AIN’T NO MO On Broadway - Reviews & News Thread- Page 2

[TaffyDavenport]

Posted: 10/4/22 at 9:17pm

JBroadway said: "troynow said: "This will be a cold open. No out of town just the workshops."

I understand there are some new members of the creative team, so it won’t be exactly the same as the production that played at the Public 4 years ago. But still, even if it’s not an exact replica, I wouldn’t go so far as to say that it’s “opening cold” after an NYC run at a major theatre."

I believe he's talking about New York, New York.

[troynow]

Posted: 10/4/22 at 9:53pm

All of the off-broadway cast is returning except for one. This is the show Crystal is leaving 1776 for. 

[JBroadway]

Posted: 10/4/22 at 9:59pm

TaffyDavenport said: "JBroadway said: "troynow said: "This will be a cold open. No out of town just the workshops."

I understand there are some new members of the creative team, so it won’t be exactly the same as the production that played at the Public 4 years ago. But still, even if it’s not an exact replica, I wouldn’t go so far as to say that it’s “opening cold” after an NYC run at a major theatre."

I believe he's talking about New York, New York."

 

Ah, my mistake - sorry! 

[BoringBoredBoard40]

Posted: 10/4/22 at 10:25pm

troynow said: "All of the off-broadway cast is returning except for one. This is the show Crystal is leaving 1776 for."

are they trying to star cast the remaining role?

[troynow]

Posted: 10/5/22 at 8:06pm

Nope. The show is unfortunately cast with all unknowns. Before anyone jumps on me, I simply mean the show is cast with people that are not known entities in order to move tickets. So I am concerned for this show. As I do not think it can make it this way., 

Look at TopDog,... I ADORE that cast and am personally a fan but the box office is not producing the same interest. 

[RippedMan]

Posted: 10/5/22 at 10:04pm

I've no clue who the guys in Topdog/Underdog are. 

[BoringBoredBoard40]

Posted: 10/5/22 at 10:15pm

One was on Walking Dead and recently the revival of Six Degree

The other is in the Aquaman movies and was in the HBO Watchman series

and those are pretty notible credits and its already struggling

meanwhile this is going into a BIG theater with zero names except the one above the title...I guess if you want to see it, see it early

[KJisgroovy]

Posted: 10/5/22 at 10:21pm

"I've no clue who the guys in Topdog/Underdog are."

It's always so weird when people say this as if it proves people aren't famous or significant. Maybe that's not what you were doing but it usually says more about you than it does about them.

Abdul-Mateen had major roles in The Trial of the Chicago 7, the new Candyman, the new Matrix, the new Aquaman, The Get Down, Watchmen and the newest Michael Bay movie. 

Corey Hawkins had major roles in Kong: Skull Island, BlacKkKlansman, In the Heights, the Coen Macbeth, and has a role in The Color Purple movie. He's also been on Broadway twice before. 

[VernonGersch]

Posted: 10/5/22 at 10:33pm

This sounds terrific and from what I read when it was down at The Public it is terrific.  So wish they had scheduled some additional performances and/or creative scheduling (like when Hedwig did late afternoon and late night shows) but alas the ONE Monday I happen to be in town it won't be up.  

Routing for this show nonetheless. 

[ErmengardeStopSniveling]

Posted: 10/5/22 at 10:48pm

It’s entirely a matter of knowing vs. caring. People can have major credentials and be talented and get press coverage — but still not be a box office draw. Hawkins & Mateen are both “that guy” actors. Someday they might be major name-value stars, but not yet. The economy and current state of theatre going habits does not help any of this.

Sometimes it’s funny who sticks and who doesn’t. I wouldn’t have predicted Bryan Cranston to be such a consistent draw in his two shows, even tho Breaking Bad was huge. Similar situation with Larry David in Fish in the Dark. But then you have people who producers think will be a hit with ticketbuyers but aren’t: Forrest Whitaker or Allison Janney or Elisabeth Moss or Laurie Metcalf & John Lithgow.

Updated On: 10/5/22 at 10:48 PM

[SouthernCakes]

Posted: 10/5/22 at 10:57pm

Yeah there are just very few people who are going to justify the ticket price. They might the in prestige things but is that going to make someone want to get a ticket?

[JBroadway]

Posted: 10/5/22 at 11:01pm

KJisgroovy said: "It's always so weird when people say this as if it proves people aren't famous or significant. Maybe that's not what you were doing but it usually says more about you than it does about them.

Abdul-Mateen had major roles in The Trial of the Chicago 7, the new Candyman, the new Matrix, the new Aquaman, The Get Down, Watchmen and the newest Michael Bay movie.

