Bandstand--poor name & marketing?

[coreman009]

Posted: 8/26/17 at 1:12pm

So I saw Bandstand for the 3rd time last night, it was absolutely brilliant. Every single one of the leads is at the best I've seen them. If you can get tickets (great mezzanine seats for $59 is what we got), I highly recommend. 

Anyway, I'm really sad it's closing and I'm wondering why. Obviously it's a tough year, but what could Bandstand have done to grab an audience? I think the name is a big part of it. 1) because people think it's about American Bandstand and 2) because it doesn't reflect the military veteran/patriotic angle. That's what's so moving about the show and I wish the original marketing played more into that. It could've been named "Welcome Home" and marketing could've focused more on the veteran storyline more. What do you think? 

[Itonlytakesajourney]

Posted: 8/26/17 at 1:46pm

I think the name suits the show just fine. It is primarily about a band... so Bandstand is a good title. I do think they should have balanced the veteran plot with the big band music in their marketing, though. Most of their TV ads are just... really unlike the show. They make it seem like some ultra glamourous, super sexy show, which Bandstand is not. All of the smoke and shine just make it look like something Cabaret-esque. 

[yankeefan7]

Posted: 8/26/17 at 2:10pm

I agree the name was not good because I was thinking "American Bandstand" also when I heard the title. Something like "Welcome Home" would have been much better IMO. I don't know if name change would have been enough to keep it open longer. I really thought the Tony performance with the introduction by Jill Biden was going to help the show more than it did. 

Updated On: 8/26/17 at 02:10 PM

[PatrickDC]

Posted: 8/26/17 at 2:49pm

I haven't seen Bandstand and only know what I've read and seen online. I'm reminded though of White Christmas. They didn't market it as a war-time musical per se, but my folks -- both aging military veterans -- saw it and loved it. They went as a group organized by their local veterans social group. Most of their post-show comments were about the military themes, and the parallels between our country rallying for WWII the same way the characters rallied for the General and to save the inn. This is one of the only shows they've seen twice. Of course the Berlin songbook is a draw for them as well. 

I sense that Bandstand and White Christmas are two very different shows, but maybe appealing to veterans should be a focus of advertising when appropriate for a show? 

[ChildofEarth]

Posted: 8/26/17 at 3:11pm

I think Bandstand and Come From Away had the exact opposite things happen to them due to the political scene.

Whether we want to admit it or not, a patriotic marketing scheme wouldn't have worked. Most people, especially those of us who love theater, aren't feeling particularly patriotic nowadays. Of course we still love and support our veterans, but with other fare available, it was always going to have a hard time.

[BroadwayMan5]

Posted: 8/26/17 at 4:09pm

I like the name but I think the marketing was bad. Rather than appearing to be a sleek sexy show, it should have marketed itself as a patriotic show that could appeal to Middle America tourists. I think they could have effectively done that but they chose a different route.

[Scarywarhol]

Posted: 8/26/17 at 4:10pm

Everything about the marketing has looked like "Generic!: The Musical" to me. Have not had any interest in seeing it. 

[poisonivy2]

Posted: 8/26/17 at 4:31pm

Bandstand had a lovely score but one of the most unfocused second acts I've ever seen on Broadway. They tried to tie in about 4 different storylines without really going in-depth in any of them:

1) The soldiers' PTSD and their difficulty adjusting to coming back home

2) What really happened to Julia's husband

3) The ongoing romance between Julia and Donny

4) The dishonesty of the music business

And the happy ending felt forced and tacked on. It could have taken a page from Fun Home, DEH and Hamilton: dare to go dark. If the subject matter requires it, a forced cheeriness will feel exactly like that: forced. 

[Jarethan]

Posted: 8/26/17 at 5:29pm

BroadwayMan5 said: "I like the name but I think the marketing was bad. Rather than appearing to be a sleek sexy show, it should have marketed itself as a patriotic show that could appeal to Middle America tourists. I think they could have effectively done that but they chose a different route.

 

I disagree with you.  I was always wondering why they were not capitalizing enough on the fact that their leads were incredibly good looking, sexy as hell, AND had great voices.  Maybe that wouldn't matter today, given ticket prices, but I think there should have been a way to leverage those plusses.

