even if London Tide is 90 minutes you'd still be cutting it really close to run across Waterloo bridge into the West End to the Noel Coward. 

I am very excited about seeing London Tide in mid May. Something you may want to factor in is that Player Kings is about three hours and 45 minutes long. And even though the seats in the Lyttelton at The National are very uncomfortable, I think London Tide would have a much shorter running time.

This is a brilliant idea. Basically what they're doing is they're turning their final dress rehearsal into a preview performance and having people pay to come see it at a reduced cost. This way the word-of-mouth starts earlier and they can have a genuine audience for what should be their final dress rehearsal. I hope more shows start doing this. 

The only way this wouldn't make it to opening is if they weren't able to make weekly payroll. Who knows how much they have in their reserves at this point. Folks keep saying that it's under capitalized, but as long as they were able to put up the bond, they can go forward until the money runs out. 

The biggest chunk of running cost for this show would be music royalties, and I would be willing to bet that Huey Lewis is giving them a break on that. 

Wick3 said: "Does BroadwayCares help actors in these types of situations too?"

The Actors Fund, AFCU and Actors Equity can help. It can take a bit of time though. Several years ago, I asked The Actors Fund with some help covering medical expenses, and there were several meetings and mountains of paperwork involved before they would even make the decision to take on my particular case, so while they are resources they are not a quick fix. 

While Sparks may not directly be involved in this production he does receive a big fat royalty check every week for the use of his source material. And while he has apologized for those comments that he made, or rather, he was made to apologize for those comments, there are some people that will not be attending the show because of those comments. If you don't want Nicholas Sparks to get any of your money, then don't buy a ticket. 

This show was always meant to be a placeholder so the Jujamcyn flagship house wouldn't sit empty. This must mean that they found something else to come in and replace it in the summer/autumn. 

Remember, Spamalot is only at the St. James because the Jujamcyns didn't want their flagshig house sitting empty. They are getting a massive break on the weekly rental and other various running costs. It will stay there regardless of how much money it makes until there is another show ready to fill that house.