Posted: 4/5/26 at 11:07pm
I will once again point out that the librettist and lyricist of the musical wrote the novel BEACHES and was not actively involved with the movie. And she is the one who has been pushing this musical-boulder up the hill for the past few decades. So of course she is going to favor "her" version of the story, screen iconography be damned.
Posted: 4/5/26 at 11:17pm
ErmengardeStopSniveling said: "I will once again point out that the librettist and lyricist of the musical wrote the novel BEACHES and was not actively involved with the movie. And she is the one who has been pushing this musical-boulder up the hill for the past few decades.So of course she is going to favor "her" version of the story, screen iconography be damned."
No one needs a reminder that she wasn’t involved in the movie. That’s obvious, and it shows. If you’ve been pushing the same boulder up a hill for decades and still refuse to engage with the screen version that made the title iconic, that’s not a defense, that’s the problem. Broadway is a terrible place for that kind of tunnel vision, and this production is about to prove it.
Posted: 4/5/26 at 11:17pm
pmensky said: " What matters is that the production was able to license Wind Beneath My Wings, which makes it clear they were not completely restricted from the film’s musical world. No producer was going to move forward with a Beaches musical that didn’t include that song, and everyone involved would have known that.
There are also clear examples of shows that secured major pop catalogs when that was the creative direction. Moulin Rouge did it. And Juliet did it. These productions show that if a team wants the music, it is possible to pursue it.
Which is why the real limitation here wasn’t rights. It was the writers choosing to be too precious about their own score. They made the one concession they had to make in order to get the show produced, but they were not willing to build a version of Beaches that reflected the musical identity people associate with a title this iconic. That choice belongs to them, not to the rights situation."
The Wind Beneath My Wings predates the movie by several years and Bette was like... the 8th cover of it. Getting the rights to that song is going to be infinitely easier to getting the rights to the film. Not saying you're wrong about it being stubbornness and not rights, but the Wind Beneath My Wings being in it is not an indicator of it.
Posted: 4/5/26 at 11:21pm
And don’t forget a good portion of the songs in the film are not original and written for it, save for “Otto Titsling” and “Oh Industry”
Posted: 4/6/26 at 3:07am
This is very similar to the Sister Act conundrum, except Menken came up with tunes that are slightly better than this.
If Otto and Industry were hard to get, I wish at least Under the Boardwalk and especially Glory of Love could have made it.
Posted: 4/6/26 at 8:21am
I'm wondering why they don't close the Rear Mez to reduce the ticket count? Is that a possibility? Like Titanique has the Balcony closed and it seems like a prudent strategy. Is closing the Rear Mez for Beaches even a possibility?
BrodyFosse123 said: "WTF?!!! 😳
"
Posted: 4/6/26 at 9:09am
The first iteration of the musical back in 2014 didn’t even have “Wind,” so clearly its inclusion now was an acknowledgment of reality.
But, again, the lack of the movie’s music is not what I think is keeping people from buying tickets. That would be something spread via word of mouth, not generally known ahead of time.
The advertisements make no effort to clearly link the title to the film (or the novel, but I think the novel is a total nonfactor here in terms of appeal) and the key art looks cheap- it all comes together to look like the world’s vaguest tourism poster and not an adaptation of a recognizable property. I also think there was a major overestimation of the title’s appeal to ticketbuyers- it’s always been more of a cult hit and even then, it’s really Midler and the soundtrack carrying the appeal. I don’t think it’s a plug-anybody-in type of property.
Even the blurb on show’s site is a stale pitch: “With an original score by the GRAMMY-winning songwriter of “Stand By Me,” “Hound Dog,” and “Jail House Rock” is not something that is going to get many people in the door.
Updated On: 4/6/26 at 09:09 AM
Posted: 4/6/26 at 11:28am
Rumor going around is that the cast got told they might close right after opening. Apparently they are looking for money to keep the show open, the lack of advance sales has the show in panic mode.
Posted: 4/6/26 at 11:47am
I have heard this as well that it might close the day following opening (has that ever happened) or the end of the weekend (the 26), apparently they have a week to lock in a funding angel. But people in the production have been told to start looking for next contracts, they won't be open in May.
Posted: 4/6/26 at 11:51am
Theatrefanboy1 said: "I have heard this as well that it might close the day following opening (has that ever happened) or the end of the weekend (the 26), apparently they have a week to lock in a funding angel. But people in the production have been told to start looking for next contracts, they won't be open in May."
It has happened. Glory days. Maybe beaches will close at the end of the week after opening?