 

[Auggie27]

Posted: 8/26/17 at 6:07pm

I saw it for a second time Wednesday afternoon, and the performance was one of the most emotion-driven and full-out I've ever seen, with opening night energy and investment.  I marvel at the way Cott attacks the top of the show now, and pulls every thing out of the first act arc he can muster.  His performance, always good, has grown, and is just heartbreaking and superb. His playing of "Right This Way" is just wrenching and nuanced, going from despair to hopeful to cheerleading his bandmates, in about 5 entirely believable minutes.  A small master class in shaping a song to serve a character's turn. The show's first act ends on an emotional high, entirely earned. The second act, as noted, still seems to run out of time to resolve the story threads, and the coda just feels unnecessarily cheery and feel-good.  But so much is so winning for well over 2 hours of the 2 and a half -- one of the best scores, and best performed scores of this or any season -- I still forgive the sudden shift toward conventionality.   Both times I saw the show it was cheered to the rafters, this last time with the fervor that only rewards hits.  The audience is just buoyed by these superb leads (Osnes is wonderful) and that wall of swing that comes at us so gorgeously.  Just too damned bad, and they marketed the show constantly. (Visited any websites lately that did NOT have a Bandstand ad?)  

Updated On: 8/26/17 at 06:07 PM

[Rainah]

Posted: 8/26/17 at 8:39pm

The original playbill image was really boring and bland. It's... a girl! Singing! There will be a girl singing in the show! Didn't tell me a thing about what the show was going to be about, or the tone. I didn't become interested until the number at the Tonys, and by then it was too late

[OlBlueEyes]

Posted: 8/26/17 at 9:25pm

I would have been surprised if the show had made a big splash in NYC. In a period where rap and hip hop ruled, and with so many new musicals competing for attention, what appeared to be a syrupy patriotic show featuring archaic music was probably dismissed outright by many.

The line that separates swing from jazz is fuzzy and allows overlap. When Lin Manuel saw the show, his "review" tweeted "Best jazz score since either Jelly's Last Jam or City Of Angels, take your pick. INCREDIBLE score."

Couple this quote with the show's marketing right from its beginning and many take a much closer look at Bandstand.

Also, honestly, Manhattan is not the premier venue for interest in the problems of returning war vets. Most probably don't know about PSTD and the tragedy of the returning Vietnam vets.

The cast seems satisfied by the many emotional encounters with real vets, and by talk of a national tour. If Bandstand ever makes it there, it will probably play much better in Peoria.

[Auggie27]

Posted: 8/26/17 at 9:40pm

"Also, honestly, Manhattan is not the premier venue for interest in the problems of returning war vets. Most probably don't know about PSTD and the tragedy of the returning Vietnam vets. The cast seems satisfied by the many emotional encounters with real vets, and by talk of a national tour. If Bandstand ever makes it there, it will probably play much better in Peoria."

News flash, "returning war vets" isn't just a red state issue.  I'd like to break it to you gently: people in Manhattan. And Brooklyn. And NJ. And CT.  All have vets in their families.  And I lived in Peoria for four years (as well as Manhattan -- twenty-four years). The people of Peoria love Hamilton, Spring Awakening and Book of Mormon (too.)  Ascribing Bandstand's appeal to a cliched concepts of provincialism dismisses the show's better qualities, and manages to insult audiences in NYC and central Illinois. And elsewhere.  But don't just trust me. Look at figures from road tours and musical licensing.  

Updated On: 8/26/17 at 09:40 PM

[Skip23]

Posted: 8/26/17 at 9:51pm

I saw it last night.

The title doesn't make me want to see it.  Feels old and boring. 

Blank's choreography makes something out of not much.  First act promises so many interesting premises that the second act just ignores.  And the ending just sort of peters out.  and what's with the extended New York dance segment?  Comes from nowhere and goes nowhere.  Just feels like a bunch of interesting ideas that never quite coalesce and a plot that never elevates above a sub-par soap opera (will they win the prize???? - snnnnnnn.......)

 

[Fan123]

Posted: 8/26/17 at 10:52pm

Haven't seen the show, but I read in an article that the title is meant to refer, in part, to the band taking its defiant stand at the end. Like Great Comet's full title, it's apt once you know the show, but maybe not so interesting-sounding for newcomers. TBH I didn't think of that meaning before I read that article, even after having looked up the show online and obtained a reasonable idea of what it was about.

By the way, spoiler request if anyone can help:

 

Click Here To Toggle Spoiler Content

How specifically was Donny responsible for Julia's husband's death? What happened?

