Profile for Nateben2

7:00p show gets out around 9:38, starting about 5 minutes late.

Bilbo is right, I had worked on the show in La Jolla - interested in getting out to NJ to see it . . .

Looking forward to seeing it . .

Yes, typically a PA (Production Assistant) is in the the stage management department (although there are at times Music Department PA's, Scenic PA's, etc.) . In stage management, they are a non-union position. On Broadway, the PA position is often held by someone who has their union card in hopes of being moved up in the AEA Contract position either as Sub or replacement.

current plan is to run at least three more week . . . .

In response to the release of tickets until November . . . They could release tickets until 2018 if they want, it may help them get a sense of what future sales could be like . . . but opening up more dates puts less pressure to sell tickets on dates closer . . . We shall see - wishing them nothing but the best - but the numbers paint a bleak picture.

It is interesting the stop clause is not being enforced, which just fuels rumors that indeed another show might be waiting in the wings, but is not in a hurry for the theater - so the owners aren't forcing them out. If someone wants the theater later in the summer or the fall, then they might as well keep getting rent rather then stand empty. It will be interesting to see if Hamilton wants the Nederlander, but with their press announcement for tomorrow - unless Honeymoon posts a closing notic...

There are many reasons why casts get changes from one step to the next . . . Scheduling. Pay. (Often workshops and out of town try outs pay very little) Can't be out of town for a try out. Creative differences - a cast member not working out, not liking the way a show is moving - a part being written out.

It's the operating costs have been reported around mid-500,000.00 A lot of producers keep an eye on advance and group sales . . . and maybe there is enough coming down the pike to keep it open - and without another show ready to pounce in, they maybe allowed to keep it running longer then if there was a show ready to step in and take over. The issue is the show has lost money for, what, 10 weeks now? It seems to have been reported that it has NEVER made it's nut for the week. That's close to ...

Jungle Book is still in the back works. I am eager to see Freaky Friday onstage. As far as other shows . . . not in the works . . . Pete's Dragon Enchanted

Also, remember, Mary Poppins was not strictly a DISNEY show, and was co-produced by Cameron Mackintosh . . .

I thought it was 657.57 a day. In reality, it depends on the theater . . . and salaries are negotiated privately. Some non-profit pay everyone the same (let us say 10% of minimum), some negotiate a higher salary - but often, when doing non-profit, they know no individuals are getting rich, and everyone is paid less then a commercial project . . . so, they might feel out of place demanding a very high salary when others are getting paid minimum.

Unless they drop the choir, it will b difficult to enlarge the show and still make it profitable . . . what, was there something like 50 people on stage at the La Jolla Playhouse? I think one thing Hunchback has going for it, besides a great score, is it is a story people know - non-English speaking audience members will know the basic story - which may help. But, again, Disney has NEVER said this show, this production is aimed at Broadway.

The La Jolla Playhouse production was not sold as DISNEY'S HUNCHBACK OF NOTRE DAME, in face, you had to scan below the title Typical Promotional Material was as such: The Hunchback of Notre Dame October 26 - December 14 Music by Alan Menken Lyrics by Stephen Schwartz Book by Peter Parnell Directed by Scott Schwartz Choreographed by Chase Brock Based on the novel by Victor Hugo. Produced in association with Paper Mill Playhouse, by special arrangement with Disney Theatrical Productions. Paperm...

i doubt the german production would have worked here - and from my understanding, teh creative team was not always thrilled by that production - and it was eisner's pet project at the time. i agree its a small show, that oddly requires a lot of voices - this may be one of the best ways to produce. disney has not announced any plans for this to go to Broadway, but I am interested to see what happens with it next.

Aladdin has a pretty big nut, so they have to continue to have really truly strong sales. Part of the success of Lion King is that you don't really need to understand English to enjoy the visuals . . . and the pageant that is Lion King - so it continues to enjoy strong tourist market. I am not sure Aladdin has the same power over people.

Out of town tryouts are a double edged sword . . . a good show for NYC may not get the best reviews regionally, and then get killed there. Even if they have planned changes, and make changes, the show arrives in NYC plagued with the ghost of the past reviews.

You're dead if you aim only for kids. Adults are only kids grown up, anyway. Walt Disney

It would be tricky . . . would they allow it to be revival with a different design, different look, etc? or would they just want to remount the show. Given the way some people react to the differences between the German Production of Hunchback and the La Jolla / Paper Mill production - it seems like if they tinker with something for better or for worse, they fan base might get upset. Pull too far from the movie, and you get something else. It will be tricky for Disney to let a revivial happen...

It's interesting it's get notes for being too dark and too light at the same time. What I do notice is a slight anti-Disney sentiment in some of the press. I think in each review - good, mixed or bad - has some truth to it, and I wish the team luck as they plan the future for the show at Paper Mill, and hopefully beyond.