Glory Days closed on May 6, 2008, immediately following its opening night performance at the Circle in the Square Theatre. After receiving poor reviews and experiencing dismal ticket sales (roughly 20% capacity) during its 17 previews, producers shuttered the $2.5 million production to prevent further financial losses
Posted: 4/6/26 at 4:53pm
Sad to see so many people out of work, but perhaps this means Vosk will be in Death Becomes Her sooner rather than later.
Posted: 4/6/26 at 5:20pm
Observation said: "Sad to see so many people out of work, but perhaps this means Vosk will be in Death Becomes Her sooner rather than later."
Because she will sell tickets …
Posted: 4/6/26 at 5:26pm
WldKingdomHM said: "Observation said: "Sad to see so many people out of work, but perhaps this means Vosk will be in Death Becomes Her sooner rather than later."
Because she will sell tickets …"
DBH at this point can exist on its own two legs as an entity without the need for big budget casting for the leads, so she would be fine. The Viola track would be the one primed for stunt casting.
If they decide to extend Titanique, maybe she can take over Celine?
Posted: 4/6/26 at 5:49pm
DBH will not last unless they get simard out of there and some new life blood in stat. if you've looked at the grosses at all recently i dont think you'd be saying DBH "can exist on its own". I say bring megan and a new helen in.
Posted: 4/6/26 at 5:55pm
I didn’t hate this but it certainly needs some more work done to it despite years in development. Vosk is giving a remarkable performance with what she has available to her but the set design and score are forgetful and quite frankly not good enough.
I went into the Box Office at 7.50pm on Saturday evening, they still had rush seats available. I got third row in the orchestra for $45. If this isn’t a sign, I don’t know what is…
Posted: 4/6/26 at 5:57pm
WldKingdomHM said: "Observation said: "Sad to see so many people out of work, but perhaps this means Vosk will be in Death Becomes Her sooner rather than later."
Because she will sell tickets …"
Well tickets aren't selling now anyway. And I don't think either of the leads are the roles to stunt/celebrity cast. Viola is the role that needs to be a star.
Posted: 4/6/26 at 5:58pm
violetsandroses said: "DBH will not last unless they get simard out of there and some new life blood in stat. if you've looked at the grosses at all recently i dont think you'd be saying DBH "can exist on its own". I say bring megan and a new helen in."
DBH has become a cult favorite, but I agree it’s screaming out for new blood in the cast. That’s the problem. Everyone has seen Simard, Sieber, and Williams, and Wolfe wasn’t exactly a casting coup. Once they clear house, then the potential for resurgence is there. They just need to actually frickin’ do it before it’s too late.
Posted: 4/6/26 at 10:27pm
beaches is bombing so hard right now its making Tehran look tranquil
Posted: 4/6/26 at 11:07pm
MezzoDiva47 said: "
beaches is bombing so hard right now its making Tehran looktranquil
"
No one bows down accordingly to insufferable people, dear.
Posted: 4/6/26 at 11:19pm
Oh Industry! WHATEVER WILL BECOME OF ME?!
Posted: 4/6/26 at 11:36pm
theatrejunkie007 said: "Is closing the Rear Mez for Beaches even a possibility?"
I don’t think there’s a curtain like at the Broadway, but they should absolutely just take it off sale for the next 6 weeks and reprice accordingly.
This is where “marketing a bad show” becomes impossible. MHE did an advance lotto to get thousands of people in for cheap during previews, and it helped word of mouth spread like wildfire. For this show that ain’t gonna help.
Posted: 4/7/26 at 2:14pm
quizking101 said: "WldKingdomHM said: "Observation said: "Sad to see so many people out of work, but perhaps this means Vosk will be in Death Becomes Her sooner rather than later."
Because she will sell tickets …"
DBH at this point can exist on its own two legs as an entity without the need for big budget casting for the leads, so she would be fine. The Viola track would be the one primed for stunt casting.
If they decide to extend Titanique, maybe she can take over Celine?"
DBH's weekly costs were said to be around 900k and the show's grosses have been averaging just around that number since the end of January. I'd say they need a name opposite Vosk to bring those numbers up.
Posted: 4/7/26 at 2:26pm
Based on the lack of ticket sales for BEACHES, it’s quite apparent Vosk has zero box office draw. Her fan base is obviously very niche as they haven’t made a single dent buying tickets. I wouldn’t be surprised if the producers of DEATH BECOMES HER don’t even have her as a consideration.
Posted: 4/7/26 at 2:31pm
Yeowza. This does not look good. So upsetting looking out from the stage to a sea of empty seats in the front orchestra. 🥺
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