This starts Tuesday! Anyone here going? Every part of me wants this to succeed. I've been anticipating this for awhile! I really hope it's good, and has a nice run!
I'm praying this is good. I really love the cast, and from what I've seen, it seems like such an important story. Looking forward to hearing everyone's thoughts.
Seeing this on Wednesday the 14th as the first show of my fall theater trip. I'm really pulling for this one, as I haven't seen or heard a lot of hype for it outside of this board. I've talked to some theater fans who don't even know about it, which worries me.
Keiichi2 said: "Seeing this on Wednesday the 14th as the first show of my fall theater trip. I'm really pulling for this one, as I haven't seen or heard a lot of hype for it outside of this board. I've talked to some theater fans who don't even know about it, which worries me.
" Local NY theater fans? Because I expect Takei's legion of fans are outside that usual sphere (there must be some overlap with over 9 million Facebook followers). Though that doesn't explain why they wouldn't know about Salonga's Broadway return. Still, I don't know if the show has been marketed in the traditional channels. Because of Takei's strong internet presence, I think there's plenty of activity on social media.
This show will need a whole lot of tourist love, and perhaps Takei's vast influence (Trekkies, LGBT, Asian-American, politics) will lead to new musical theater fans.
Of course a celebrity with many fans doesn't guarantee ticket sales unless you're Denzel, Hugh or Julia. Even Daniel Radcliffe had a tough time selling Cripple of Inishmaan, and he was giving a fantastic performance. Dolly Parton and Sting couldn't get their legions of fans to buy tickets, and you would think that Sting's devotees would be the prime target demographic to buy full price orchestra seat.
The show has a decent online presence, but the marketing has been next to nothing around the city as far as I've seen. I could be the best show or the worst show, but no one can even consider it as an option if they don't know it's playing.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
True, if there hasn't been local marketing, I hope the producers figure that out. Marketing for this in general is challenging because of the subject matter; it probably would appeal to mostly Asian-Americans and history buffs at face value. Other celebrity examples aren't necessarily equal (would Harry Potter fans really enjoy a play like that?). Compared to other celebrity-cast shows, though, I think Allegiance is a bit special because it's framed as semi-autobiographical for the major cast member. This may not translate into ticket sales of course, but fans of George Takei the man would (hopefully) be more interested in the show for that reason. Then there's Salonga's return to Broadway. Surely she'd be a draw for traditional theater fans, but the word still has to get out, and her tourist celebrity power is concentrated in the Philippines. If the producers don't take out more local ads or throw around lots of flyers, they'll be going on the power of social media and word of mouth only, which will be interesting I suppose.
Pootie2 said: " Then there's Salonga's return to Broadway. Surely she'd be a draw for traditional theater fans, but the word still has to get out, and her tourist celebrity power is concentrated in the Philippines."
I know that first hand. I went with a group to Chicago to see Gentleman's Guide on Saturday (I had seen it on Broadway in late 2013, and wanted to see it again), and was talking about how I was going to see Lea Salonga on my upcoming trip. No one in that group knew who she was, until I mentioned Miss Saigon. Yet, I told two friends of mine originally from the Philippines last week, and they were instantly excited, and envious of me.
Well my example with Daniel Radcliffe was just to show that most celebrities, even ones as popular as Radcliffe, can't sell a show based on their name alone. Where Hugh Jackman fans really interested in the subject matter of A Steady Rain or The River? I bet most people didn't even know what the plays were about- the plots were certainly not used in the marketing- and they bought tickets solely on the starpower of the leads, regardless of subject matter/quality.
Will Takei's Star Trek fans find something to like here? Are they passionate enough about Takei that they will buy full price orchestra seats without knowing much about the show? And that's really the question facing all new shows now, especially musicals where the weekly run cost is so high. It's not a matter of is there interest or will people buy tickets, but will they buy full price tickets that will keep the show afloat and eventually turn a profit.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
Excited to see it this week. Hoping for the best, for the sake of the subject matter and George. But weak/generic lyrics really sink an entire show for me, and I'm worried from what I've heard so far.
I've enjoyed the music to Allegiance more than I have with Hamilton (which I found very repetitive). I know this show will be overshadowed by the latter but I do hope it finds an audience. The last time I cried in the theater the way I cried in Allegiance was with Next to Normal.
Wildcard said: "I know this show will be overshadowed by the latter but I do hope it finds an audience. "
In some ways the complete soldoutedness of Hamilton almost levels the playing field for everything else, no? Unless you have $$$ for the secondary market, you pretty much have to rule Hamilton out of your options through the new year...
There is a billboard right across from Hamilton that I think is really smart. A mock tweet conversation among King George III, George Takei, and Lea Salonga. I don't remember the details but King George says he's been "waiting Salonga" for her return to Broadway. Very clever. It might send some lotto losers their way.
Best of luck to the cast and crew, I'm pulling for this show to do well. This story is a subject not only new for the theater but is rarely touched upon in any form of media. I hope they will be able to find an audience to substain them.
Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?