Profile for JoeW4

Can anyone think of a Word-of-Mouth gross swing as dramatic as MHE's in recent memory? (I realize they may or may not be able to sustain it, but I'm speaking in terms of the upswing itself, even if it doesn't last)

Come From Away was making $600k in previews -- double what MHE was pulling in the equivalent timeframe.

Gentleman's Guide seems roughly equivalent, but it took them longer than MHE to see an increase; their turnaround seemed to correlate more with the

Aside from some of the names you mentioned, the first person to come to mind was Eric Tucker, from Bedlam theatre. His lack of Broadway credits is maybe self-explanatory, given the kind of work the company is known for -- but he's definitely been a fixture of the Off-Broadway scene for over a decade.

In that same vein, you could throw the Fiasco Theatre folks in there too (Ben Steinfeld*, Noah Brody, et al).

I also thought of Oskar Eustis* -- he's not necessarily all tha

Those sorts of decisions are made by the director and choreographer. The film and the Broadway show were directed/choreographed by different people.

And even if they were directed/choreographed by the same people, the two versions were made 20 years apart, and in different mediums. There's a huge range of artistic and/or logistical factors that might have led them to the decide that moment didn't fit what they were going for, but the most likely is that John M. Chu was simply s

Bobster159 said: "Wouldn't Yazbek rather wait a season so he's not competing with himself? I don't imagine Buena Vista Social Club will be a major contender, but you'd have to imagine he and those involved do. The vagaries of when theaters are offered probably mean they'll take what they can get,but you'd have to think that was a factor."

 

Yazbek is not Tony-eligible for Buena Vista Social Club, as he didn't write the music. N

I agree it's noteworthy that they don't have any theatrical programming announced, or much programming in general -- but I'd guess it's just growing pains. It can't be easy for a new institution to build up a consistent pipeline of programming from scratch. I wonder if they put a lot of their eggs in their "premiere season" basket, and now have to begin the slog of trying to build up more consistent outside relationships and internal development. And on a more ab

ColorTheHours048 said: "Who sold their soul to make the Lortel the hot spot for wildly popular off-Broadway runs?"

Part of it is that there are producers in common between some of the big shows that have played there (not necessarily with Vanya though, as far as I can determine with a quick search -- but maybe I'm missing key names).

But maybe more importantly, I believe I heard somewhere that the Lortel recently changed their rules -- they used to only re

EDSOSLO858 said: "Is this looking at a Broadway house, or is it, say, returning to New World Stages?"

General rule of thumb in my anecdotal experience: If the marketing/press release says "NYC," that's probably code for "not Broadway." Because most shows aiming for Broadway will say that explicitly (even if they don't actually manage to get to Broadway).

I'm sure there are exceptions, but I feel like that tends to be the pat

Definitely interesting data. Another thing to consider though:

People might visit different actors' Wikipedia pages for different reasons: in some of these cases, I can't help but wonder if these people have so many views because people see them and think "wait, who is that? What are they from?" In other words, the fact that people need to look them up in the first place might actually say more about their LACK of recognition with the general public.

By contras