 

[poisonivy2]

Posted: 8/26/17 at 11:10pm

Fan123 said: "Haven't seen the show, but I read in an article that the title is meant to refer, in part, to the band taking its defiant stand at the end. Like Great Comet's full title, it's apt once you know the show, but maybe not so interesting-sounding for newcomers. TBH I didn't think of that meaning before I read that article, even after having looked up the show online and obtained a reasonable idea of what it was about.

By the way, spoiler request if anyone can help:

 

 

Click Here To Toggle Spoiler Content

How specifically was Donny responsible for Julia's husband's death? What happened?

 

 

 

Click Here To Toggle Spoiler Content

The "friendly fire" was really from Donny. They were in battle and Donny didn't realize he had killed Julia's husband until he saw the body after the battle.

"

 

[bwayrose7]

Posted: 8/26/17 at 11:16pm

Fan123 said: "Haven't seen the show, but I read in an article that the title is meant to refer, in part, to the band taking its defiant stand at the end. Like Great Comet's full title, it's apt once you know the show, but maybe not so interesting-sounding for newcomers. TBH I didn't think of that meaning before I read that article, even after having looked up the show online and obtained a reasonable idea of what it was about.

By the way, spoiler request if anyone can help:

 

 

Click Here To Toggle Spoiler Content

How specifically was Donny responsible for Julia's husband's death? What happened?

 

 

Fan123 - If I remember correctly, the answer to your question is

 

Click Here To Toggle Spoiler Content

During an action happening in a rainstorm, Donny and Trojan were supposed to unpin grenades, throw them, and run for cover. Donny dropped his in the mud, Trojan ordered him to run, and tried to get the grenade in time to throw it. It exploded and killed him instead.

I honestly think this show would have done better in a different season. But it's just not in line with the trends right now. As others have said, rap, hip-hop, and pop are the current "in" vernacular, and jazz/swing has a reputation for being "old-people music." And, unfortunately, the fact that it wasn't based on a recognizable name hurt it too - original musicals are a hard sell to the masses, unless they can ride on insane buzz like DEH. I think the casting of Osnes and Cott, both of whom have teenage and twentysomething fanbases, was meant to counter some of this, but unfortunately those groups don't make up enough of the financial base, and tourist crowds simply had too many buzzy shows to choose from instead. It's a shame - I think it's a wonderful, if imperfect, show.

[BroadwayMan5]

Posted: 8/26/17 at 11:34pm

Jarethan said: "BroadwayMan5 said: "I like the name but I think the marketing was bad. Rather than appearing to be a sleek sexy show, it should have marketed itself as a patriotic show that could appeal to Middle America tourists. I think they could have effectively done that but they chose a different route.

 

I disagree with you.  I was always wondering why they were not capitalizing enough on the fact that their leads were incredibly good looking, sexy as hell, AND had great voices.  Maybe that wouldn't matter today, given ticket prices, but I think there should have been a way to leverage those plusses.

 

 

"

Yes, the leads are attractive and talented but it's not a sleek, sexy show. Why market it that way when they should market it more as the show it actually is? Then the advertising would appeal to the types of people who will actually enjoy the show

[OlBlueEyes]

Posted: 8/27/17 at 12:41am

Auggie27 said: ""Also, honestly, Manhattan is not the premier venue for interest in the problems of returning war vets. Most probably don't know about PSTD and the tragedy of the returning Vietnam vets. The cast seems satisfied by the many emotional encounters with real vets, and by talk of a national tour. If Bandstand ever makes it there, it will probably play much better in Peoria."

News flash, "returning war vets" isn't just a red state issue.  I'd like to break it to you gently: people in Manhattan. And Brooklyn. And NJ. And CT.  All have vets in their families.  And I lived in Peoria for four years (as well as Manhattan -- twenty-four years). The people of Peoria love Hamilton, Spring Awakening and Book of Mormon (too.)  Ascribing Bandstand's appeal to a cliched concepts of provincialism dismisses the show's better qualities, and manages to insult audiences in NYC and central Illinois. And elsewhere.  But don't just trust me. Look at figures from road tours and musical licensing.  

"

You should thank me for allowing you the pleasure of becoming indignant.

There are twice as many military recruits from most of the Southern states as there are from New York State. Since the most recruits from within a state come from rural areas, probably there are about four recruits from Texas for every one in New York City. With many more recruits returning to these areas after service, including the ones suffering from PSTD, these areas will be more aware of the problems than New Yorkers.

