Profile for Amalia3

Someone pointed out on another thread that the shows that ran (and flopped) at the Simon would not have been hits even if they were at the Shubert (or some other "lucky" house) - so I don't necessarily think it's the theatre's fault. Just bad luck. If you were trying to get your show on Broadway, and the theatre owners said you could only have the Simon, you probably would take it, losing streak be damned.

Don't forget that Hairspray ran there for a long time. The losing streak won't last forever.

It depends on the show. Few producers have the luxury of deciding which theatre they will go to. Given the overall shortage of good houses, the theatre owners are really the ones who determine where certain shows will land. Only the very cream of the crop of producers will be able to influence a choice. Of course, if you have a Hamilton on your hands, you can choose your theatre.

"That's the same meaning as the most recent film version of Cinderella. So that's nothing new. " Wasn't the recent Cinderella movie made 17 years after "Ever After?" There have been 8 million versions of Cinderella since the beginning of storytelling. Expecting something shockingly new is unrealistic.

I can't see Mamma Mia working in a small off-Broadway house. The cast is too big, and there's no way the financials will make sense.

Sutton Ross-just because a composer has had a show (or shows) up on Broadway, doesn't mean that they are rich. I'm sure that JRB had to give up royalties to keep the show running. It's a shame -- he's a great writer. It must be so frustrating to put your work out there, have the critics validate it, but not be able to get people to buy tickets.

The first time I saw Sunday In The Park, I liked but didn't love it. The second time, I picked up so many more things, and the score was more familiar to me - and of course, now it's one of my favorite shows. I wonder if the Visit might be that type of show. Truthfully, I have no desire to see the Visit again, but I recognize that when you do something that's a little off the beaten path -- it may take more than one viewing to truly appreciate it. I also think that while I'm a huge Kander and...

I saw it on Saturday night, and I'm glad I did. I can't say that it was satisfying, but it was certainly thought provoking. There are a few bars of music that keep on running through my head. That doesn't happen that often these days. I think it would have benefited from some visual variety -- as the set was gorgeous, but stagnant. I think this is more of a directoral issue. Overall, I'm pleased I went, thrilled to have seen Chita again in a leading role, and happy that I'm still thinking abo...

Bwaydide, he doesn't have control over that. He can't control whether they make it happen sooner, or in this case later. Of course, they'll want him to be happy, but they make all the decisions concerning money/moves/business.

Who knows what's going to happen next season. Something Rotten wasn't set to open this season and it came in, and it's supposed to be great. There will be others for next season that no one saw coming. If they rush and open this season, they will have a very high chance of winning everything. They will do well in either season, but it's better to deal with a season you have a reasonable chance of predicting.

Like most questions on these hallowed boards, the answer is, "It depends." I can say that regardless of whether it's classical or musical theatre, I hate when, prior to the last moment of a ballad or dramatic moment, some clod has to applaud first to show that they know that the song is over. It completely destroys the moment and upsets that beautiful intangible energy in the air. That being said, if a performer is whipping the audience into a frenzy with an unbelievably exciting, big, loud m...

I think that they succeeded in their goal which was to revive the R and H Cinderella brand and copyright. I don't think that they will recoup. Too many lean weeks with high running costs.

I have to say that before I went to see OTT, I was not really looking forward to it. I knew the score, which is pleasant, and the story is wafer thin. I was surprised how much I really liked it. Beautiful dancing, and some terrific performances. If only they had been given a smaller house, they could run a lot longer. That theatre swallows up so many shows, because they can't fill it. Anyway, for what it's worth, it's a good show.

Love Jeff Blumenkranz and Brad Alexander (See Rock City)

I thought I heard Tom Kitt was doing Freaky Friday.

I love truthiness. If I have achieved that, my job here is done. :)

I think one of the biggest problems they have with ticket sales is that tickets, in large part, are bought by women. Yes, I'm about to make a huge generalization -- but women are not that interested in musicals about shipbuilding, no matter how gorgeous the score may be. The men who'd see something about shipbuilding would buy tickets to a play most likely, but if they'd see a musical, they'd buy tickets to Mormon, Spamalot, etc. Again, forgive the massive generalization. Rocky had the same p...

What do you think Jeremy Jordan will do next? More TV?

Whether you're 8 years old putting on a show in your garage, or 64 and starring in your first community production, the feeling of creating live theatre with your friends is a thrill you can't beat. Thank you for sharing your wonderful experience. It really made my day. What's next for you?!

Just to be clear, titles are massively important. There is such competition for your theatre dollar. Anything that makes you even question whether you want to see a show is a liability. That goes for art work as well. It may be shallow, but you want as many things to make you say, "I HAVE to see this show." Not "Maybe I'll get around to it after I've seen everything else."