"Bullets Over Broadway" Previews — Page 13

For investors to benefit in a touring production to any significant extent, they have to make an additional investment in the tour. It's true that the tour will make some payments back to the mother company, but in the overall scheme, they amount to very little. The benefit to investors is that generally they have the right to invest in a tour.

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You're welcome, neonlightsxo.

RaisedOnMusicals, I was under the impression that an investor who funds an initial production would be able to get receipts on any further licensing that came from that show. So say this skipped the tour junket and went straight to regional/community/high school licensing, wouldn't an investor be able to see some of those funds? Would the individuals who invested solely in the tour see a return on any additional licenses or are they strictly tied to the tour? Any knowledge you could share would be appreciated!

Will the Irving Berlin joke make it to opening night or will it be gone after the critics rip it?

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I meant will audience reaction prior to opening make them remove it. If not,would the critics mentioning it make them think twice about it. Got it now.

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The joke is still in and got quite a laugh at the performance I attended.

And yes, there are quite a few gunshots, from the first seconds of the show!

I think this is a terrific show, consistently funny all the way through. I really didn't expect to love Bullets so much, but it was firing on all cylinders, IMHO. The performances were great, the choreography was fun, the sets were incredible in their beauty and complexity. The pacing worked so well, the time flew by. Zack Braff more than held his own. I really liked the score, too. It was so well integrated into the story, I lost sight of the fact that it's made up of period music and not original to the show.

I rushed today and my friend and I sat in the first row. I actually think this was an awesome experience that added to my enjoyment of the show. We were so close, we could reach out and touch some of the actors. The scene in the very beginning where the chorus girls go over to the right side of the stage and wiggle their behinds took place right over my head. It was hysterical! I'm usually high up in the mezzanine or balcony, so this was a real treat. (You are looking up, though. The seats are marked partial view.) My friend didn't have to wear her glasses! I highly recommend Bullets!

Updated On: 4/6/14 at 12:10 AM

If there is one thing I've learned from my couple of months on BWW, it's that they are completely incapable of predicting critics' opinions. That's not bad, it's just that they have their own opinions, which are very different from the critics'.

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Mjohnson -- who is "they". The posters here seldom have the same opinion. Nearly every show that comes out has fans, detractors and those everywhere in the middle. There is never a consensus. Some people will be right about the critics, some will be wrong and everything in between.

Unless, of course, you are talking about those that shout the loudest.

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I hear Berlin's Ghost writer will be there on opening night - in spirit

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Speaking of rushing, has anybody that has rushed during previews asked about a rush policy after opening night? Technically, the current rush policy is only for previews, so I'm wondering if they'll continue after opening night. I assume they will, considering the reports that there are lots of empty seats.

People are making much too big a deal of the Irving Berlin joke. It's hilarious.

In Drowsy, there was the line in the "Cold Feets" number about "an old colored man taught me this" plus the entire "What Is It About the Asians" number, and there was Big Edie's minstrel number in Grey Gardens. They are funny because of their period glib delivery in the light of their current inappropriateness. This kind of humor is not foreign to Broadway.

Random but has anyone noticed that when the Donkey sings "Don't Let Me Go" in Shrek there seems to be an obvious BULLETS reference? Maybe it's obvious but I hadn't seen this mentioned on the forum before:

http://i57.tinypic.com/5b4isz.png

"Don't speak, don't speak, don't speak"

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Actually, it's not Brantley, per se, but the power of the Times. When a really good critic, like Brooks Atkinson, has the job, all is well and good. Bu when a jerk like Clive Barnes (read The Season by William Golden)holds the job, it's doomsday for many shows. It's the power of the paper, not the individual, that makes the difference. Sadly.

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Remember a story re the curtain being held for Barnes ( who was lecturing in Pittsburgh) for The Happy Time. Word was other critics were pissed off intimating the curtain would not have been held for them. As a result, they took their anger out on the show instead.

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