You reminded me tonight why I will never subscribe to a full season of your works and will instead pay as little as humanly possible for your productions.
Your current revival of LOOK BACK IN ANGER truly puts the old saying "it's like watching paint dry" to good use. You have managed to top your past productions and created one of the singularly most mind numbingly boring pieces of theater ever.
So thank you for giving me a reason to rush out of the theater with my friends and drink the memory of your show away. It's good to get a little Sunday night buzz on.
Its been my experience they do more bad than good. I don't go these days unless I've heard from someone whose opinion I expressly trust that they've seen it and its good.
Bye Bye Birdie, anyone? That was the one that tipped me over the edge.
I saw The Road to Mecca last night. It was worse than Man and Boy. They should have brought Sons of the Prophet straight to Broadway. It's the only good original work they've done in years.
The Roundabout off-Broadway houses that are dedicated to new work actually consistently puts up good stuff. They enable transfers of excellent regional or foreign productions. Their own original Broadway revivals... not so much, with the odd exception.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Jordan, was that the main problem in your view, the play they picked?
In its day, LOOK BACK IN ANGER announced the arrival of the Angry Young Men generation of post-Empire Brits (a movement that gave us playwrights such as Pinter and Orton), but we've had a half-century of youthful anger and revolution since.
My memory of a video of a 1980s revival with Kenneth Brannagh and Emma Thompson is that the play seemed rather tame even then.
I often look at the Roundabout as a way to see shows that I might not ever get the chance to see otherwise.....sometimes I have been disappointed, and sometimes I've been elated. I really enjoyed CABARET, SHE LOVES ME, THE IMPORTANCE OF BEING EARNEST, SONS OF THE PROPHET, A MAN FOR ALL SEASONS, EVERYDAY RAPTURE, THE MAN WHO CAME TO DINNER, HEARTBREAK HOUSE, THE WOMEN, MRS' WARREN'S PROFESSION....and even PAL JOEY.
So I understand your issue, I do have to say that I appreciate a lot of what they do and am glad that I have been able to see several things that I might not get the chance to see. No need to mention the shows that were disappointing..
^^^^I feel the same way about revival theaters on the West Coast, including Reprise! I try to only go to shows I've never seen or haven't seen in decades.
I fell asleep 4 times and I almost left at intermission. But I felt bad, so I stayed for the last 40 minutes. Now I'm looking back in anger at myself for not leaving when I wanted to.
Reading this thread made me laugh out loud. Was just discussing our own "Thank You Roundabout" problem here in Minneapolis called the Guthrie Theatre. The mainstage - passable at best. Tepid and yawn-inducing. The only real interesting stuff is up in the blackbox or shows they have brought in from other theatre companies here in town or BRIEF ENCOUNTER, SCOTTSBORO BOYS and next month END OF THE RAINBOW. In this day and age would these theatres not want to pick the most interesting and yes, most appealling to anaudience and then make them all thrilling theatrical experiences. Will not pay full price here - only will do - as many, many others - public rush line.
Sorry to sound a bit dumb here, but I am from a different country.
But what I don't get, why would a individual subscribe to a organization such as 'Roundabout' being a pertinent example, when you can just buy tickets from the box office to the 1/3 show you actually want to see?
As for the other 2 shows you don't fancy and you just might be inclined to see, you more than likely can get them from TKT's.
To Phantom: Roundabout is essentially a regional theatre that happens to be based in NY and mounts part of their season on Broadway. Subscribers do get certain advantages, including seating priority, a more flexible policy on ticket exchanges, various subscriber events, and I believe that the subscription package is also tax deductible (at least other regional, non-profit companies allow subscriptions to be counted as part of a charitable donation, so I assume Roundabout does as well).
To Jay Lerner-Z: I can't say for sure, not knowing Roundabout's internal organizations, but at most regional theaters it is a combination of committee and the artistic director's choice in terms of the season. The artistic director typically does have final say, but they typically are not making the decision without input from various other staff members and departments.
I've known enough people who worked at the Mark Taper Forum in L.A. to know that long-standing theaters tend to become increasingly bureaucratic unless there is a very strong hand cracking the whip.
We gave up on the Taper at one point. I just couldn't sit through one more boring evening. But there have been personnel changes and it has improved since then.
So there may be hope for the other theaters mentioned here.
Manhattan Theatre Club is also a not for profit and subscriber driven but yet has a better success ratio compared to Roundabout, maybe it's the fact they only have two venues to program each season whereas Roundabout has five venues to program.
It has nothing to do with who has more theatres. Roundabout is just not good at selecting work to produce. If they had zero issue in terms of selecting plays to produce, then roundabout would have good quality work on all their stages all season long. If MTC had more venues and the same great ability to select plays, then they would have great work on all their stages season long.
"If you try to shag my husband while I am still alive, I will shove the art of motorcycle maintenance up your rancid little Cu**. That's a good dear"
Tom Stoppard's Rock N Roll