When I've visited Times Square, , I've noticed the "Chicago" ladies (who I call Fosse Girls). I even took a picture with them one time.
"Noel [Coward] and I were in Paris once. Adjoining rooms, of course. One night, I felt mischievous, so I knocked on Noel's door, and he asked, 'Who is it?' I lowered my voice and said 'Hotel detective. Have you got a gentleman in your room?' He answered, 'Just a minute, I'll ask him.'" (Beatrice Lillie)
That article seems to contradict itself saying non-movie tie ins like Beautiful are struggling but Waitress is closing too.
"
I dunno if it's fair to call Waitress (the musical) a tie-in to Waitress (the movie). There was a big gap between the latter and the former timewise, and while the movie became a cult hit in some circles, it was an indy film that got very little press and awards attention and only grossed $22 million at the box office."
It's a musical based on a movie. Is Tootsie not the same?
Lavieboheme3090 said: "32 shows opened this past season. There are 41 Broadway theaters.
We are going to be fine."
I don't disagree, but there's no denying it has been a brutal couple of weeks.
I was shocked the Cher Show didn't last but I'm guessing Waitress time was up, it's not doing well here in the West End. Sections closed a lot I hear. Uncertain times for the West End with Brexit.
The opening was tongue-in-cheek and just trying to promote a dialogue about the impact of such a massacre will be.
Phantom4ever said: "January 2009 was another time that everybody was worried about the huge amount of closing notices and what will become of Broadway:
Change is good, and I'm excited for a new crop of shows to come storming the boards. But I forgot that crazy January 2009 closing schedule when the economy tanked...4 Best Musical winners shuttered on the same day (Hairspray, Avenue Q, Spamalot, Spring Awakening)!
I think it’s important to note that those 2009 was the height of the recession so it makes sense things were closing. I agree that closings are a part of the nature of the beast but it doesn’t seem like there are as many shows waiting in the wings to go into these theatres
I think one reason it feels so jarring is because so many shows are closing up shop in August and the wave of announcements has been fast and furious. There's no doubt there will be less shows open this fall than usual. January is usually a more common time for turnover and by then we usually know replacements. But ultimately, it's going to be fine. Shows that may have waited or taken more time are going to come in and I too think most of the theatres will be filled next spring.
But you seemingly criticized the show in your initial post, when you actually were only condemning a specific cast.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Whoever said Waitress and Tootsie are the same is just wrong. Sure, both are based off of films. However one was the 2nd highest grossing film of the year and the other made 22 mil. Its like comparing the Once movie to something like Beetlejuice. Its not disrespect to Waitress or Once Films or The Band's Visit, they're just not as well known properties. They're also both different genres so the comparison just doesn't make sense to me.
I will say while this isn't the "end of broadway" its a little concerning just how much is closing. If you're not concerned then idk what to tell ya. Prices are only going up and income inequality is growing with him in Office so I'm hoping next season is stronger financially.
Well, not all casting choices turn out well. But "Chicago's" business model is one reason that the show has lasted so long and will continue to do so. I hope that lady from "Modern Family" (Sofia Vergara) returns as Mama Morton. I've seen a video of her. She's not a bad singer.
Oh, that’ll never happen. She did CHICAGO both on Broadway and during the tour’s Miami stop before MODERN FAMILY came into her life and changed everything for her. She’s now not only a multi-award nominated actress but also one of the world’s smartest business women with many endorsements. I’m sure if she ever plans to return to Broadway, it’ll be with her name above the title of a show she’s headlining.
RIP Broadway? The turnover is healthy. It's a mix of long-running shows reaching their natural end, and other shows that didn't quite catch fire bowing out before they hemorrhage more money in September. Lots of shows are vying for the available theatres or have been booked already, with other shows waiting behind them.
Begin at the beginning and go on till you come to the end: then stop.
Now is the time for a revival of Urinetown: The Musical. Jeff McCarthy reprising his key role as Officer Lockstock, and either Andrew Rannells or Jonathan Groff as Bobby Strong. If Danny Burstein gets tired of his role in Moulin Rouge!, he'd be a great Caldwell Cladwell.
I agree with others that Broadway will be fine, but there are changes happening with audiences. I think people are demanding quality music and depth in the source material. I read reviews for most shows that open and I can’t count the number of times critics have called the songs and arrangements pleasant but utterly forgettable. If you are asking Broadway audiences to shell out $150-300 they want a transformative experience, and that starts with the music, the storytelling. It probably feels safe to produce shows people are familiar with. Shows from our 80’s childhood. But the increased cost of tickets raise the stakes for quality. Look at some of the recent movie tie-in shows; Groundhog Day, King Kong, Pretty Woman, Mean Girls, Beetlejuice, Tootsie and others. Worth spending $2-400 to take your family to? I would bring my daughter to Hamilton in a heartbeat over Frozen, Aladdin or whatever is next from Disney. And then consider “Greatest Hits” shows like Cher Show, Ain’t yo Proud, Head Over Heels, We Will Rock You, even the wildly popular Jersey Boys.
I’ve gone to a few of the productions above, but more often I saved up for musicals that are unique and memorable : Hamilton, Hadestown, DEH, RENT, Lion King, Wicked, Les Miz, Book of Mormon, The Producers, A Chorus Line and others. Perhaps I’m atypical, but I see that audiences are becoming more discerning consumers.
I agree with your overall sentiment, but I would alter it slightly:
IMO, scores are not the problem. The problem is the book. It’s true that this season we had a few shows like Tootsie and The Prom where people generally liked the book, but not the score. But I think those are more of an exception than the rule. It’s about 10x more common to have it the other way around - good score, mediocre book. Forget Broadway as a whole - the art of musical theatre book-writing is what’s in serious danger. And that applies to jukebox musicals too.
I agree with you that we should be turning our attention to good storytelling. But I don’t think that starts with the score. It starts with the book. The book shouldn’t just be a collection of lines to string together a bunch of good (or bad) songs. The score should exist to add to depth to the book.