Anyone seeing Montego as Rose?- Page 3

[Matt Rogers]

Posted: 7/2/25 at 9:18pm

Call_me_jorge said: "Sutton Ross said: "There is a service that gives out free tickets (they gave them out during Heart of Rock and Roll) but the name escapes me, but please producers, utilize this tool andpaper the mother f*cking house!"

I thought papering services were geared toward Student Unions of the several colleges in and around NYC. Since school is out for the summer there isn’t that much of a usefor comped tickets."

Does Audience Extras still exist? What about Theatremania Gold Club? I have no idea and don’t care enough to look it up, but they used to put bodies in seats, back in the day. The producers could also offer comps to the agencies representing the authors and the licensing agency for the musical itself. Would give an opportunity for lower paid workers to see a show that their salaries would not otherwise afford. But producer greed and cluelessness prevents that type of thing these days. 

[Auggie27]

Posted: 7/2/25 at 9:26pm

I've been posting here for 22 years, and this is one of the saddest threads I've read. Can't help but think of other star vacations when a replacement was a gimmick that added a jolt. I'm old enough to have seen Raquel Welch fill in for Bacall when she took her vacation from Woman of the Year. This wasn't the multi-month post-Bacall Welch run, which was notoriously successful. This was a 2 week long-slotted Bacall absence, December 1-15, 1981 - something she had not done during Applause - and the choice of her replacement shocked Broadway  (and Bacall, infamously insulted). 

I was there the first night, thanks to the TKTS downtown booth, in the second row of the orchestra at the Palace. The vibe in the house was "oh boy! Get ready!" Palpable as lights dimmed for the overture. It was a (pre-internet) crowd clearly expecting an utter debacle. And of course, Welch brought her own unexpected magic, limited though it may have been, that served a mediocre vehicle like Woman of the Year. And the audience went effing crazy. We didn't hate watch, we had a helluva good time. The NY Post, a rag that loathed Bacall's politics, splashed the first Welch performance curtain call on - wait for it - the front page. Seriously. Splashed is appropriate, because the show ends with Tess having water dumped over her head - and the famous Welch figure. Even in a Norma Kamali terry robe, quite a photo.  Something like "What a woman!" I'm guessing that producers have since always hoped for that to happen. It seldom does.

For Gypsy, they would've been wise to do a shutdown or simply allow the well-received standby to do the week, since this gifted performer doesn't generate box office. And that aspect is what is so sad. The gifted Ms. Montego deserves better than to be set up to fail so publicly.. 

Updated On: 7/2/25 at 09:26 PM

[abcd12]

Posted: 7/2/25 at 9:49pm

tacotheatrelover said: "Why are a lot of y’all so ****ing negative all the time?

Good show, Bad show, Good singing, Bad singing, it doesn’t matter. The point is you take time out of your day to see something you enjoy, and if it doesn’t resonate with you, that’s cool too!! But I’m not getting up to leave during applause or a blackout just because something is bad.

The only time I’ve wanted to walk out of a show was the non eq tour of Chicago, but I stayed since I value the time and money I spent and the time and effort put on by those on stage. I value having the chance to see a show once or twice a month, and I’m extremely grateful whenever it’s more than that. That one month period Isaw cabaret 18 times in a month was probably the most grateful I’ve ever felt to be in a theatre that many times,

I know I should be the one being told this, but you guys need to be more grateful about having the resources and money to see all this theatre in the theatre capital. The arts are dying and heavily underfunded and over budgeted in today’s world, it should not cost 1.2 million for a revival of Gypsy or 1.16 million for a production of cabaret. The least you can do is buy your ticket, shut the **** up, and watch and support the damn show.

The negativity is what’s killing shows, it’s putting performers out of jobs, it’s making people say “No, I don’t wanna see this.” When they to form an opinion by their damn selves rather then someone who sees 5 shows a week and complains about most everything they see. It’s that mindset that kills a show and (there’sa lot of other reasons I can admit, but this is a pretty big one.) drives people away from something they might really like.

