How is this a recurring theme? Why can't producers inform the cast and crew first?
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Emmeline Carter said: "Did anyone manage to get orchestra tickets for January 8th (7:30 PM)? I jumped on the minute this was announced and all the front rows of the orchestra were gone. Is it possible they will release these later?? Thanks!"
I suspect that the producers may have blocked off these seats for friends/family of the show.
JBroadway said: "Flopping? Most likely, yes. Flopping twice? No. Anyone who thinks that is blatantly misremembering the sequence of events."
EDIT: re-assessing this post of mine, in the event that the two runs were capitalized and funded separately. If that’s the case, then yes technically it flopped twice. But I was under the impression that this was treated as “re-opening in a new theatre” financially speaking: not unlike any other show that moves theatres during its run, except with a big gap in between due to COVID. If that’s the case, then it wouldn’t be accurate to say it lost all its money twice.
But the underlying point I was making stands, which is to say: using “it flopped twice” as a jab at the show is pretty silly. Because its first “flop” (if indeed that’s what it was, financially speaking) wasn’t correlated with the grosses it was bringing in at the time.
Fun show, really enjoyed it. Worst part was waiting in line with those die hard fans that literally thought that saying his names three times would bring demons into their life (for real). WILD.
My friend is a member of the show's crew, and indeed they found out by way of the press and not by way of anyone involved with the show. The cast, however, was informed. But not the crew.
I recognize it's a lot of moving parts to confirm closing, plan a press release, and communicate to many people at once in advance without it leaking, but...somehow shows have been able to consistently do this for decades. Producers - and people who like to leak info - need to be a hair more caring about the people actually affected by this mishandling.
In addition, I definitely believe that the age group that loves this show is not old enough to travel over state lines. Instead, they resorted to one of the hundreds of bootlegs that have been recorded and disseminated so they could see a show they'd never be able to see otherwise.
Lot666 said: "What a depressing time for Broadway. I feel like it's dying."
Shows close every year. Tootsie had to close so that the Marquis was available. Would you rather have had Tootsie reopened?
It is like when trees lose their leaves in the Autumn, and those fallen leaves fertilize the ground, & the tree grows stronger.
On two trips to NYC I had the opportunity to see this show & passed, but perhaps some young person saw it & was inspired by the potential of the theatre. Maybe they will compose or create something exciting in years to come.
Kad said: "quizking101 said: "Hey, they at least got a chance to stick it to The Music Man"
By flopping twice while the Music Man basically printed money?"
Did the Music Man print money?? It makes a lot a week but they haven't even recouped yet and probably won't until very close to closing. It was great for Broadway overall but hardly a huge financial hit. People don't realize how much Hugh takes home each week.
^curious to know why you say Music Man hasn’t recouped yet? Do you have inside info? I’m genuinely curious.
If you’re just going based off the lack of announcement, I don’t think that really applies. Seems like shows have stopped announcing recoupment since the pandemic.
Looking at the numbers, it seems likely that they’ve recouped by now, even with their high capitalization and high running costs. But I don’t actually know what their running’s costs are, nor do I have inside info as to whether they’ve recouped. If anyone does know, I’d be curious to find out.
Bette's Hello Dolly barely made its money back so to whomever said it made back triple the investment...nah it didn't. It'll squeak by, but is still considered a "hit."
I thought Beetlejuice was a lot of fun, but with the current economy, would I splurge on a show that was "fun?" Probably not.
JBroadway said: "^curious to know why you say Music Man hasn’t recouped yet? Do you have inside info? I’m genuinely curious.
If you’re just going based off the lack of announcement, I don’t think that really applies. Seems like shows have stopped announcing recoupment since the pandemic.
Looking at the numbers, it seems likely that they’ve recouped by now, even with their high capitalization and high running costs. But I don’t actually know what their running’s costs are, nor do I have inside info as to whether they’ve recouped. If anyone does know, I’d be curious to find out."
Yea just going off what the producers of Music Man have said themselves. And them simply saying it will recoup does not mean it actually will. I'm sure they have hope but it's not a sure thing, especially in the time of Covid. Also it won't tour because no one wants to see it so they won't make money there either. I have nothing against MM, it's just not this huge hit people want to make it out to be.
I mean it's for sure a hit. But it's a huge cast/show, so it's probably making a little bit of money but I can't imagine they're going to triple their investment.
I guess my question is then "what constitutes a hit?" because MM has not recouped yet and we aren't sure it's going to. So if a show makes 3 million a week but cost 2.5 million to run and doesn't recoup, is it still a hit?
I think everyone in this thread who's calling Music Man a "hit" are doing so under the assumption that it will recoup - which it seemingly, most likely will do. The question being raised seems to be more about whether it's actually lucrative for its investors, or whether it will be a modest return.
In any case, is $2.5MM/week a realistic figure? I've never heard of a show costing even close to that amount, but I don't have a ton of data points. Seems like that's a ludicrously high number. I would've thought it was closer to $1.1MM, or $1.5MM at the most.