Corey Hawkins had major roles in Kong: Skull Island, BlacKkKlansman, In the Heights, the Coen Macbeth, and has a role in The Color Purple movie. He's also been on Broadway twice before." 9plus

 

I agree. Always funny when people play the "I've never heard of them" card. Both actors are well-established in film and TV, and have their roots on the stage. They're both actors that people who follow show-biz should know of. And both very talented.

But unfortunately, as far as general audiences are concerned, I think Hawkins could be categorized as a "that guy" actor (as in, people may recognize him from his various projects, without actively following his work), while Mateen is more of a "rising star" (as in, he has a lot of momentum in Hollywood, but doesn't have enough of a fan base yet to really draw audiences). And that's likely why the show is struggling.

In any case, there's no question that they're more famous than any of the Ain't No Mo actors are likely to be. I too worry about it's financial prospects, as I've said before.

 

[KJisgroovy]

Posted: 10/5/22 at 11:21pm

"It’s entirely a matter of knowing vs. caring. People can have major credentials and be talented and get press coverage — but still not be a box office draw."

For sure! I don't think either is a box office draw and even if it's a great production it will likely be a tough sell. I was just. Like. It's so weird to me when people say "Well I don't know who they are..." 

On the subject of name recognition... it's STUNNING to me that they've mounted this show without names. It's a fantastic show. But. It's very difficult. And not even selling out the small Wooly Mammoth at 75$ a ticket. I hope it does well and I hope we get more on Broadway like it. Without stars... they're gonna need a heck of an ad campaign.

[SouthernCakes]

Posted: 10/5/22 at 11:28pm

I get that, for whatever reason, Broadway is swinging hard the other way, but maybe after all the stuff we’ve all been through we don’t want to go sit through a serious drama? And especially one that maybe deals with heavy topics like race etc?  Seems like that’s what we are getting. I get it. But think bubblegum shows like “& Juliet” will do great business. But who knows? Happy to be proven wrong! (Also really would love to see “Ain’t No Mo” I think the premise is really interesting) 

[ErmengardeStopSniveling]

Posted: 10/6/22 at 1:13am

KJisgroovy said: "On the subject of name recognition... it's STUNNING to me that they've mounted this show without names. It's a fantastic show."

methinks David Stone and co. HOPED that Mateen & Hawkins would mean more to ticketbuyers than they do. They're probably being paid a hefty sum.

There's also the hope that you cast semi-recognizable people and then the reviews & WOM are good enough to propel it to something bigger.

[persephone88]

Posted: 10/6/22 at 1:31am

I saw Ain't No Mo this weekend in DC. To say I enjoyed it is kind of an odd phrasing, because while it is by turns funny, moving and very thoughtful, it really makes you examine your perspectives on race and what it is like to be a black person in our country. It sends up a lot of black stereotypes in a sometimes uncomfortably un-PC fashion that treads a narrow line between humor and stinging criticism that is merited and makes you check your own prejudices whether you are black or white. It has a lot of humor but it can turn on a dime and take a scene that has funny moments and suddenly hit you with a line that makes you look hard at the unfunny truths about what minorities face daily in our country. 

I appreciated this show and was glad to have seen it. Is it perfect? No. I felt that two of the scenes ran too long and could use some tightening. The cast was solid, and each had a powerful moment in a particular scene. One scene taking place in an abortion clinic was very powerful, and another portion in a prison also had a kind of a gut punch moment, while other scenes had the audience laughing and calling out in concurrence with what they were seeing on stage. 

I don't think this show is going to be a smash hit, it IS a smaller production with a small cast and no big names to draw people, but that does not make it  not worthwhile. I'm sorry that a show like Ain't No Mo which has something important to say about our culture may be given a miss by a lot of tourists who just want to be entertained with something fluffier (not that there is anything wrong with an upbeat, lightweight show). That doesn't mean that it doesn't deserve a second run in New York, and I hope that more folks will give it a look.  

[JBroadway]

Posted: 10/6/22 at 9:00am

SouthernCakes said: "I get that, for whatever reason, Broadway is swinging hard the other way, but maybe after all the stuff we’ve all been through we don’t want to go sit through a serious drama? And especially one that maybe deals with heavy topics like race etc? Seems like that’s what we are getting. I get it. But think bubblegum shows like “& Juliet” will do great business. But who knows? Happy to be proven wrong! (Also really would love to see “Ain’t No Mo” I think the premise is really interesting)"


I would really discourage you from writing off any show about race, simply because you worry it’ll be too heavy. Aside from the fact that dramas are perfectly capable of making money under the right conditions, if you look at the recent wave of Black plays we’ve gotten on Broadway since COVID, very few of them could actually be described as a “heavy drama.” And I’d say the same for Ain’t No Mo’ - people should give it a chance regardless, but if it matters to them, I’d wager there’s enough of levity, and enough form-driven intrigue to keep people from feeling like they’re watching a straight up topic-drama. 

