Broadway Grosses: Week Ending 4/13/25 — Page 3

ErmengardeStopSniveling said: "SteveSanders said: "I wonder if this is a case of the production/property trumping the performer. Seems possible that almost any good name in Gypsy would draw better than Idina in Redwood given the familiarity of the former and the topic matter of the latter."

GYPSY is not a money property. It has an insular fanbase.

There are virtually no musical revivals that would make $1 million a week for 5 months on the strength of the title alone.

Audra and the reviews are generating sales."

You seem to regularly assert your opinion as fact, but don't allow others any benefit of the doubt even when we preface our comments with a speculative qualifier like "I wonder." I won't bother to engage with any of your comments again in the future.

I think there's a number of factors working against Redwood, first and foremost being it's an unknown title with bad word of mouth and poor reviews. Menzel is also not exactly at another height of her fame, which she was during If/Then- she hasn't really been able to keep up the post-"Let It Go" momentum.

And, frankly, the production photo of her dangling from the tree is just kind of silly and has become somewhat of a meme, and not in a particularity positive way.

ErmengardeStopSniveling said: "What a blessing for the second to last Thursday of April NOT to have a broadway opening night. Unlike prior years when there was such an end of season glut. Good work by the theatre owners convincing producers to open shows earlier this season."

Do we actually know theatre owners have convinced producers to open shows earlier in the season? This is new to me. I think a lot more had to do with availability of theatres this season. All 41 theatres are now occupied.

Some of it is luck & timing (Clooney and Denzel are going to open whenever the hell they want to), and some of it is practicality (a bunch of shows opening the last week of April tend to cannibalize each other, and it’s a nightmare to find rehearsal space and puts a strain on a whole lot of other areas of the industry) but I had heard the theatre owners - Shubert in particular - were making a concerted effort to get spring shows open earlier, which meant limping shows (like Notebook and Water for Elephants for example) were instructed to close prior to Christmas.

quizking101 said: "Aside from REDWOOD being a terribly boring and bleak show, I’m also in the camp that Idina does not NEARLY have the level of Broadway clout that she had a decade ago.

Part of her issue is that she has spent such extensive gaps away from the stage and so the intervening years allows for new, fresh, and more exciting talents to pop up along the way like Adrienne Warren and Eva Noblezada to name a few - specifically Eva who STAYS WORKING

She just doesn’t feel like an “event” anymore."


And I’m extremely interested if the same will be true for Chenoweth and this show she’s bringing in.

Just because most of the spring shows opened earlier this time around doesn’t really mean that the inevitable late-summer show culling will be any worse than seasons past.

All the crammed spring openings last season made me a little overwhelmed just thinking about them.

EDSOSLO858 said: "Just because most of the spring shows opened earlier this time around doesn’t really mean that the inevitable late-summershow culling will be any worsethan seasons past.

All the crammed spring openings last season made me a little overwhelmed just thinking about them."

True. I recall last year during the last week of April there was an opening every single day (sometimes 2 openings in 1 day!)

EDSOSLO858 said: "Just because most of the spring shows opened earlier this time around doesn’t really mean that the inevitable late-summershow culling will be any worsethan seasons past.

All the crammed spring openings last season made me a little overwhelmed just thinking about them."

No but it at least allows for more breathing room for shows opening now.

Last spring was the worst I ever remember it.

quizking101 said: "Aside from REDWOOD being a terribly boring and bleak show, I’m also in the camp that Idina does not NEARLY have the level of Broadway clout that she had a decade ago.

Part of her issue is that she has spent such extensive gaps away from the stage and so the intervening years allows for new, fresh, and more exciting talents to pop up along the way like Adrienne Warren and Eva Noblezada to name a few - specifically Eva who STAYS WORKING

She just doesn’t feel like an “event” anymore."

Perhaps, but the only reason a bad, boring show like Redwood is selling any tickets at all is because of Idina. If it somehow made it to Broadway without her involvement, it would probably be closed already if she wasn't in it. She picks unique (not the same as good) things to do. If she did some big, classic revival, it would probably sell like gangbusters.

I always thought Idina’s choice of basically only doing new musicals feels like a glamorous throwback to the good old days of people like Ethel Merman and Mary Martin. Doesn’t seem like it always pays off both literally and metaphorically but she clearly does enjoy taking risks and trying to bring something new. Sutton Foster has basically turned into Bernadette doing only revivals now, for example.

Mr. Wormwood said: "quizking101 said: "Aside from REDWOOD being a terribly boring and bleak show, I’m also in the camp that Idina does not NEARLY have the level of Broadway clout that she had a decade ago.

Part of her issue is that she has spent such extensive gaps away from the stage and so the intervening years allows for new, fresh, and more exciting talents to pop up along the way like Adrienne Warren and Eva Noblezada to name a few - specifically Eva who STAYS WORKING

She just doesn’t feel like an “event” anymore."

Perhaps, but the only reason a bad, boring show like Redwood is selling any tickets at all is because of Idina. If it somehow made it to Broadway without her involvement, it would probably be closed already if she wasn't in it.She picks unique (not the same as good) things to do. If she did some big, classic revival, it would probably sell like gangbusters."

Her voice is so unique and modern, I’m not sure what she would do? I’d love to see her do Quennie in Wild Party but not sure what other shows she’d be good in.