Broadway Flops you love that everybody else hates — Page 2

Give me The Addams Family any time, that original New York production for me was a joy and a half. I even love the revised production but hate that they cut “ Where did we go wrong “

Chaz Hands said: "Promises, Promises and Tuck Everlasting for me.

The most recent revival of Promises was miscast, and they should’ve leaned more into the seriousness of the storyline versus playing most of it for laughs.."

Promises was such a massive critical and commercial hit when it premiered, that I have a hard time placing it here even if it's rarely revived, but I do think it's a better show than its given credit for. The revival made so many mistakes, casting, the interpolations which make no sense, and Ashford's desire to lean into the 1960s in a superficial/camp way (and not even the late 60s when the musical was set, but a Mad Men inspired early 60s) just ugh

I'd like to add my two cents to those folks who also love The Wedding Singer and American Psycho.

I’m obsessed with musical theatre pastiche scores. There’s just something weirdly magical about a show that commits—really commits—to sounding like it belongs to a specific time or genre. Not in a parody way. More like it got dropped out of a time machine with a fully formed record collection and the confidence to match.

Take The Wedding Singer. That score doesn’t just nod at the '80s—it throws on a powder-blue tuxedo and crashes the wedding. Every song feels like it’s pulling from a real moment on the radio. “It’s Your Wedding Day” has that bright, synth-poppy energy that could’ve easily opened for Huey Lewis and the News. “Let Me Come Home” is basically Journey, if Journey had been slightly drunk and very emotional. And “Somebody Kill Me”? That thing is soaked in post-breakup rage—like Adam Sandler channeling Billy Idol through a karaoke mic at 2 a.m. The show just leans all the way into the big hair, the bigger drums, the ridiculous earnestness. It doesn’t wink—it feels.

Now swing over to American Psycho and it’s a completely different beast. Still the '80s, technically. But this time we’re not in mall pop territory—we’re deep in the world of slick, expensive suits, glassy eyes, and synth lines that feel like they’re judging you. Duncan Sheik didn’t go for nostalgia here; he went for aesthetic precision. There’s Depeche Mode in the bones of this score. There’s New Order’s chilly cool, and something a little more obscure and weird too—like the darker corners of late-'80s club music. “You Are What You Wear” plays like the Pet Shop Boys got lost in a fashion house murder fantasy. “Selling Out” feels like a Wall Street anthem wrapped in neon lights and existential dread.

It’s fascinating, really. Both shows use pastiche to anchor themselves in the same decade, but the way they sound couldn’t be more different. The Wedding Singer is all heart, hairspray, and open arms. American Psycho is detached, deliberate, and dangerous.

"I also like the score for Bandstand, but I thought Laura Osnes really didn't work for that show (and it has nothing to do with her anti-vax nonsense). She has a nice singing voice, and it's effective in moments, but her acting was really really bland, especially in the book scenes."

OK, will just disagree. I will note she received "Drama Desk Award" nomination (Outstanding Actress) for her performance in "Bandstand".

Melissa25 said: "I just loved Lempicka. That score!"

THIS! (And I won’t forgive them for cutting “Stillness,” either.)

I'm gonna throw Ghost into the conversation. Is it basically a moment for moment adaptation of the movie? Yeah, sure. But what a score! I also feel like back then that show got torn apart for the use of screens being one of the early shows to make heavy use of them in the set and now it's kinda common practice.

I think Seussical and The Wedding Singer are two of the best scores of the 21st Century.

I don't love the score to Groundhog Day but man did I have a great experience at that show.

I always like to throw Steel Pier into the mix here too, which is flawed for sure, but an underappreciated Kander & Ebb score.

Not sure if "everyone else hates" it, but I think GROUNDHOG DAY is just fantastic-- love the score and loved the Broadway production (saw it several times and each time it brought me to tears).

I also liked THE PROM and TUCK EVERLASTING, two shows also mentioned on this thread.

The only show being mentioned frequently below that I really did despise was AMERICAN PSYCHO.

fray3 said: "Whistle down the wind"

I get the most pushback from people when I tell them how much I loved Whistle Down the Wind in the Gale Edwards production in London--which I actually saw just because I knew about its troubles in the Hal Prince version that never got to Broadway and wanted to see a flop (it had just opened in London when I moved there.) So my expectations were low, but I really loved the production (well... the Southern accents aside.) But this is also where it's hard to call something a flop--technically it never made it to Broadway, the Gale Edwards production was VERY different from the Hal Prince version anyway (which I've only seen on video but was more of a book musical and didn't have the racial element, surprisingly, among other differences.)

It's not helped that the then more family friendly revised, low production values Bill Kenwright UK tour was the version that then toured the US. But the Edwards version by West End standards of the time was a minor hit running a bit over 2 and a 1/2 years and turning a profit.

Zeppie2022 said: ""I also like the score for Bandstand, but I thought Laura Osnes really didn't work for that show (and it has nothing to do with her anti-vax nonsense). She has a nice singing voice, and it's effective in moments, but her acting was really really bland, especially in the book scenes."

OK, will just disagree. I will note she received "Drama Desk Award" nomination (Outstanding Actress) for her performance in "Bandstand"."

And? OP is still welcome to their opinion.

I think more people love Bridges than hate it. I am always on the lookout for any production of this show since it is my most favorite score. Nothing seems to be on the immediate horizon in the Northeast but a pal is traveling to see at the Tampa Rep in late April. I saw it twice on Broadway and both iterations that Hunter Foster directed at Axelrod and Bucks County, all superb. Just love this show.