What a bummer! I just bought tickets to see this for the first time on the July 4th weekend. Back to the drawing board. Best wishes to all those involved in the production.
I'd think that South Pacific and The King and I are ranked pretty equally in the R&H big five. Both are really plays that could stand on their own merits without all that familiar music thrown in.
I don't think I'll ever see better productions of either. Same creative, same full orchestras, same star and the perfect cozy venue. It's hard to remember anyone here not liking The King and I, even if that person was young and completely unfamiliar with it.
So why did South Pacific play for two years and four months, with over a thousand performances including the previews?
Maybe as we Boomers start to exit, the "Golden Age" musicals will lose some of their luster, as the Boomers were the last to grow up surrounded by that music on TV, radio and HiFi.
littlemouse921 said: "Any hints as to a Live From The Lincoln Center broadcast?
I do not think this production will be shown as part of Live from the Lincoln center series, other wise it would have been mentioned with the closing statement.
It is very sad that this show will leave before the summer season as I am sure it would have went well during both July and August. The King and I was one of the best shows I have seen on Broadway and sad it will close early.
Not only is The King and I closing but I just heard that the nearby Starbucks at 68th and Broadway is closing its doors due to high rents. Both closings are a shocker!
Very sad about this news. This production is one of my favorite things currently running on Broadway. I will definitely be there for the closing performance.
"There’s nothing quite like the power and the passion of Broadway music. "
I will never forget the first time I saw this production - I got a student rush ticket the weekend following the Tonys when Kelli was out and the sweeping moment when the boat slid just feet from me still takes my breath away thinking about it. What an absolutely gorgeous production, and I'm so glad to have gotten the chance to relish it's beauty and wonder twice. I'm definitely going to try and go back before closing, and I'll definitely be seeing the tour in Philadelphia later next year. Siam, we shall miss thee.
"Anybody that goes to the theater, I think we’re all misfits, so we ended up on stage or in the audience.” --- Patti LuPone.
Such a lovely production. Of course, with all LCT shows, they initially open under a Not for Profit "LORT" contract, and then after a number of weeks, the production transitions to a standard Broadway "Production Contract" -- which makes the show much, much more expensive to run each week. With its large cast, sumptuous costumes and production elements, you can imagine how much the operating costs must be each week. I do hope they do a taping for Live at Lincoln Center.
I believe the rumored MY FAIR LADY revival was being presented by commercial Broadway producers, which makes it unlikely that it would go to LCT. Also, as a general rule, I've noticed that LCT usually follows up their musicals in the Beaumont with a couple of straight plays. I suspect it will be a year or longer before we might see another musical open there.
“I knew who I was this morning, but I've changed a few times since then.”
I was under the impression that the live from Lincoln Center was already written into contracts. I hope it happens. This production needs to be preserved.
I was there for Kelli's last performance, and Bartlett Sher came on stage at the end of curtain calls and said something cryptic about "saying good-bye to Kelly, but not really saying good-bye, because she will be coming back right here."
I took that as a possible reference to Kelli's returning to the show for its last week, ending in the live broadcast. Just a guess by me.
It would be a little awkward having Marin giving the stage back to Kelli for the national telecast.
I would suspect that a clause for a potential "Live from Lincoln Center" broadcast is written into all show contracts at the Beaumont. My guess is that it comes down to semantics -- can the Broadcast be put together in the remaining time the production is running. Perhaps they take that into consideration when they set the closing date, but of course, the broadcast as part of pubic television isn't a money maker, so they have to really take those costs into consideration.
Since all the major LCT musicals of the past decade have been Broadcast; I do suspect plans are in place for the KING AND I. I also suspect Kelli O'Hara has it in her contract to be part of the broadcast, so yes, they will need to find an elegant way to relieve Marin perhaps a few days early if the taping does happen.
“I knew who I was this morning, but I've changed a few times since then.”
If they do Live from Lincoln Center, and Kelli O'Hara is in it, do you suppose that Ken Watanabe may also be contracted? I too feel really bad that this show is closing. I saw it once after opening with Watanabe and the second time with Hoon Lee. The entire production was simply amazing both times.
I am not sure that this is the place to throw such comment, but I am really frustrated with what is going on. About two months ago the show was only booking until the end of June until suddenly an extension till September was announced. Reading the good reviews about Marin Mazzie's performance I booked my thickets for August. It was the only time I could afford a short trip to NY. My point is why on earth did they announce the summer extension, if the show was closing in June. I do understand that things happen, but I am very upset and although I am sure the seats will be refunded, not sure about the other arrangements can. I am really upset
I saw the show over the weekend, and the pairing of Marin Mazzie and Daniel Dae Kim is by far my favorite in 3 viewings of this production. Jon Viktor Corpuz was out (twice I've missed him), but his understudy was quite good.