Not to mention, it looks like we’ll have more than our fair share of bubble gum shows on Broadway before the season is out. 

[BroadwayNYC2]

Posted: 10/6/22 at 10:06am

“ it IS a smaller production with a small cast and no big names to draw people”

 

the DC production is a completely separate Production. It is not transferring to Broadway, it is the regional premiere with a separate direction and design team. 

[EDSOSLO858]

Posted: 10/6/22 at 10:53am

Full cast announced this morning:

"Joining the previously announced writer Jordan E. Cooper as Peaches, additional cast includes Fedna Jacquet (Passenger #1), Marchánt Davis (Passenger #2), Shannon Matesky (Passenger #3), Ebony Marshall-Oliver (Passenger #4), and Crystal Lucas-Perry (Passenger #5). Understudies are Nik Alexander (u/s Peaches & Passenger #2), Jasminn Johnson (u/s Passenger #3 & Passenger #4), Michael Rishwan (u/s Passenger #2 & Peaches), Kedren Spencer (u/s Passenger #5 & Passenger #1), Brennie Tellu (u/s Passenger #4 & Passenger #5), and Emma Van Lare (u/s Passenger #1 & Passenger #3)."

[quizking101]

Posted: 10/6/22 at 11:08am

I hope the show lasts long enough where it won't make Crystal leaving "1776" for this look like a bad decision.

That being said, I just saw Ebony Marshall-Oliver and I remember her raucous turn in "Chicken & BIscuits" and that just sold me a ticket right there!

[ErmengardeStopSniveling]

Posted: 10/6/22 at 11:17am

Ain’t No Mo is a production contract whereas 1776 is a nonprofit contract. So even if she makes scale for ANM, she’ll still be earning more than for 1776. It only has to run a month post-opening to reach 1776’s closing date.

PLUS the prestige factor of having two Bway shows opening within 2 months of each other. That’s probably more valuable for her career than the dollar amount. Even Jeremy Pope didn’t move that quickly. 

[BCfitasafiddle]

Posted: 10/6/22 at 11:20am

quizking101 said: "That being said, I just saw Ebony Marshall-Oliver and I remember her raucous turn in "Chicken & BIscuits" and that just sold me a ticket right there!"

Same. I have remembered that performance for over a year now and it is still among my favorites. I'll see her do anything. 

[kwoc91]

Posted: 10/6/22 at 11:24am

quizking101 said: "That being said, I just saw Ebony Marshall-Oliver and I remember her raucous turn in 'Chicken & BIscuits' and that just sold me a ticket right there!"

Same! I love her.

[RippedMan]

Posted: 10/6/22 at 12:37pm

KJisgroovy said: ""I've no clue who the guys in Topdog/Underdog are."

It's always so weird when people say this as if it proves people aren't famous or significant. Maybe that's not what you were doing but it usually says more about you than it does about them.

Abdul-Mateen had major roles in The Trial of the Chicago 7, the new Candyman, the new Matrix, the new Aquaman, The Get Down, Watchmen and the newest Michael Bay movie.

Corey Hawkins had major roles in Kong: Skull Island, BlacKkKlansman, In the Heights, the Coen Macbeth, and has a role in The Color Purple movie. He's also been on Broadway twice before."

Just saying they aren't household names. I don't think most people would know who they are by name alone without the credits. And even with the credits, I don't know who they are. Not a diss, just saying, I'm not surprised it's not a hot ticket. 

[jacobsnchz14]

Posted: 10/24/22 at 12:31pm

Due to COVID cases within the production, “Ain’t No Mo’” is adjusting its preview period.

The Jordan E. Cooper–penned comedy will now begin preview performances at the Belasco Theatre on Nov. 9.

Previews were initially scheduled to begin on Nov. 3. Opening night is slated for Dec. 1. 

The new comedy comes to Broadway following a 2019 run at The Public Theater. Through satirical vignettes, the play imagines a world in which the United States offers Black Americans a one-way ticket to Africa.

“Ain’t No Mo’” is produced on Broadway by Lee Daniels. Wagner Johnson Productions serve as executive producers and general managers.