I’ll probably regret this message later but my sugars crashing in a 100° sushi restaurant parking lot in the middle of Alabama. I’m quite mad atm and need some way to get theanger out while I chug a Mountain Dew."

What in the f*ck is going on on this day….?

[Sutton Ross]

Posted: 7/2/25 at 9:59pm

tacotheatrelover said: "Why are a lot of y’all so ****ing negative all the time?

Good show, Bad show, Good singing, Bad singing, it doesn’t matter. The point is you take time out of your day to see something you enjoy, and if it doesn’t resonate with you, that’s cool too!! But I’m not getting up to leave during applause or a blackout just because something is bad.

The only time I’ve wanted to walk out of a show was the non eq tour of Chicago, but I stayed since I value the time and money I spent and the time and effort put on by those on stage. I value having the chance to see a show once or twice a month, and I’m extremely grateful whenever it’s more than that. That one month period Isaw cabaret 18 times in a month was probably the most grateful I’ve ever felt to be in a theatre that many times,

I know I should be the one being told this, but you guys need to be more grateful about having the resources and money to see all this theatre in the theatre capital. The arts are dying and heavily underfunded and over budgeted in today’s world, it should not cost 1.2 million for a revival of Gypsy or 1.16 million for a production of cabaret. The least you can do is buy your ticket, shut the **** up, and watch and support the damn show.

The negativity is what’s killing shows, it’s putting performers out of jobs, it’s making people say “No, I don’t wanna see this.” When they to form an opinion by their damn selves rather then someone who sees 5 shows a week and complains about most everything they see. It’s that mindset that kills a show and (there’sa lot of other reasons I can admit, but this is a pretty big one.) drives people away from something they might really like.

I’ll probably regret this message later but my sugars crashing in a 100° sushi restaurant parking lot in the middle of Alabama. I’m quite mad atm and need some way to get the anger out while I chug a Mountain Dew."

Hush child. 

[AlmostFamous3]

Posted: 7/2/25 at 10:51pm

Matt Rogers said: "Does Audience Extras still exist? What about Theatremania Gold Club? I have no idea and don’t care enough to look it up, but they used to put bodies in seats, back in the day. The producers could also offer comps to the agencies representing the authors and the licensing agency for the musical itself. Would give an opportunity for lower paid workers to see a show that their salaries would not otherwise afford. But producer greed and cluelessness prevents that type of thing these days."

I believe they still do, but some producers feel that using platforms like them cheapens their product. Which, to me, is nonsense. The impact of an empty house does far more damage to a show than giving away 300 seats—audiences notice and talk about how "empty" or unsuccessful the production feels. The vibes are completely different. With Tammy Faye you could clearly see it was affecting the cast, especially during scenes where they were running to the back of the house and facing rows and rows of empty seats. It changes the energy for everyone in the room.

[Jordan Catalano]

Posted: 7/3/25 at 12:09am

Post Covid, the number of Broadway shows that used seat filling services dropped to almost zero. Subscription houses like LCT and MTC still (rarely) utilize them but that’s pretty much it, I think. And I’ll never understand it. 

[AlmostFamous3]

Posted: 7/3/25 at 12:33am

To me, if you're putting a new star in your show and the house is only 20% full days before their first performance, it's just bad producing not to try to fill the house however you can. They clearly tried with the $25 rush, but that wasn’t enough — advertising for the special pricing only started a day after Montego began performances. And I’m sure they’re not making much on those $25 seats anyway, so why not just comp seats to fill the house?

[DAME]

Posted: 7/3/25 at 3:29am

Auggie27 said: "I've been posting here for 22 years, and this is one of the saddest threads I've read. Can't help but think of other star vacations when a replacement was a gimmick that added a jolt. I'm old enough to have seen Raquel Welch fill in for Bacall when she took her vacation from Woman of the Year. This wasn't the multi-month post-Bacall Welch run, which was notoriously successful. This was a 2week long-slottedBacall absence, December 1-15, 1981 - something she had not done during Applause - and the choice of her replacement shocked Broadway (and Bacall, infamously insulted).

