Profile for JoeW4

One notable example was Do I Hear A Waltz, with Sondheim, Richard Rodgers, and Arthur Laurents. It was before my time, so maybe I shouldn't speak on it -- but it's widely regarded as an artistic failure, including by Sondheim himself IIRC.

And it seems like a great case study of why these disappointments can happen: when collaborations happen for the wrong reasons, and when you have people are great artists individually but not necessarily well-matched with each other.

Can't believe I forgot "Let The Right One In"! Excellent piece of theatre, and definitely very eerie, and (much like what Distinctive Baritone said of Shining City) at least 1 unforgettable jump scare.

But it's another one like Grey House that wasn't trying to FULLY commit to the horror experience. In fact I'd say Grey House was more frightening overall than Let The Right One In.

I saw Next to Normal on Broadway with the original cast (minus Tveit) --  it was a stellar set of performances, to be sure, but I've never thought of them as an especially "tough act to follow." I'd argue that Next to Normal is a show where, as long as you get strong actors and singers, you can cast it a lot of different ways that work roughly as well as each other.

SFFrontRow said: "the Signature at Pershing Square is just as nice with more venues."

Interesting though that it specifies the Diamond theatre, which seems to imply they'll be limited to that 1 venue of the 3. By contrast, New Group has used all 3 venues in recent years (although the Diamond only rarely).

 

PrinceAli said: "Where is Wicked?"

Good catch! Looks like it's missing from BWW's grosses, but it's on the League's site:

They grossed $2,222,692 -- bringing the million club tally to 19 out of 32

Kad said: "17 of 31 productions grossed over 1mil."

 

I count 18!

This is a great role for him!

I'll be attending the concert in shorts tonight, and I don't have any reservations or guilt about it! :)

I wonder if Stereophonic will get to the 1 million mark after the Tonys. By my math, they’d have to sell out with a $160 average.

Of course I’m not one to *advocate* for raising ticket prices, but just from an industry standpoint it would be an impressive feat!

In addition to what other posters said above, this question feels especially irrelevant considering we just had "Prayer for the French Republic" on Broadway in January. That play actually *does* deal with Jews' relationship to Israel/Zionism, but to my knowledge there wasn't any backlash, protests, or safety threats.

RUkiddingme said: "JoeW4 said: ". In any case, it was a fun little rabbit hole to go down either way, lol"

We don't want you in a rabbit hole Joe - go make more videos!"

 

Most of my videos come from a rabbit hole of some kind or another! ;)

Given the number of Broadway musical revivals vs. the number of new musicals that come out each year (especially with how many of them flop, with little cultural impression) it feels like the answer to the OP's question is: the vast majority of them!

I haven't plugged anything on here in a while, but I posted my Pulitzer thoughts/predictions on TikTok last month

In hearing other people's hopes/predictions since then, I do wonder if Flex has a better shot than I gave it credit for (I have it on my "honorable mentions" list). If so, I wouldn't be mad! I liked Flex a lot.

I also heard several people throw out Wet Brain as a potential winner after I posted this, which I was surprised by. I had mixed feelings about the play, so maybe that's just my taste influencing my predictions, but I'm not convinced. We'll see!

I'm also continuously warring with myself about whether Stereophonic is too high up on my predictions list or not. As I said in the video, I think it's an intuitive pick in some ways, and counterintuitive in other ways - and I go back and forth basically by the day lol. Again, we'll see!

Otherwise though, I pretty much stand by everything I said!