Ahh Ok, I may have missed that when I was away on vacation in July.
Much as I dislike reducing orchestras, economics dictate it and amplification allows it. (As long ias its not teh percussioniss who sit in teh boxes!)
BTW talking aboutshows closing, producers usally opull theplug once a show is regularly below its break-even, but sometimes with a show that has been running a long time and has built up a decent reserve producers will try and prolong teh run waiting for the tourist season. Theatre owners don't like this because their rent is usually a percentage of the gross. A low-grossing show = low rent. So they usually have a stop clause whereby if a show falls below a certain figure 3 weeks in a row the theatre can then force a closing and start looking for a new production. The stop clause is generally well below break-even but there to ensure a minimum weekly rent.
When BEST LITTLE WHOREHOUSE IN TEXAS was getting dangerously close to being evicted in the spring of 1982 the producers bought tickets and "ate" them (discarding them or giving them away) in an attept to hold onto the theatre. It didn't work and the 46th Street Theatre did close WHOIREHOUSE but the show re-opened several weeks later at the Eugene O'Neill for an additional 8 weeks before closing for good.
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com