I was wondering what in the world required the show to move theatres. Not once, not twice, but three times in the fall of ‘81. They went from their original home, The Alvin(the Neil Simon) to ANTA Playhouse(August Wilson), only then having to transfer to the Eugene O’Neill, and the finally settling down at the Uris(Gershwin). I understand transferring theatres was more common back then, but I can’t seem to understand why they had to transfer 3 times in the span of 3-4 months.
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
https://theaterworkersforaceasefire.com/statement
Essentially they had promised the Alvin to Merrily We Roll Along already, and then because of the extreme shortage of empty theatres at that point, they had to move the show to two other locations for limited runs (due to the fact those theatres also had other shows lined up already) before the Uris finally became available and they were able to move there permanently.
Call_me_jorge said: "I was wondering what in the world required the show to move theatres.Notonce,not twice, but three times in the fall of ‘81. They went from their original home, The Alvin(the Neil Simon) to ANTA Playhouse(August Wilson), only then having to transfer to the Eugene O’Neill, and the finally settling down at the Uris(Gershwin). I understand transferring theatres was more common back then, but I can’t seem to understand they had to transfer 3 times in the span of 3-4 months."
I would guess they fell below a certain gross and the theatre could evict them. Back in those days, the ANTA was a pretty undesirable house...and I imagine willing to accept a lower stop clause. Not sure re the next two, but the URIS had a terrible track record pre-Wicked. I am guessing that the producers were hoping that, by moving to a much larger theatre, they could fill it with more discounted tickets, and still at least break even. The Eugene O’Neill was smaller, more in demand, and probably not a great place to be if you needed to rely on half-priced ticket sales.
Just guessing, though.
The Subject Was Roses also played in at least 4 theatres during its run, including the mammoth Broadway. I can only imagine how empty the house must have been for most performances.
Jarethan said: "Call_me_jorge said: "I was wondering what in the world required the show to move theatres.Notonce,not twice, but three times in the fall of ‘81. They went from their original home, The Alvin(the Neil Simon) to ANTA Playhouse(August Wilson), only then having to transfer to the Eugene O’Neill, and the finally settling down at the Uris(Gershwin). I understand transferring theatres was more common back then, but I can’t seem to understand they had to transfer 3 times in the span of 3-4 months."
I would guess they fell below a certain gross and the theatre could evict them. Back in those days, the ANTA was a pretty undesirable house...and I imagine willing to accepta lower stop clause. Not sure re the next two, but the URIS had a terrible track record pre-Wicked. I am guessing that the producers were hoping that, by moving to a much larger theatre, they could fill itwith more discounted tickets, and still at least break even. The Eugene O’Neill was smaller, more in demand, and probably not a great place to be if you needed to rely on half-priced ticket sales.
Just guessing, though.
The Subject Was Roses also played in at least 4 theatres during its run, including the mammoth Broadway. I can only imagine how empty the house must have been for most performances."
Wow! "The Subject Was Roses" played the Broadway theater? That is so odd a theater to pick for such an intimate play.
Hair and Sweeney Todd were two hits at the Uris, but I always understood it was very undesirable because of its larger size (not a New Yorker and have never seen a show there).
Don’t think Hair ever played the Uris(Gershwin). The original broadway production was at the biltmore.
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
https://theaterworkersforaceasefire.com/statement