"Play in Peoria" is an old statement that is not specifically about the actual Peoria, but uses Peoria as a symbol of all cities with more conservative cultural values. If you like, I can change that to "play in Oklahoma City, Oklahoma," a recognized conservative city where Kelli O'Hara and Kristin Chenoweth received their education and voice training.

You're not really trying to convince me that the actual present Peoria shares the same cultural values as Manhattan?

So what was your reaction to Bandstand and the veteran issues that it raised?

 

[Auggie27]

Posted: 8/27/17 at 7:55am

"There are twice as many military recruits from most of the Southern states as there are from New York State. Since the most recruits from within a state come from rural areas, probably there are about four recruits from Texas for every one in New York City. With many more recruits returning to these areas after service, including the ones suffering from PSTD, these areas will be more aware of the problems than New Yorkers."

 

Only response to this, and not an indignant one is "really?"  That's your argument for the make-up of a likely Bandstand audience?  

Trust me, I'm aware of the provenance of "play in Peoria."  

The flavor of elitism in "cultural values of Manhattan" is fascinating in 2017.  I say that as a two and a half decade resident of Manhattan. 

The show's closing. It's too bad.  Many people like the piece who have a connection to its veteran issue focus.  Many like it who simply love its evocative score and stylish staging.  Some like its young love story. Sometimes those seemingly disparate factions overlap.  Sometimes not. Sometimes they come from the Bronx, sometimes Billings. Often from Bayonne.  That's Broadway.  May Bandstand be lucky enough to have an afterlife in Branson and Boston.

Updated On: 8/27/17 at 07:55 AM

[yankeefan7]

Posted: 8/27/17 at 8:37am

"Just too damned bad, and they marketed the show constantly. (Visited any websites lately that did NOT have a Bandstand ad?)  "

I agree and they did the morning talk shows like "Good Morning America" so I think they tried their best.  This show is closing but something like "Charlie And The Chocolate Factory" which really got trashed critically is still running because of the movie name recognition, drives me crazy.

[dramamama611]

Posted: 8/27/17 at 10:59am

OlBlueEyes said: "Auggie27 said: ""Also, honestly, Manhattan is not the premier venue for interest in the problems of returning war vets. Most probably don't know about PSTD and the tragedy of the returning Vietnam vets. The cast seems satisfied by the many emotional encounters with real vets, and by talk of a national tour. If Bandstand ever makes it there, it will probably play much better in Peoria."

News flash, "returning war vets" isn't just a red state issue.  I'd like to break it to you gently: people in Manhattan. And Brooklyn. And NJ. And CT.  All have vets in their families.  And I lived in Peoria for four years (as well as Manhattan -- twenty-four years). The people of Peoria love Hamilton, Spring Awakening and Book of Mormon (too.)  Ascribing Bandstand's appeal to a cliched concepts of provincialism dismisses the show's better qualities, and manages to insult audiences in NYC and central Illinois. And elsewhere.  But don't just trust me. Look at figures from road tours and musical licensing.  

"

You should thank me for allowing you the pleasure of becoming indignant.

There are twice as many military recruits from most of the Southern states as there are from New York State. Since the most recruits from within a state come from rural areas, probably there are about four recruits from Texas for every one in New York City. With many more recruits returning to these areas after service, including the ones suffering from PSTD, these areas will be more aware of the problems than New Yorkers.

"Play in Peoria" is an old statement that is not specifically about the actual Peoria, but uses Peoria as a symbol of all cities with more conservative cultural values. If you like, I can change that to "play in Oklahoma City, Oklahoma," a recognized conservative city where Kelli O'Hara and Kristin Chenoweth received their education and voice training.

You're not really trying to convince me that the actual present Peoria shares the same cultural values as Manhattan?

So what was your reaction to Bandstand and the veteran issues that it raised?

 

 

"

I thought your statement that NYers doen't know or care about PSTD was pretty ridiculous, too.   They might not have as much personal experience with it, but that doesn't mean they don't KNOW about it. 

I also doubt there's a clamouring in Peoria (or anywhere) to finally have a musical about it.   

 

But back to the original topic:  I just don't think the show itself screams to be seen.   Regardless of the title or marketing.   I had no desire to see this.  Word of mouth didn't help.   (Unlike Come From Away which WOM sold me on it.)  The 2 sentence blurb about the show made me think: meh. I'm not even arguing whether this is a "good enough" show, in this time and place it's just not "right enough".  And for those saying that it would fare better "in a different season"  that's simply the road not taken -- and the same with speculating that different marketing or a different title might have made a difference.   THIS is the season it came out in, with this title, with this marketing.