I was there the first night, thanks to the TKTS downtown booth, in the second row of the orchestra at the Palace. The vibein the house was "oh boy! Get ready!" Palpable as lights dimmed for the overture. It was a (pre-internet) crowd clearlyexpecting an utter debacle. And of course, Welch brought her own unexpected magic, limited though it may have been, that served a mediocre vehicle like Woman of the Year. And the audience went effing crazy. We didn't hate watch, we had a helluva good time. The NY Post, a rag that loathed Bacall's politics, splashed the first Welch performance curtain call on - wait for it - the front page. Seriously. Splashed is appropriate, because the show ends with Tess having water dumped over her head - and the famous Welch figure. Even in a Norma Kamali terry robe, quite a photo.Something like "What a woman!" I'm guessing that producers have since always hoped for that to happen. It seldom does.

For Gypsy, they would've been wise to do a shutdown or simply allow the well-received standby to do the week, since this gifted performer doesn't generate box office. And that aspect is what is so sad. The gifted Ms. Montego deserves better than to be set up to fail so publicly.."

Auggie, I loved reading your post.  I was there for Raquel’s first night as well. 

[bwaylvsong1]

Posted: 7/3/25 at 9:00am

JSquared2 said: What would be the point of paying anextra "star" salary toMontego(who won't sell a ticket) when they already have a capable understudy who is used to going on 1-2 times a week?

Montego’s star salary is likely less than the pay bump they would have to give Tryphena combined with hiring an additional understudy for the week.

"

 

[sparklingtonic2]

Posted: 7/3/25 at 11:00am

Auggie27 said: "I've been posting here for 22 years, and this is one of the saddest threads I've read. Can't help but think of other star vacations when a replacement was a gimmick that added a jolt. I'm old enough to have seen Raquel Welch fill in for Bacall when she took her vacation from Woman of the Year. This wasn't the multi-month post-Bacall Welch run, which was notoriously successful. This was a 2week long-slottedBacall absence, December 1-15, 1981 - something she had not done during Applause - and the choice of her replacement shocked Broadway (and Bacall, infamously insulted).

I was there the first night, thanks to the TKTS downtown booth, in the second row of the orchestra at the Palace. The vibein the house was "oh boy! Get ready!" Palpable as lights dimmed for the overture. It was a (pre-internet) crowd clearlyexpecting an utter debacle. And of course, Welch brought her own unexpected magic, limited though it may have been, that served a mediocre vehicle like Woman of the Year. And the audience went effing crazy. We didn't hate watch, we had a helluva good time. The NY Post, a rag that loathed Bacall's politics, splashed the first Welch performance curtain call on - wait for it - the front page. Seriously. Splashed is appropriate, because the show ends with Tess having water dumped over her head - and the famous Welch figure. Even in a Norma Kamali terry robe, quite a photo.Something like "What a woman!" I'm guessing that producers have since always hoped for that to happen. It seldom does.

For Gypsy, they would've been wise to do a shutdown or simply allow the well-received standby to do the week, since this gifted performer doesn't generate box office. And that aspect is what is so sad. The gifted Ms. Montego deserves better than to be set up to fail so publicly.."

Thanks for sharing this anecdote. Stories like these are why I love this forum.

[Call_me_jorge]

Posted: 7/3/25 at 11:20am

I only looked at this revival and the Patti LuPone revival, but it’s interesting Rose has historically only been given a single cover/understudy. If they simply had an additional swing with a Rose understudy track they wouldn’t have needed to bring in an outside name for a single week. For comparison, the 2017 revival of Hello, Dolly! had two listed understudies for Dolly (that doesn’t even include Donna Murphy). It takes, at least, two weeks for a performer to settle into a role/show. It’s a shame they put this on Glover. 

