DiscoCrows said: "Does anyone know who is producing / managing? When TMO transferred,Barry & Fran Weissler were leading but with general management by RCI."
The 2ST run has ATG listed as produced in association with along with Annapurna. So, there you go.
It's the only thing this season I haven't been able to afford (yes, those prices are mostly prohibitive), so I'm hopeful that we'll get reasonable options at the Belasco. It's moving from about 597 seats to just under 1100. I'll be keeping my eye on the weekday matinee.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Broadway Flash said: "I’m surprised by this. I guess Paulson is really trying for that Tony, but Rachel McAdamsis coming in hot."
...What are you even talking about? Her show doesn't start for another 6-8 weeks. She would also be going up against Amy Ryan, Jessica Lange, and Paulson (and maybe Laura Bell Bundy if they are feeling generous in a year light on plays). McAdams is looking like a distant fourth and its likely that Paulson will mostly have to fend off Ryan (a previous nominee) and Lange (a previous winner).
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RippedMan said: "idioteque... said: "PegasusOasis said: "Wow. I hope they add merch. I’d like a magnet. The set design is amazing, hopefully nothing is lost."
They didnt have merch at the 2nd stages show?"
Is the set more than just the house set? I don't see what makes this show so expensive to run."
Salaries are what make shows expensive to run, not sets. This show has to pay Sarah Paulson, Corey Stoll, Natalie Gold, and Elle Fanning who are all, to varying degrees, star/stunt casts. I'm sure that the three rumored to be continuing with the show (along with everyone else in it, probably) will be asking for more money on account of it being commercial now and as credit for their contribution to its success.
Yes, the Broadway nonprofits (2nd Stage, Roundabout, LCT) are not on the Production contract- they’re on LORT contracts, which means the actors are being paid much lower salaries than commercial productions and typically don’t get paid more than the minimum. However, to prevent abuse of this, if these productions extend or transfer, they roll over to the standard Production contract, which means salaries will increase substantially, especially for big names who are now free to negotiate substantially higher rates than they were.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Since Mary Jane has been raised... I saw it several years ago, in its brilliant first iteration with Carrie Coon. Anyone else? Will be it treated as a new play? I have the published script. It's a small beauty, the original staging one of the most evocative and yet theatrical in the last 20 years, realism with a particular heightening element. I wish the new star well, but wish Coon could've recreated her performance. She was heartbreaking and dazzling.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Apprioriate is 4 years older than Mary Jane, which might not seem like much in the grand scheme of things, but for these "grey area" productions, I'd argue 4 years is big difference. Mary Jane falls within the window of recency that Tony precedent has defaulted to "original" (even for plays that have been licensed and published), and Appropriate doesn't fall within that window. Also worth noting that Appropriate is a brand new physical production, while Mary Jane has the same director and scenic designer, indicating that it will probably more closely resemble a "transfer" of that original production.
^To answer your other question Auggie, I did see the NYTW run with Carrie Coon. I didn't get the hype, but I'm excited to give it another chance with McAdams.