DEAD OUTLAW to close June 29 — Page 2

''There was no world in which Just in Time wasn't going to do well, regardless of when it opened.''

I don't think that's giving ''Just in Time'' enough credit for its success. It wasn't a guaranteed hit. It's a jukebox musical (not the most welcome genre among critics) about Bobby Darin, a 1960s crooner who's been dead for over 50 years. ''Beyond the Sea,'' Kevin Spacey's 2004 biopic movie, was a giant fat bomb. And I don't remember any Broadway pundits predicting that ''Just in Time'' would be a big hit, let alone score the highest average ticket price among all of the season's new musicals. So far, every single performance has been sold out. Let's give credit where credit is due, not just to Jonathan Groff, its lead Tony nominee, but also to those who weren't Tony-nominated but crafted this crowd-pleasing hit: namely, director Alex Timbers & bookwriters Warren Leight and Isaac Oliver.

Updated On: 6/20/25 at 07:33 PM

Also, the code OUTLAW still works and you can get $66 orchestra seats.

*Sighs in Howard Ashman*

Updated On: 6/20/25 at 08:04 PM

Robbie2 said: "quizking101 said: "Exactly! When I saw the initial prices, I was mortified because even the balcony seats were pushing $90 and, not knowing how the scenic design was going to scale up, I was not optimistic. I love this show (seen it 9 times) and even I had sticker shock.

I also wish they waited one more week. They could’ve gotten some holiday and Pride tourist money."

lol that crowd isn't seeing this - our friends visiting have DBH, MHE, Cabaret and Sunsetbooked!"

Yep, especially after seeing DO being marketed as a musical for people who don't like musicals and a musical for "straight bros". Basically, a musical without an audience. Its fate should be a surprise to nobody

Updated On: 6/20/25 at 08:15 PM

ACL2006 said: "Are the producers of BOOP just pumping money into the show to keep it running until further notice? It's never come close to reaching it's weekly nut. Comps are easily obtained and they hand out $40 rush tickets to anyone that wants one."

SOMEONE is pouring money into it, whether it’s David Foster or Bill Haber or someone else.

Sometimes producers think sticking it out after “the thinning of the herd” will help their show. (It won’t.)

BOOP, along with SMASH, might have the longest shelf-life of this season’s short-lived flops. It will get a zillion regional/amateur/educational productions, it might still tour, and might even play internationally.

DEAD should get a lot of licenses too, but it’ll be by the smaller regional houses and more daring community theatres. The type that do SPITFIRE GRILL and FUN HOME, not the types that do 42ND STREET and BEAUTIFUL.

''Dead Outlaw'' now joins Jesse Green's list of short-lived new musicals that were among his N.Y. Times' Critic's Picks: ''Swept Away,'' ''Redwood,'' ''Smash'' ...

I scheduled my New York City trip around catching a preview of Dead Outlaw, so I guess I was its target audience. I like dark, off-center, original musicals - and a comedic trip through the dark side of America appealed to me.

Did it totally work for me? No, as I’ve discussed in the threads on the show. But I would much rather that talented Broadway creatives swing for the fences, even on a musical that didn’t seem likely to thrive financially, than to play it ‘safe’ on a movie adaptation that is just as likely to fail.

Assassins, the musical to which I often compared Dead Outlaw, was a financial failure that left many people cold and was considered so dangerous that it was postponed during patriotic times. Would you rather that show not exist? Not every musical wants to be loved, to leave you with a lump in your throat and a smile on your face. I described Dead Outlaw as a show as endearing as barbed wire. Good!

The marketing strategy was a total mystery to me, but I don’t think Dead Outlaw would have thrived even if it hadn’t opened at the end of a crowded spring in a strong, deep season. It was always going to be a tough sell, even if the Shucked marketing team had been in charge.

I’m certainly glad I saw the show, and am obviously happy I didn’t wait to see it in the fall. The musical felt doomed on the night of its first preview. (I had seen Maybe Happy Ending the night before, and that show was clearly going to win Best Musical.) But Dead Outlaw still has a kickass score, the one I listen to most often of the shows I saw on my trip, and I appreciate it more in retrospect. At worst, it was an honorable failure that tried to bring something different to Broadway.

Kudos to the creatives, and best of luck to the talented actors in their future endeavors.

BoringBoredBoard40 said: "I also think only releasing half the cast album was a very odd choice"

I don't disagree -- but originating as an Audible production, the show may have not had much say in how that was done. I think there was some idea of releasing the whole thing via Audible, and contractual obligations may have prevented a timely, traditional cast album release.

gibsons2 said: "Less weird, "passion project" stuff and more musicals people can see themselves in and relate to, please. Those tend to stick around for a while."

This gem of a show was all about people. Real people who found they could express themselves to Elmer, sometimes their secret selves. One of the most human shows of the season. With the best score of TWO seasons!

Kad said: "Dead Outlaw seems like an ideal show for colleges, frankly."

When I read your comment, my initial reaction was that the dearth of female roles might be an issue. But my second thought was that, of course, Julia Knitel plays at least three roles that could be given to different performers.

Out of curiosity, when a show is licensed, does it typically specify that some roles must be played by a single actor, or does it leave this up to the licensee?

Kad said: "gibsons2 said: "Less weird, "passion project" stuff and more musicals people can see themselves in and relate to, please."

Yes, because if anything is wrong with Broadway right now, it's that it's too weird and full of passion projects instead of attempts at mass appeal."

Agreed.

We've seen several people talk about what a great season this was for musicals. And yet as soon as these musicals don't win the Tony, they close. The only surviving musical could end up being the Tony winner. And there were even some questions as to whether that one would survive, as cute and heartwarming as it was.

If these musicals were all that great they should be getting audiences to see them as "Best Musical" nominees even if they didn't win.

I think these are just another slew of musicals that, practically overnight, went from Best Musical nominees to being rendered as, 'We'll, they'll do okay in college and community theaters.' Huh?

Like one poster noted, I too like musicals that are a little off beat, and even maybe a bit dark around the edges. Musicals that make you think.

But it seems that Broadway needs more mass appeal musicals that can withstand not winning the Tony. I'm glad the producers, writers, directors, et. al. got their Tony nods, but doesn't do much if your show is closing a week after just because you didn't win the Tony.

Kind of makes me wonder how great these musicals really are. Or if they were just nominated because they were there, and nothing else really to nominate. And had just enough entertainment appeal to give that nod to.