Hey Dottie!
Did your colleagues enjoy the cake even though your cat decided to sit on it? ~GuyfromGermany
Did you consider that they announced the extension hoping that the reviews would help to sell it. It hasn't been selling well at all. I've seen it many times on paper in sites this week.
OlBlueEyes said: "I'd think that South Pacific and The King and I are ranked pretty equally in the R&H big five. Both are really plays that could stand on their own merits without all that familiar music thrown in.
I don't think I'll ever see better productions of either. Same creative, same full orchestras, same star and the perfect cozy venue. It's hard to remember anyone here not liking The King and I, even if that person was young and completely unfamiliar with it.
So why did South Pacific play for two years and four months, with over a thousand performances including the previews?
Maybe as we Boomers start to exit, the "Golden Age" musicals will lose some of their luster, as the Boomers were the last to grow up surrounded by that music on TV, radio and HiFi."
I'm sure one factor was that the LCT South Pacific was the first Broadway revival the show ever had, which was not the case for The King and I.
I know I'm in the minority, but I didn't think The King and I was nearly as good a production as South Pacific. It was quite good, but was missing, for me, the spark and magic South Pacific had. (I thought it was actually the weakest revival last season, and was bummed it won the Tony over On the Town and On the Twentieth Century.)
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
I have a feeling that it all comes down to casting rather than attendance. If Daniel Dae Kim was going to leave towards the end of June, it would have been very hard to get a replacement, unless one of the previous four performers was willing to come back. Sure it is easy for us to say put whatever star in that role, but like most all of the other things life, it is easier said than done. By no means the King of Siam is an easy role to play.
I loved and enjoyed the Lincoln center's presentation, but although I praise the four actors on their interpretation of the King, I still need to see someone that tops Yul's take on the role.
I hope that we will be given the Live from Lincoln center's broadcast, at least for the sake of those who could not make it to the Beaumont till June 26th.
"So why did South Pacific play for two years and four months, with over a thousand performances including the previews?"
This announcement was not unexpected given how they've been selling. I'm not that sad about it because I was lucky enough to see the show more than once and more than wanting to see the show again, I'm excited to see what a lot of these actors are going to do in the future. Hopefully great things in great parts.
As for the South Pacific question, even though I sadly saw it with Laura Osnes (I don't need to go into my feelings about that again) I do think it was a stronger production, if only because it worked better with the sparse staging and way the stage is built at Lincoln Center. The King and I is a different experience depending on where you sit in the theatre but you don't get the full effect just seeing the show once and sitting in either the Loge or the Orchestra. The dances and scenes that take advantage of the depth of the stage (e.g. the prayer) read much better from the Loge but then you miss the intimacy of other scenes that you get in the orchestra. Also, there are little things like comparing the effectiveness of Liat and Cable on the bare stage vs. Tuptim and Lun Tha with that cheap-looking flower curtain behind them.
Got my tickets for the 23rd. I haven't seen it yet, so I am looking forward to it.
"I don't want the pretty lights to come and get me."-Homecoming 2005
"You can't pray away the gay."-Callie Torres on Grey's Anatomy.
Ignored Users: suestorm, N2N Nate., Owen22, master bates
As for the South Pacific question, even though I sadly saw it with Laura Osnes (I don't need to go into my feelings about that again) I do think it was a stronger production.
I didn't see Laura Osnes, but I wondered how such a relentlessly young and enthusiastic actress could play heartsick Nellie in the second act. I wondered even more how she could play quiet and shy Julie in Carousel. Not that I don't like her, I just wondered if she had been through enough negative life experiences to play the roles.
I, too, would if pushed choose South Pacific over King and I, although not by much at all after seeing this King and I. The former is on a grander scale, with big showstopping numbers "Some Enchanted Evening" and "This Nearly Was Mine," great chorus songs like "There is Nothing Like A Dame," and some songs that just popped up out of Rodgers at his peak, like "Honeybun," "Cockeyed Optimist," and especially the extraordinary "Bali Ha'i."
And South Pacific has no ballet. But there's nothing wrong with preferring the more intimate, character-driven King and I.
For the sake of the disappointed fans, who could not make it to NY during June, I do hope that we will get a confirmation whether or not a live performance will air on PBS. What a way to start a week