[AC126748]

Posted: 7/3/25 at 12:25pm

ErmengardeStopSniveling said: "I've been wondering (baselessly!) if this is a soft-launch for Audra dropping down to 6 or 7 a week and Montego taking 1 or 2. It was always a little surprising that Audra forged ahead with 8 a week but I wonder if that's becoming unsustainable given recent absences...I couldn't imagine doing what she does 8x a week."

The production is touring next season. I assume this is essentially an audition for Montego.

[Jordan Catalano]

Posted: 7/3/25 at 12:33pm

I bought tix for this weekend a while ago and now the seats right next to us are less than half what we paid. They’ve closed off the entire rear mezz and rear orchestra and there’s hardly anything sold for the rest of the house. This is very sad for Glover and those grosses next week are going to be brutal. 

[Bette's Turban]

Posted: 7/3/25 at 12:37pm

I’m assuming when you bought the tickets you knew that Audra was out. If you didn’t and it wasn’t communicated to you then you could ask for a refund and then just buy a rush ticket. But you seem to know these things, so you know what you’re doing.

[Jordan Catalano]

Posted: 7/3/25 at 12:41pm

Bette's Turban said: "I’m assuming when you bought the tickets you knew that Audra was out. If you didn’t and it wasn’t communicated to you then you could ask for a refund and then just buy a rush ticket. But you seem to know these things, so you know what you’re doing."

Yeah, I did. Bought them in advance because a friend was going to be in town and wanted to make sure we got certain seats. I’m glad the show is reducing prices though, productions never seem to do that anymore. 

[Kad]

Posted: 7/3/25 at 12:49pm

Yikes, these houses do look awful... but, frankly, the houses for next week when Audra returns are not any better. 

[BorisTomashevsky]

Posted: 7/3/25 at 1:00pm

Kad said: "Yikes, these houses do look awful... but, frankly, the houses for next week when Audra returns are not any better."

Wow all Montego’s performances are light but Saturday night is especially bare.

[TheatreFan4]

Posted: 7/3/25 at 1:08pm

AC126748 said: "ErmengardeStopSniveling said: "I've been wondering (baselessly!) if this is a soft-launch for Audra dropping down to 6 or 7 a week and Montego taking 1 or 2. It was always a little surprising that Audra forged ahead with 8 a week but I wonder if that's becoming unsustainable given recent absences...I couldn't imagine doing what she does 8x a week."

The production is touring next season. I assume this is essentially an audition for Montego."

Oh lord, that's gonna be a flop in the road. This is a vanity project, there's no reason for this to be going out on some equity tour.

[Call_me_jorge]

Posted: 7/3/25 at 1:26pm

The last tour was a non-equity production in 2007/2008; maybe there's appetite for a new tour in the major markets.

[singer234]

Posted: 7/3/25 at 1:54pm

Wish they had got another person with a more unique quality to their voice, even if not a name. Not a knock against Montego but...someone like Jeanette Bayardelle or Charity Angel Dawson doing this for a week would have gotten me back to that theater.

[BorisTomashevsky]

Posted: 7/3/25 at 2:03pm

Why would this tour? Nuts. There wasn’t any need for this revival. Even the queens who screamed “Mother will be mothering!!!” got quiet real fast. 

[Bette's Turban]

Posted: 7/3/25 at 2:57pm

What is the source of this alleged tour?

[THDavis]

Posted: 7/3/25 at 5:44pm

I know it’s never gonna happen, but… considering Lea will almost certainly not get her turn on Broadway, I’d love a Lea Salonga Gypsy tour. Long sits in the big metros for the first six months. Gimme a live cast recording, too. 

[RippedMan]

Posted: 7/3/25 at 5:55pm

She sang a bit in Old Friends and I’d be there. 

[THDavis]

Posted: 7/3/25 at 6:27pm

RippedMan said: "She sang a bit in Old Friends and I’d be there."

It’s what really got my wheels turning. She’s so wildly talented.