As far as Follies is concerned, I doubt any production of it ever made money. It is a failure with class like Sideshow. Follies will get produced again. Sad to say, I doubt Sideshow ever will.
The current deaf west revival of spring awakening comes to mind. While have just won like was it 8 ovation awards it's only packing in 50% crowds.
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
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The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
As I mentioned initially, Amazing Grace was well-received in Chicago, but was definitely not as well-received on Broadway.
I really can’t agree that “Amazing Grace” was a success or well-received here in Chicago. It certainly wasn’t a hot ticket – there were tons of discounts and, at the performance I attended, lots of open seats. Chris Jones in the Trib certainly didn’t give it a glowing review and I have still yet to meet a friend/acquaintance of mine who actually saw it. From my perspective when it was here, I thought it was a pretty big flop and was extremely surprised to see that it actually opened on Broadway.
Seconding Gilmore's statement on Amazing Grace- I heard nothing but bad things from people when it played here in Chicago, and the reviews weren't particularly kind to it.
Big Fish was much better received (although certainly not perfect) during it's try-out, but still wasn't a big hit here either. Certainly not on the level of Spamalot, The Producers, or even Kinky Boots when they tried out here.
The thoughts that I've always been interested in when dealing with the response towards a show, is the city that the show is playing in. Something like The Little Mermaid tried out in Denver. Denver isn't exactly known for getting out of town tryouts, so I feel like they embraced something like this. Also, Denver is farther away from New York, or a regional thing might make a difference. Look at the Frank Wildhorn shows that all try out in Florida, and flop in New York.
I think New Haven, or Philadelphia, or Boston are closer to New York/Broadway so you might get more "like-minded" audience to what Broadway audiences might like.
"Ok ok ok ok ok ok ok. Have you guys heard about fidget spinners!?" ~Patti LuPone
Big Fish had core problems. There's not a ton of plot. It's basically this Dad's stories, but there's not a real central moving forward plot. The show was poorly designed and directed. For a show about magic, there weren't really any magical moments - much like Finding Neverland. And the songs weren't interesting enough and basically made the show stop and start. Scene. Song. Scene. Song. There was no theme for the score, no interesting ideas on stage. It all felt very by the numbers.
"Look at the Frank Wildhorn shows that all try out in Florida, and flop in New York."
Wonderland tried out (twice) in Florida, both times to bad reviews and tepid audience response. After that, they still brought it in, and it flopped, naturally.
Amazing Grace, Chaplin, Scandalous, and more all tried out with bad reviews, yet still came in under mostly freshman producing teams with more enthusiasm than artistic or financial smarts/experience. And they flopped in NY just as they did out of town.
Glory Days got a good review from that nut, Peter Marks, in DC. Now, Peter Marks is not a voice of importance in the theatre world, but based on his review, a relatively inexperienced team brought it in, where it closed after one night. So, if you call a good review "successful," Glory Days was more successful out of town. But it wasn't any good.
I wanted to go over the delight that was the Honeymoon in Vegas struggling on Broadway thread, but after searching and googling for it I found out it was deleted! I didn't recall that happening, and I'm sad about it.
"Contentment, it seems, simply happens. It appears accompanied by no bravos and no tears."
It was probably deleted as it was taking up to much memory for BWW. It was also an embarrassment that the show was beat up on for that long. Maybe the moderators felt sorry and did it out of mercy & pity. It was like a constant football game tackle that just went on and on. The pile on was really over the top.
Neverland was most certainly was not trashed here in Boston. I read most of the reviews and most were very positive - some mixed. The were extremely positive around Jordan and McGrath. It also was a very hot ticket - you could not get your hands on a ticket at the end of the run, and was the best selling show the ART had ever seen.
i loved WAITRESS in Cambridge. So well received, I hope it will a great addition to Broadway in the spring. Sara Barelis wrote the most infectious music.
Re: famous out-of-town try-out cities/places - don't forget the Shubert Theatre New Haven which hosted over 600 pre-Broadway tryouts - more than any other. The theatre even became known as the "Birthplace of the Nation’s Greatest Hits." Wildhorn's Jekyll &Hyde & Civil War; Richard Rogers began 11 of his shows there including Oklahoma, Carousel, South Pacific, The King and I, & The Sound of Music; A Streetcar Named Desire; Cain Mutiny Court Martial; My Fair Lady; Call Me Madam w/Merman; Long Day’s Journey into the Night; 8 of Neil Simon's shows.