Broadway Grosses: Week Ending 10/6/19- Page 2

[Jarethan]

Posted: 10/7/19 at 7:03pm

bdn223 said: "JBroadway said: "bdn223 said: "David Garrison as the Wizard "



David Garrison counts as stunt-casting? He certainly isn't helping The Great Society's ticket sales.

(I'm being nit-picky, but I agree with your overall point! :) )"

Being in a role 10 years after the peak of your career and 20 years after the peak of your career probably means something for ticket sales."

Not to be disrespectful, but when did David Garrison ever sell tickets?  

[VotePeron]

Posted: 10/7/19 at 7:11pm

I said it last Spring and I’ll say it again - The Inheritance should’ve gone to St. Ann’s or the Armory. They chose to open on Broadway, lose money and play to half empty houses...for clout? Maybe a Tony?

I firmly believe there is no “wrong” show for broadway. But a 7 hour, 2-part gay themed play is admirable and important to mount commercially, but realistic business move it does not.

[ErmengardeStopSniveling]

Posted: 10/7/19 at 7:29pm

SouthernCakes said: "I’m not so sure they are? I mean, you can in a Roundabout show and not be on a production contract.
They didn’t hold any auditions, so the Broadway runs seem to be just worked into their initial contracts."

Roundabout (and LCT, MTC, 2nd Stage) are non-profits operating under a LORT agreement. This is a commercial production.

[chrishuyen]

Posted: 10/7/19 at 10:48pm

I know this was kind of discussed last week but Harry Potter's numbers are actually pretty interesting.  I like sorting by average ticket price, and just about all the shows playing over 100% capacity are also the top shows by average ticket, except Harry Potter with an average of $77 in the bottom half of the list.

I'm assuming the low gross percentage for Slave Play is due to comped seats ahead of opening?  It's doing pretty well capacity-wise.  I'm also rather surprised that Freestyle Love Supreme isn't a sold out show, though I guess paying Broadway prices for an hour and a half of improv does seem a bit steep.

[ACL2006]

Posted: 10/7/19 at 10:52pm

So per a friend who saw LIGHTNING THIEF tonight, anyone with a seat in the mezzanine or balcony was asked to move to the orchestra. And the orchestra was only ~50% full tonight. This show has flop written all over it.

[TheGingerBreadMan]

Posted: 10/7/19 at 10:54pm

SouthernCakes said: "I’m not so sure they are? I mean, you can in a Roundabout show and not be on a production contract.

They didn’t hold any auditions, so the Broadway runs seem to be just worked into their initial contracts. "

Do you mean worked into their initial tour contracts? I doubt it, since it wasn’t certain that they would be playing on Broadway when the tour started.

[FranklinDickson2018]

Posted: 10/7/19 at 11:26pm

Curious about Slave Play dropping 62K from last week.  And yet they are at 94 percent capacity, yet only approximately 42 percent of gross potential.  

I am not sure how to read these numbers?  Does it indicate a lot of free tickets? 

Maybe the true indicators will come in the weeks to come now that the reviews are in?

[perfectliar]

Posted: 10/7/19 at 11:30pm

FranklinDickson2018 said: "Curious about Slave Play dropping 62K from last week. And yet they are at 94 percent capacity, yet only approximately 42 percent of gross potential.

I am not sure how to read these numbers? Does it indicate a lot of free tickets?

Maybe the true indicators will come in the weeks to come now that the reviews are in?"

It opened this week, so yes, comps.

[SouthernCakes]

Posted: 10/7/19 at 11:32pm

ErmengardeStopSniveling said: "SouthernCakes said: "I’m not so sure they are? I mean, you can in a Roundabout show and not be on a production contract.
They didn’t hold any auditions, so the Broadway runs seem to be just worked into their initial contracts."

Roundabout (and LCT, MTC, 2nd Stage) are non-profits operating under a LORT agreement. This is a commercial production."

I’m aware. The first post said that no one could be on Broadway without a production contract. Which isn’t true.

I just find it interesting that no EPA/ECCS were held at all for the Broadway production. It’s standard practice even if the show is already fully cast. And the fact that they only had one brush up rehearsal. That’s all. There’s no way to know what any of their contracts are because the information isn’t out there, and it usually is. 

When the Hair tour came through did everyone get a bump in their pay just because they were on “Broadway” for a few weeks? Just curious. 

[AEA AGMA SM]

Posted: 10/7/19 at 11:48pm

SouthernCakes said: "I’m aware. The first post said that no one could be on Broadway without a production contract. Which isn’t true.

