A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
^ this is the main reason why I cancelled my subscription long ago. They tie up their Broadway houses with long commercial runs, and (unlike, say, Lincoln Center) almost never take the step of renting other theatres on Broadway to fill out their seasons.
Well, that and a lot of their productions are just flat-out terrible.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
They're faced with the fact that the entire subscription model their company is based on is no longer viable. Things like Cabaret are easier, safer money. But they can't be both a theatre owner like Jujamacyn AND a nonprofit seasonal theatre company like Lincoln Center.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Agree with Kad. From a business perspective if you have a hit and butts in the seats with a line of more butts wanting seats then why pray that subscribers will subscribe?
But, as Kad said in his post, they can't really be both a landlord (and tie up their theatres for years) and administrate a successful subscription company. If it's all about the money, then it's all about the money--but that means it's also time to change their model.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Roundabout seems to do a lot better with musicals than it does with plays as of late. They theoretically could keep the american airlines theater non-profit and just use the other 2 musical friendly houses for flat out commercial runs.
"Grease," the fourth revival of the season, is the worst show in the history of theater and represents an unparalleled assault on Western civilization and its values. - Michael Reidel
Its clear Cabaret was only brought back to fill the coffers since the shows at the American Airlines aren't pulling in audiences, I imagine they're making some money from renting out the Sondheim to Beautiful but financially I think they should let someone like Jujamcym or the Shuberts take it over and just have The American Airlines and Studio 54 on Broadway and the Laura Pels and Black Box off Broadway,
Does anyone know if Michelle Williams is staying with it through the year, or will she be out after the 6 month mark? I missed her a couple weeks ago when I was in the city and would love to go back to the show to see her.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
Musicals are absolutely the thing that keeps Roundabout going, since they did She Loves Me in the early 90s. The bulk of their awards prestige comes from musicals. The bulk of their draw are musicals. Even a well-received season (and this has been their best-reviewed season in years) needs a tentpole musical production now. People don't have much interest in whatever script they blow the dust off of, regardless of how well it's received. They can't keep producing seasons they can't break even on.
The company needs drastic restructuring and re-assessment- and new leadership. They can't be saved with cash cow Cabaret. It's just plugging a hole.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
A new artistic director is a must, Todd Haimes's been there too long and I think new blood would be beneficial in the long run. Even the upcoming plays like The Real Thing and Noises Off seems like a safe choice.
I cannot imagine Williams staying with the show for too long, let alone through January. She has a strong film career that is currently on the back burner.
And I co-sign the idea that Haimes needs to step down.
From what I understand, when Haimes renegotiated his employment package several years back he was guaranteed something like an additional 3.5 million dollars (paid out over three years) if or when he is terminated. Not suggesting that is the deciding factor here but surely it plays a small role in their consideration.
I also imagine we are not privy to the messy politics of Roundabout. An organization with that kind of cash flow and Board contingency/involvement is going to be influenced by the politics of its leadership and governance, which really shouldn't be the case but is. And that's dangerous.