Profile for HogansHero

There is no scientific study supporting what I am about to say but I believe that, when they start ramping up the snowfalls like they are, the message is one of unpredictability. Based on my personal experience (having spent quite a few nights of my life in hotels because of anticipatory flight cancellations for blizzards that ended up being snowfalls of 3-4 inches that melted before I could even get a flight to return), I am hereby predicting an unpredictable 3-4 inches, followed by balmy da

It's hard for me to keep up any more. How many original fakes, and how many second, third, ...n fakes do we have posting in this thread (that's not even that long yet). 

On the basic subject of the thread, I have found Oskar insufferable for years, and yes they need fresh leadership desperately: folks who are interested in development on the literary side AND the money side. If I were asked for advice (I won't be) I would tell them that the way to honor Joe Papp's

If anyone wants to take a bit of a deep dive on this subject, not focused on theatre coverage but very relevant to it, I recommend 2 pieces: one on Substack by Nate Silver, from late January on what was about to happen and why, and one in the NewYorker by Ruth Marcus (40 year veteran of the Post), February 4, on what just happened and why.

Two of many takeaways: Silver characterizes the apocalyptic firings as part of an effort at re-branding. Marcus sees it as the consequence

northlandfan said: "I’ve been to the Brooklyn diner, but it is not as good. I will be arriving in New York tomorrow for one week therefore would appreciate any recommendations from my fellow theatre patrons for a good breakfast around 44th and sixth, which is where we are staying. Thanks."

Right there: Red Flame Diner, 44th & 6th, just east of 6th. Good all around but the Shrimp Salad is world class. (And yes I realize some may not consider that breakfast.)

To add, while there is an off-Broadway league, its focus is more on publicity and labor than finance. As noted, most shows are not-for-profit, which would make such a report pretty meaningless. Likewise, many of the commercial off-B efforts are (also as noted) short runs and many use a different method of budgeting and capitalization. Raising money off-B is not usually on the same level: while both utilize similar vehicles, off-B does not really involve any sort of marketing for capital and t

Ensemble1698878795 said: "Correct. I hear they were offered a theater but didn’t have the money. Size of house does matter, but if you don’t have the capital you lose the spot."

Sorry, you may or may not be right that they were offered a theatre, but you have a fundamental misunderstanding of the process. A show must capitalize before it opens, but that is not a matter relevant to the theatre owner (except to the extent they may also be a producer or 

Sutton Ross said: "Didn't the Parade revival recoup?

Yes, thank you! I somehow forgot about that brilliant revival in '23."

If it recouped, and I did not see that reported, it was only (a) barely and (b) because of the NYS production tax credit. That counts for accounting purposes, but if we are counting JRB successes (of which there have been none on Broadway), I would say it is a silly stretch to count this. The tax credit is no

rosscoe(au) said: "Yet another show that needs a producer with balls."

Well, the producer's previous effort was one in which the complaint was that he had cojones con esteroides so maybe that's not it. It was also said at the time that said producer, who had gone through a business and personal bankruptcy, exercised extremely poor judgment in connection with said previous effort, so maybe that's it. 

N.B. These are not the exclusive explanatio

Thanks, Kad, for making a number of trenchant observations. In addition to the very atypical geographic impact, the equally atypical timing factor (every show floats (or sinks) on its own bottom and money spent on long term marketing often does not necessarily inure to the benefit of the original investors linearly). Likewise, while (as a long-gone major producer once said to me) it is essential to market beyond target audiences (in a 1000-1500 seat theatre, that's basically you

Like most who have posted, I feel very good about this and I think she'll be great. They took an extraordinary amount of time coming to this deal, and I have a strong feeling they have vetted each other to an extraordinary degree. It is well to realize that the Times is much different today than it was on the day Green was hired, and unlike much of what had happened at the Gray Lady in the years previous. The concept now is closer to the technicolor lady. Fingers crossed it works. Wh

KJisgroovy said: "It was already produced."

It was already recorded. Produced in the recording industry means a lot of things that make it not the same as how we think of the term in the theatre. I know. I tried it once. With an emphasis on once.

Aside from mixing it, probably fixing it, making sense of it, you also have to pay for it. That price tag will be well into six figures. Everyone has to be paid because anyone can file a lawsuit seeking to enjoin a re

Call_me_jorge said: "I feel like the stop clause was used here… Bill Damaschke is a deep pocketed producer and would’ve kept it running through, at least, the Tonynominations."

Stop clause not involved, and Damaschke is not as deep pocketed as you are suggesting but to the extent he has a degree of wealth, one of the reasons he does is that he knows better than throwing good money after bad. Look at his line of employers: they are not the money grow