I just find it interesting that no EPA/ECCS were held at all for the Broadway production. It’s standard practice even if the show is already fully cast. And the fact that they only had one brush up rehearsal. That’s all. There’s no way to know what any of their contracts are because the information isn’t out there, and it usually is.

When the Hair tour came through did everyone get a bump in their pay just because they were on “Broadway” for a few weeks? Just curious."

Yes, if a SETA tour (which is what this incarnation of The Lightning Thief was touring under) plays New York their salaries get bumped up to the Production Contract minimum.

"(3) If a production plays New York City, all Actors shall receive additional compensation equal to the difference between the minimum for their Category and the Agreement and Rules Governing Employment Under the Equity/League Production Contract (“Production Contract&rdquo minimum for their position, in addition to their contractual salary. This additional compensation shall be effective as of the first paid public performance in New York City and shall end at the conclusion of the engagement in New York City. (See Rule 57, SALARIES.)"

So whether they issued new contracts for the cast or an extension of their original SETA contracts, they are still getting the Production Contract minimum. 

[Wick3]

Posted: 10/8/19 at 12:00am

VotePeron said: "I said it last Spring and I’ll say it again - The Inheritance should’ve gone to St. Ann’s or the Armory. They chose to open on Broadway, lose money and play to half empty houses...for clout? Maybe a Tony?

I firmly believe there is no “wrong” show for broadway. But a 7 hour, 2-part gay themed play is admirable and important to mount commercially, but realistic business move it does not."

For a play that's set in NYC, one would think they'd try to do it off-broadway for a limited engagement like 1-2 months this fall. I think Second Stage would have been perfect given how it bills itself as a house focusing on new American plays/musicals. Then in the spring, open on Broadway.

[ErmengardeStopSniveling]

Posted: 10/8/19 at 12:17am

It would be a big old waste of money if they had done The Inheritance off-Bway after London and before Bway. Unless Lopez had been planning to do substantial rewrites and needed time/venue to do so. It has the strongest reviews out of London since The Ferryman. The two-part nature of the play is probably what's scaring people off.

[SouthernCakes]

Posted: 10/8/19 at 12:21am

Good to know!! Hmm. Then yeah those grosses are terrible.

Well, it’s not like The Ferryman became some monster hit or anything.

[Miles2Go2]

Posted: 10/8/19 at 12:30am

I can say that The Inheritance was high up on my list for my 8-night trip that ended on Saturday (Oct. 5), but when I discovered only Pt. 1 was playing, i took it off my list (or at least hopefully postponed it until early next year). Will be interesting to see if things improve one both parts are playing and the reviews come out. As has been noted, even the Angels in America revival struggled to sell tickets especially prior to its Tony wins, despite having two marquee stars.

Updated On: 10/8/19 at 12:30 AM

[SouthernCakes]

Posted: 10/8/19 at 12:32am

As is the case with you, I think the scheduling of seeing 2 parts (and the hopes that you like it and want to see both parts) prob turns a lot of people off.

[Wick3]

Posted: 10/8/19 at 8:10am

ErmengardeStopSniveling said: "It would be a big old waste of money if they had doneThe Inheritance off-Bway after London and before Bway. Unless Lopez had been planning to do substantial rewrites and needed time/venue to do so. It has the strongest reviews out of London since The Ferryman. The two-part nature of the play is probably what's scaring people off."

Not sure how it would be a waste. If anything it would build buzz/word of mouth and demand. Filling up a theater of less than 400 people is a lot easier than filling up a theater of 1000 people each night. To be fair though I did enjoy the play in London but didn't think it was perfect. A rewrite and perhaps even changing one of the lead characters to be of Puerto Rican descent would have made it more interesting.

At this rate I’m not sure if The Inheritance will still be open by awards season. At least by doing off broadway for 1-2 months in the fall and then Broadway in the spring it would still be open by June.

Updated On: 10/8/19 at 08:10 AM

[VotePeron]

Posted: 10/8/19 at 8:57am

ErmengardeStopSniveling said: "It would be a big old waste of money if they had doneThe Inheritance off-Bway after London and before Bway. Unless Lopez had been planning to do substantial rewrites and needed time/venue to do so. It has the strongest reviews out of London since The Ferryman. The two-part nature of the play is probably what's scaring people off."