 

Oh, and to whomever thought the playbill was to partially blame - have you ever made a decision to buy a ticket based on a PLAYBILL cover?  I know I haven't. (Especially, since holding it in your hand, you've already purchased a ticket.)

[SporkGoddess]

Posted: 8/27/17 at 6:43pm

I actually had no idea that Bandstand even was about PTSD until I read reviews of it. 

[OlBlueEyes]

Posted: 8/28/17 at 12:27am

The more I hear what people are saying, and looking back at my own experience, I think that the people don't really understand the book. It isn't laid out clearly. The purpose of the book was to show, most broadly, that the government did not do enough for its returning veterans. Although the show dealt with WW II, it was supposed to resonate with everyone who remembered the plight of the returning Vietnam Vets, and there aren't a big amount of those aging boomers still around. Although they made it back home, many were suffering from PSTD, meaning that they never recovered mentally from the horrors that they experienced there. There were suicides, and many more wound up on the streets abusing some substance. Usually alcohol. You may have heard of some WW II combat vets who would absolutely never discuss their war experiences with their families.

I helped out at a homeless shelter and I was appalled at the numbers. Once a month I'd have to drive one to the emergency room because they had the DTs. One day I met a vet who had just finished a month in rehab and already had a flask in his pocket. A very sweet young girl whom I met there had a brother vet who was locked into one of those awful government operated mental asylums. I hope not forever.

So when the government guy tells Danny that he had better find a job real fast because he had already been to another two funerals that week, he is talking about suicides. (This dialog is all on the cast album.)

Danny, really low, then hears on the radio that Baer aspirin is having a contest for a band in every state to write an original song connected to the war. The winning band, out of 48, would go to Hollywood and be in a film showcasing their song. This gives Danny meaning and purpose. He rounds up five other combat vets with adjustment problems: the bassist, Brandon Ellis, who is excellent, is an alcoholic, the trombonist has obsessive-compulsive disorder, etc. And Julia is brought in as the wife of Danny's best buddy. Danny feels responsible for his buddy's death because they are both in a foxhole at night throwing grenades at the Japanese above them. Danny pulls the pin on a grenade and drops the grenade at his feet. He can't find it and dives out of the foxhole before the grenade goes off, but his buddy doesn't get the message in time to get out of the hole before the grenade goes off.

So the band is formed and starts to have success and the members all feel better when they are together performing and rehearsing and proud when they start getting gigs. Winning or losing the contest not important, they have already succeeded. The music industry is not a theme. This is just one company, paying for this contest supposedly to help the vets, instead hiding a paragraph in the contest contract that will screw the bands out of their song rights.

Danny's relationship with Julia is hard to understand. I didn't get it the first time I saw the show. Bandstands' creators see their production as the material for an MGM musical. They draw that parallel. that I would never have thought of. In "This is Life" they draw the distinction between their Bandstand and the MGM musical. In a musical after Danny walks her home he would have ended up in her apartment (well, difficult since she lived with her mother). But since this is life, and not a film, they agree that they're not ready for a relationship now, or possibly ever. The war is still a barrier between them.

Maybe they just should have cut that scene, but the creators seemed proud of it.

If the climactic "Welcome Home" number succeeds in getting a huge response from the audience, it is earned. In this Playbill Popup Performance video, about a thirty minute discussion sandwiched between band performances, Laura says that at first she dreaded having to sing it and the song terrified her. She adjusted, but can't see herself ever singing the song out of the context of the musical. The song is very difficult for the band members to perform as well.

http://www.playbill.com/article/recap-watch-bandstands-laura-osnes-corey-cott-and-the-donny-nova-band-in-this-exclusive-performance-and-talkback

If you can get this video working it's about 30 minutes of discussion sandwiched between two performances. You may have to help the video along by dragging the slider about an eighth of an inch to the right. That will get the video started. After the first performances the video will cut to a promo for the show and then return you to a static screen. Again, click on the screen and when the slider at the bottom appears drag it a little to the right to get things started again.

Sorry, I suffer from terminal verbosity.

[GavestonPS]

Posted: 8/28/17 at 12:48am

The title didn't make me think of AMERICAN BANDSTAND, it screams "another juke-box musical" to me.

And I found the number they did for the Tony Awards remarkably mediocre for a show with--IIRC--Tony-nominated choreography.

But because people were raving about the show here, I downloaded the recording and loved it! What a waste!