I will say it’s a huge misnomer to call the floor seats SRO. They are by far the best way to fully experience the show are you are able to stand and move around for 90 minutes. If I recall, floor tickets were around $100 in 2013 for the open ended production at the Public and that stayed open for months, so I don’t think the prices they are asking are that crazy.
Also, the ratio of sitting to standing tickets is much higher for this production than the Public one. There were very few seated seats at the Public and almost all of them were reserved for people with mobility issues. That’s to say that this production definitely recognizes it needed to have more seats for less adventurous audience members.
This is also likely why it went into a bigger house like the Broadway, so it could have more actual seats. On the other hand it probably needed a decently big house to make the economy of scale work. Based on what people have said here it looks like they have essentially slashed the Broadway’s capacity in half, taking it from one of the largest capacity houses on Broadway to one of the smallest. Remember, at the Public, it was performed in a highly modifiable black box theater where they could use almost the entire space. Even at its biggest configuration, the Circle in the Square theater probably has less usable space than the Public did.
All this is to say that, while certainly ambitious, I don’t think that this production is DOA. People are willing to pay a premium for an immersive experience, and this will appeal to a broader audience than a traditional Broadway show (especially at the relatively short time investment of 90 minutes). I mean American Utopia managed to do pretty well at the Hudson (which I think might have more capacity than the Broadway in the HLL configuration), despite the Hudson’s always high ticket costs and the fact that its main audience was hardcore David Byrne fans. I loved AU, but HLL is a much more immersive and fun experience that has a broader appeal if people give it a chance. Also, HLL is more fun music than most of AU. The one caveat is that while it’s definitely not pro-Marcos family and it does acknowledge her complicity in the regime, the overall experience does humanize Imelda Marcos to an extent I’m not sure she deserves.
Finally, while I agree with those who think the floor capacity is ambitious, it also provides an opportunity for them to get creative with making the show more accessible to audiences that don’t always come to Broadway. The show works best when the floor is full so it would be worth it to so targeted discounting, maybe giving a block of tickets to various community groups each night or something like the “Black Out” nights at Slave Play. In other words, making the effort to get the discounted tickets in the hands of people who aren’t just holding out for a last minute discount they know they will get. They probably won’t, but it would be a missed opportunity if they didn’t.
Anyways Tl;Dr: I think HLL has potential to succeed despite many reasons to think otherwise. It’s certainly not a traditional Broadway show, but it’s also more than just the gimmick that most “immersive experiences” are.
So, this won't have, like, a SRO. You know that place in the back where people stand for like 40 bucks? Yeah, that's just not a thing here. I am guessing the lotto seats will be in the rear mezzanine? I'm happy to stand but Im thinking older folx will want to sit, like at a traditional theater.
The auditorium will be unrecognizable when this is finished.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
So curious what they do for above the stage or if they keep it more "open" and less contained? This will be next level, but very curious what the view from the rear mezz will feel like.
OOOOH! Might have to catch this now! Loved her in Between The Lines!
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Not a fan and disappointed to hear of this casting as Arielle had pitch problems when we saw her in Aladdin. Her voice and acting, just ok nothing special. Wish they would have cast a far superior singer-actor such as Eva Noblezada,Natalie Mendoza or Rachelle Ann Go.
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
Joining Jacobs, Llana, Ricamora, and Salonga in the Broadway company will be Melody Butiu, Moses Villarama, Jasmine Forsberg, Reanne Acasio, Jaygee Macapugay, Julia Abueva, Renée Albulario, Aaron Alcaraz, Carol Angeli, Nathan Angelo, Kristina Doucette, Roy Flores, Timothy Matthew Flores, Sarah Kay, Jeigh Madjus, Aaron "AJ" Mercado, Geena Quintos, Shea Renne, and Angelo Soriano.
Voter said: "Did anyone catch this at the Public? Just want to know the content warning of the show. Are there any gun shot or unexpected loud noises?
Thank you!"
I saw this three times off-Broadway and nothing really jumps out at me. The whole theme revolves around telling Imelda’s story in a nightclub setting, so as long as loud music or flashing lights doesn’t affect you, you’ll be fine.
For those wondering about the 5/20 box office opening in-person ticket sale, the first day available for the $90 floor/$45 mezzanine seats was June 23. Fans must have bought up tickets for the first week of performances. And the $45 mezzanine seats were rear mezzanine. The giveaway peach pies and drinks were delicious!
Some of the producing and marketing were on hand to answer questions in order to expedite the line.
As it was conveyed to us, the FLOOR is the full immersive experience. The Front mezzanine/Ringside is the equivalent of the orchestra, and the rear mezzanine is like another theatre’s regular mezzanine.
I got on line at 9:50am and had my tickets by 11:15. The line was moving slow mostly because security was limiting people to groups of 12 at a time
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The line was also moving slowly because the ticket agents were asking for your email address, and you can imagine how that goes. Thankfully, there were three windows open.
Got the the $90 floor seats for Lea's first performance! I'm SOOO excited!!!!
Does anyone know if they strictly held on to the "$90 for 90 minutes" thing? I was not so far back in the line when the box office opened and it still took 45 minutes to get my tickets. There had to have been people in line who had been there since before 10, much less 11:30, but wouldn't have been at the front before 11:30.
What do you mean by “$90 floor seats” ? Are they placing seats on the floor? I thought the floor was the standing section that is priced around $179-$199.
Wick3 said: "What do you mean by “$90 floor seats” ? Are they placing seats on the floor? I thought the floor was the standing section that is priced around $179-$199."
They did a special promo yesterday to celebrate the box office opening, offering some floor (standing) "seats" for $90. That's what all the descriptions of the line above are about.
"In celebration of the show's 90-minute revolutionary musical experience, a limited number of $90 floor (standing) tickets will be available for purchase in-person only for the first 90 minutes of the day, from 10:00-11:30am. Mezzanine seats will also be available for $45 all day on May 20. These offers will apply to select preview performances and are limited to 2 tickets per customer."