I disagree. NYC is not London. People, Places & Things, The Jungle, Yerma, Hairy Ape, have been recent sell out hits off broadway. They could’ve sold so many more tickets at a higher price point with a limited run, causing great word of mouth and driving an extension at a higher ticket price. 
 

Again, the move to Broadway literally just seems for clout. 

[inmyownlittlecorner]

Posted: 10/8/19 at 9:03am

God(s), The Lightning Thief is on life support right now. This whole transfer never made sense to me. A limited run over the summer made much more sense to me that a holiday run. Middle schoolers and their families along with adults who grew up reading the book who were visiting for the summer could stop and see the show, it would have done much better there than it is right now. I’m expecting a number bump over Thanksgiving (if it makes it that long) but not by much.

It was so out of the bloom even fans weren’t expecting it. There was no time to advertise it and with it opening as school starts, its young fans were basically alienated. It kills me cause it’s a really good show but that team has basically prohibited any chance of it ever having another life

[Mike Barrett]

Posted: 10/8/19 at 9:05am

As someone who lives outside the city dying to see The Inheritance, it is naturally difficult because of the 2 part play. Id either have to haul my ass to to check into my hotel, see the matinee and then see the show that evening, it'd be a lot. I certainly might be willing to do it, but still its a lot in 1 day for a lot of money. If I don't do that, well then 2 nights in NYC is required and thats expensive. Its really hard to find the time to see this, when there are also other strong options for plays at the moment. I hope it succeeds and I hope I can go, but I fear for its success. 

[jkstheatrescene]

Posted: 10/8/19 at 9:21am

Another factor that may be affecting The Inheritance (I know it has impacted my buying a ticket) is that while you have 5 chances a week to see Part 1, there are only 3 chances a week to see Part 2. Carving out two 3.5 hour slots is challenging enough.

 

[Call_me_jorge]

Posted: 10/8/19 at 11:05am

It’s not totally accurate that every commercial show playing a broadway house is on a production contract. Wasn’t it noted that those concert shows a few seasons back, Rocktopia and Home for the Holidays weren’t on production contracts?

[RippedMan]

Posted: 10/8/19 at 11:13am

They def weren't and I'm not sure even those singers were in the Union, it was a big deal in the acting world because people were touting their Broadway debuts when in fact they weren't technically.

[Miles2Go2]

Posted: 10/8/19 at 2:17pm

I don’t recall how evenly they divided the weekly performances of Parts 1 & 2 of Angels in America, but I seem to recall it was pretty even. I loved that I could watch Part 1 for my matinee and Part 2 for my evening performance, both on the same Wednesday. I know that’s not for everyone, but it was nirvana to me. One of the most thrilling experiences I’ve ever had in a theatre.

No matter what they do, it’s going to be a hard sell for many. It’s not a two-parter based on a well-established and beloved franchise about a boy wizard that appeals to multi-generations of families. Instead, we’ve got a multi-generational two-parter about the life of gay men that mainly is attractive to gay men, their allies, and those who appreciate “serious” theater. Your typical family of four from Nebraska will not be attending. I have no desire to see the former, but I will be very disappointed if I can’t see the latter.

[Kad]

Posted: 10/8/19 at 2:27pm

Call_me_jorge said: "It’s not totally accurate that every commercial show playing a broadway house is on a production contract. Wasn’t it noted that those concert shows a few seasons back, Rocktopia and Home for the Holidays weren’t on production contracts?"

Rocktopia was on modified agreements; Home for the Holidays operated on the Production contract, but not everyone in it was on the contract- only featured performers in certain roles. 

[Age_of_Mendacity]

Posted: 10/8/19 at 5:20pm

VotePeron said: I disagree. NYC is not London. People, Places & Things, The Jungle, Yerma, Hairy Ape, have been recent sell out hits off broadway. They could’ve sold so many more tickets at a higher price point with a limited run, causing great word of mouth and driving an extension at a higher ticket price.

Again, the move to Broadway literally just seems for clout."

None of those shows' production designs lend themselves to a Broadway house, which is why they all played in essentially warehouse spaces. I don't think any of the relevant ones had a plan to go from London to off-Broadway to Broadway either. I agree with ErmengardeStopSniveling that it would have been a waste to open off-Broadway if the goal was a Broadway run, as much of the off-Broadway audience is seen by locals, so they'd lose a large chunk of potential Broadway audience not interested in seeing 7 hours of play twice without major changes. Also, not much success in past non-musical productions that transferred from off-Broadway to Broadway recently.