AMELIE to close on May 21 — Page 3

"Could be like when Brian d'Arcy James returned to N2N on Bway after doing it Off...

Also, I'm hoping Adam gets another job soon. He's such a sweet guy and I'm always pulling for him to do well. "



Or like when Brian d'Arcy James returned to Hamilton on Bway after doing it Off...

Awwww...I knew the lack of Tony noms would hurt it, but I didn't expect it to close up shop so soon. I had a lot of fun at this show, and I'm one of the few apparently who really liked the score. The cast was so game. They must be devastated.

I hope it finds life in regional productions, where directors can put their own stamp on it. But for now, indeed..."Goodbye Amelie."

Sorry, factually prove what?

froote said: "As someone that is only known for theatre and hasn't done any TV or Film (unless we count a non-speaking background role in Smash), Soo is fairly well known. She has over 200,000 followers on Twitter and over 300,000 on Instagram. Compare that to her peers: Laura Osnes has 60k, Cynthia Erivo 40k and former Amélie Samantha Barks has 160k, despite starring in one of the biggest movies of 2012. The difference is just because people know someone doesn't mean they'll pay to see them in a weak show. The poor box office results clearly are to do with the negative reception towards the show itself and not to do with Soo.



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This doesn't really prove how well known she is. I'm not sure what her follower numbers were before Hamilton, but all of the main cast members (and even some of the ensemble) received significant increases in followers due to the hype and popularity of the show. Audra McDonald, Sutton Foster, and Laura Benanti all have less followers too but I'm willing to bet they are far better known regionally and nationally than Soo.

Handband is right in that it's not necessarily that black-and-white (after all, few things in this industry are), but to add to froote's point, I've had a number of friends ask me about the show, saying they love Soo but were apprehensive about what they heard about the show itself. It's been a recurring conversation for me since it opened a month ago, both with theatre-literate friends and with other friends who I was surprised knew of Soo. Her name is evidently not enough to sell a show like this, but I think it's bigger than some on here think.

^ Anecdotes from an anonymous stranger on a message board, who is historically known as a Soo fanatic, carries very little weight (if any). Sorry.

theatreguy12 said: "Not sure why anyone would attack you for that opinion. This show has been slammed since it opened in LA. I would dare say most people on here would agree with your take on the show.".

That's one of those alternative facts, I guess, as you can see from the LA Times review:

http://www.latimes.com/entertainment/arts/la-et-cm-amelie-musical-review-20161217-story.html

What IS true is that many people didn't like it there, or in NY. I was one of those people myself. But the LA reviews, for the most part, were positive (as were the reviews for it at Berkeley Rep), which I assume was encouraging for the producers. This was one of those shows that critics seemed to like more than the general audience.


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Updated On: 5/5/17 at 10:05 AM

froote said: "FlySkyHigh, I'm not comparing her popularity to McDonald, Benanti or Foster as I don't consider them her peers. They are all at least ten years older than her and would not be considered for the role of Amélie. Also, they have all done screen work and Phillipa has not.

My point is is that for a theatre actor in her 20s, she is well known. I'm not sure that saying she gained that popularity from Hamilton is against my point, all actors gain their popularity from certain projects.



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I understand your point, but you were using her Twitter and Instagram numbers to validate how well known she is. I used those older and more established actors to show the amount of followers someone has on social media does not strengthen your case. Comparing her to her peers...for all we know, Laura Osnes is still more well known (in New York) and Cynthia Erivo could have a larger audience due to her West End credits. Just because they don't have the 'numbers' doesn't mean anything. I'm not stating that Soo isn't well known for her age but using social media stats as proof is misleading.

And by bringing up Hamilton, I was not speaking of her personal popularity (though undoubtedly she gained some). I was stating the popularity of the show itself (and not her specific performance) brought her more attention than she normally would have received otherwise.

Allegiance had the highest number of social media followers of any show, too. Getting someone to click Like/Follow and getting them to buy tickets are different things.

froote said: "As someone that is only known for theatre and hasn't done any TV or Film (unless we count a non-speaking background role in Smash), Soo is fairly well known. She has over 200,000 followers on Twitter and over 300,000 on Instagram. Compare that to her peers: Laura Osnes has 60k, Cynthia Erivo 40k and former Amélie Samantha Barks has 160k, despite starring in one of the biggest movies of 2012. The difference is just because people know someone doesn't mean they'll pay to see them in a weak show. The poor box office results clearly are to do with the negative reception towards the show itself and not to do with Soo.



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Yes, it's all about those Twitter and Instagram followers. What a joke this whole industry has become. And not a good joke.

Any producer who brings in a show based on reviews in LA is a first-class idiot. With the exception of Mr. McNulty, who is kind of mind-numbingly inane, 90% of the reviewers in LA are not paid, routinely give raves to any and everything, and reward some awfully substandard work with silly awards of no consequence or value.

I said it was evidence that for a theatre actor in their 20s she is well known and it is. I did not say that it was the only thing that proves someone is well known or that it's all that matters.

Updated On: 5/5/17 at 12:23 PM