everythingtaboo said: "Wayman_Wong said: "It's also hard to believe Locke would've signed up for a Broadway stint if it didn't last at least a few months. But who knows?"
Jordan Fisher's blink and you'll miss it role in Sweeney Todd would like to comment"
Fisher was in the show for four months. I'd say that's short for someone originating role in a production, but a pretty solid run for a stunt cast like Locke.
That’s not surge pricing. That’s just second market sales pricing.
Surge pricing occurs at initial on sale when a distributor like Ticketmaster sees demand far exceeds supply. As a result, a Taylor Swift floor seat, for example, can start at 800 if you got an early on sale and move to 3000 if you’re lucky enough to get on a general on sale and that same seat is available.
Play Esq. said: "That’s not surge pricing. That’s just second market sales pricing.
Surge pricing occurs at initial on sale when a distributor like Ticketmaster sees demand far exceeds supply. As a result, a Taylor Swift floor seat, for example, can start at 800 if you got an early on sale and move to 3000 if you’re lucky enough to get on a general on sale and that same seat is available."
I actually just looked on Ticketmaster and Row G Center on 2/9 is $544.00. Face Value not resale. Mind you. The same seat for the 2/7 matinee is $201.50
"I hope your Fanny is bigger than my Peter."
Mary Martin to Ezio Pinza opening night of Fanny.
Ticketmaster is no longer the show's official seller, Broadway Direct is. Dynamic pricing, or surge pricing, is accurate enough, although I believe that prices for the 2/9 performance were already pretty inflated when they first went on sale.
I was using Ticketmaster as an example. With that said, I’ve never heard of Broadway Direct and, as a result, it reminded me a lot of Broadway.com which is a secondary market. I wholeheartedly acknowledge this mistake.
With that said, what we’re seeing is still not surge pricing (which is based upon immediate demand requests based upon a computer algorithm) but something more akin to a producer that thinks prices can go for more, even if the evidence suggests otherwise.
Play Esq. said: "I was using Ticketmaster as an example. With that said, I’ve never heard of Broadway Direct and, as a result, it reminded me a lot of Broadway.com which is a secondary market. I wholeheartedly acknowledge this mistake.
With that said, what we’re seeing is still not surge pricing (which is based upon immediate demand requests based upon a computer algorithm) but something more akin to a producer that thinks prices can go for more, even if the evidence suggests otherwise.
The point I was making is that there is great demand for the first performance of the two new leads, and the producers jacked up the price for just that occasion. It is selling rather well. Just as the "Merrily" producers are selling the final July performance at a higher price.
Saw the show last night. I admittedly hated it when I saw it with the original leads back in May, but quite enjoyed it this time around. Something didn’t quite work with me first time around, but the two leads really killed it last night. De Waal really is an under appreciated gem. I imagine Sutton will play it more similarly to her than Ashford.
They play all performances unless announced otherwise. The Broadway Direct website has been very transparent during this run whenever the previous two leads were out. Not that many seats left on their website for tomorrow's matinee.
Why is anyone on here expecting that the show will sell out with performers of this caliber?
They've both been on Broadway within the past 13 months, they aren't household names, we're in the dead of winter, it's Super Bowl weekend (lol), and it's harder to get repeat buyers for a show if they already paid through the nose to see Groban & Ashford. If Seller & Jones have done a good job budgeting, they shouldn't HAVE to sell out every performance at top price to break even –– and they likely aren't being paid anything close to Groban's salary.
We'll see how this goes... It'll be a test of Sutton's box office drawing power. This is the first time in 15+ years that she's leading a commercial production with the expectation of selling mass amounts of tickets. Music Man sold the bulk of its tix on Hugh, and Anything Goes and Violet were nonprofit productions. Before that were Shrek, Young Frank, Drowsy, and Little Women, and the only one of those that recouped didn't give her prominent billing.
I can only speak for myself, but while I would really like to see Tveit and Foster, I disliked this production so strongly that I can't imagine any performer alive that would get me to buy another ticket.
In Hong Kong at the moment , so not sure of the timing, was any one there tonight?
Well I didn't want to get into it, but he's a Satanist.
Every full moon he sacrifices 4 puppies to the Dark Lord and smears their blood on his paino.
This should help you understand the score for Wicked a little bit more.
Tazber's: Reply to
Is Stephen Schwartz a Practicing Christian
Aaron is just killing it, pun absolutely intended. He’s the Sweeney I’ve been waiting for - obviously sexy as hell but also very menacing and his voice is like buttah. I just love him. Sutton is hilarious (I’m finding that I’m enjoying her more than my friend with me is) but I think they really do make a perfect pairing here.
This is absolutely a first preview crowd and LOUD. But yeah, I’m very very happy with this new cast.