The show is doing such good business that the Roundabout Theatre Company is thinking of extending it perhaps just for a few weeks or throughout the summer.
Extending a show isn't as easy as you may think. Actors have other commitments coming up both professional and personal. The staff may also have similar commitments. All of these things are being worked out at the present time.
Mr. Nowack said: "I also hate the title honestly. "Dear Friend" maybe could have been a better one if they wanted one from a song.
Somehow it's ironic that Mr. Nowack "hate(s) the title" - it being also the song through which his character expresses his realization and joy in Amalia's love for him.
So I think PalJoey pretty much rendered the existence of this thread useless as it should be. The show's a hit. To compare a Roundabout musical revival of a 1960s small show at Studio 54 to HAMILTON is a pretty ridiculous comparison.
Though "Here's a tip for you, for producing theater and for life: NEVER expect 100%" is one of my favorite posts on my 10 years in the board, especially in the context of such a baseless thread.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
The truth is, "She Loves Me" is really the only song title that makes a somewhat appropriate name for the whole show. (I don't think calling it "Where's My Shoe? would have audiences exactly storming the box office.) And I guess it's better than some clumsy formulation like "The Shop Around the Corner: The Musical." Can anybody think of a completely new title that might work?
She Loves Me is a very good musical, but for some strange reason, this and the last Roundabout production were missing something that would make it a magical experience... Well, I think I finally figured it out - Bartlett Sher. He would have turned this into the glorious musical it is meant to be.
The show has never been a "monster hit." But it's an enduring classic, which is far better. Tobacco Road was a monster hit and who today cares about Tobacco Road? There are different measures of success than how long a production runs.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I just came across this autographed Playbill title page from a concert version of "She Loves Me" that was performed at Town Hall in New York City circa 1977. Look at that cast!
Wayman_Wong said: "Hooray! I just saw a BroadwayWorld story about Laura Benanti that says ''She Loves Me'' is now playing through July 10."
I think all articles about She Loves Me erroneously say that; the IBDB page for the production also listed that date until recently. But if you go to roundabout's website tickets aren't on sale past the previously announced closing unfortunately
"Contentment, it seems, simply happens. It appears accompanied by no bravos and no tears."
Very selfishly, I don't want the show to be a Monster Hit. If it were, it would be less "mine, and mine alone". I've always thought of this show as a gem, which is also why I particularly love this production's jewel box stage design concept.
I want this particular production to succeed only to the extent that its investors recoup a satisfactory return, and its cast be employed only until they're ready to move on to something new. Beyond that, its success would inappropriately be cluttered by parasitic patrons suckling for "I saw it" status. If that were to happen, no one would take me seriously when I said, "You have to see this show!" (uh-huh... everybody says that.)
Everyone sees the magnificence of a sparkling diamond, but overexposure is like tarnish, or that crusty fermentation of sloughed skin cells in-between the links on a watch band, or the prongs of a ring setting. When there's too much of it, the beauty is obscured.