Broadway Replacement Flop Era?

I would think so. I would have thought a casting of Bernadette and norm or lea Salonga and Hugh panaro would serve far better.  
I believe that so many productions recognize the need for name recognition to sell a show. But I don’t know what it is in the casting department that has served up so many meh results

ErmengardeStopSniveling said: "Replacement casting on a whole certainly isn't in its "flop era." Is the OP just trying to get a rise out of people?

Certainly not intentionally. But I just can't for the life of me recall when so many shows have had replacements that have earned such vocal disdain from the theatregoing public.

I'm moreso just looking at the collective since, normally I see one show having a bad casting spell (usually CHICAGO) at a time, but never three different shows.

Theatregoing public and twitter and not the same thing. Broadway stans / "MT" people are not representative of the level of engagement general audiences have with theater. People are just hoping for a good night out, maybe see some stars perform up close.

Moroever, this "outcry" is based on pre-conceived notions that people think have been vindicated because they heard 30 secs of something devoid of any visuals on the very first night. There has not been a single performer I can name who did not grow into their roles as their run goes on. 

I think this must be one of the most unfair and quickest write offs I’ve ever seen based on tenuous evidence (Sutton and Aaron). It’s very clear listening to wider evidence that they literally exposed Sutton’s worst momentary flaws in a short clip and she sounds much better/as you’d more normally expect in other points.
 

Aaron fared better in his leaked clip but the fact he went the octave up in epiphany (as others have in the past too!) is feeding into the confirmation bias that his voice is too high for the role yet we don’t hear his gorgeous vocals in No Place Like London or My Friends or Pretty Woman for example. And he really sounds like he is acting and getting lost in the role in a way I don’t know if we have seen him before (see: the full Epiphany). 
 

Bootlegs are important historical records but this was downright irresponsible. 

Updated On: 2/10/24 at 07:41 PM

'' I just can't for the life of me recall when so many shows have had replacements that have earned such vocal disdain from the theatregoing public.''

''So many shows?'' Because Tveit and Foster just did their first ''Sweeney'' preview the previous night? And Boy George just started a few days ago? (For the record, a friend of mine went his 1st performance, and loved it so much that she's already planning to return for him ... and Derek Klena.)

Since when do a handful of online posters, many of whom haven't even seen the actual shows, and are only prejudging entire performances based on a few moments of audio/video, considered ''the theatergoing public''? Is it too much to give the replacements a little time to step into their new roles, instead of instantly trashing them? Geez!

Updated On: 2/10/24 at 11:18 PM

The sky is falling! The sky is falling! 

When there are Broadway replacements, do they have an invited dress rehearsal the day before (similar to those before first preview)?

I do agree that either replacements should get more rehearsal time or tickets should be lower priced, but let’s face it- both cost money that producers are loathe to lose.

Original casts these days often have a ton of time to develop their performances- not just through longer rehearsal times, but also through previous production incarnations or just readings and workshops and labs spanning the course of months (even for many modern revivals, Sweeney included). Replacements get thrown to the wolves with a few put-in rehearsals. 
 

It’s almost a vestige from decades ago when performers on Broadway often came up through demanding touring companies or summer stock and repertory theaters, where they’d be rehearsing one show for two weeks while performing another and then put it up. But that’s not really the case anymore and it’s certainly not the case for the majority of replacement performers. 

Updated On: 2/11/24 at 10:12 AM

I still can’t believe the hate and disrespect Sutton and Aaron are getting across social media. She’s a Broadway triple threat with TWO Tony wins; She’s not a nobody they pulled off the street. They are some of the highest profile replacements Broadway has seen in some time and I hope to get to see them in these roles. 

Tina Fey made some points