DEH Flops in Toronto — Page 2

I don't really know much about Toronto's theater scene, but is it possible that its ability to sustain long runs is overblown? Looking at the open-run shows from the 90s, it seems like supporters ignore the fact these were the blockbuster musicals that were instant sell-outs everywhere. Like Chicago, San Francisco, and LA, Toronto was large and tourist-y enough to sustain long runs of these shows. But I'd argue that Dear Evan Hansen is nowhere near the hype levels of those shows, especially when looking at hit shows like The Color Purple or Billy Elliot. Also, I remember much of the show's hype was due to Ben Platt in the lead, which made it a must-see.

As someone who is extremely familiar with the Toronto theatre scene, I'm exceedingly surprised and confused by this. The show has been doing well critically, winning awards, and selling out fairly well. They have a small cast and minimal running costs, and Come From Away was able to sustain the cost of the 1500 seat Royal Alex. All of Mirvish's next season had been planned around DEH still being in the Royal Alex, intentionally not slating any other shows for that theatre as they expected at least a year long run. It's hard to compare resident Toronto productions now to anything pre-9/11 as that completely changed the game in terms of Americans coming here for theatre, but since then Kinky Boots had a fairly lengthy run and Come From Away has been going for over a year. The entire theatre had been painted blue and just a few days ago they had a press event unveiling their new "Blue Room" for special guests. I'm mostly speculating based on what I know about the situation but it seems like the closure was a very sudden decision, and does not seem to be related directly to reviews or ticket sales. My main hypothesis is that they've decided it would be more worth their time to invest in Cursed Child in 2020.

As someone who grew up, and still continues to be a part of the Toronto theatre scene, I want to say that more often than not, Toronto could sustain a 6-12 month production. There are some shows that can fair better or worse depending upon the show. Dear Evan Hansen just seems to be one that didn't catch on. Thinking back, the family shows, and fun splashy shows seem to do better. (Joseph, Mamma Mia, Dirty Dancing, Kinky Boots, Lion King, Beauty and the Beast). It's hard to mention Come From Away, because this seems to be a juggernaut, especially given the content.

Something that comes of interest for those non-Toronto people, is that in the downtown core, the six commercial theatres that can accommodate for Broadway tours/productions 4 are owned by the Mirvish Family (Princess of Wales, Royal Alexandra, Mirvish, and the smaller CAA Theatre), the main presenters of tours. One theatre is owned by the province of Ontario (Elgin Theatre), and don't actively look for tours, they wait until shows book them. The last theatre is owned by an agency of the city government (Sony Centre for the Performing Arts) Since being built in 1960, and opening with the World Premier of Camelot, this was THE place to see Broadway shows until the late 1980's when things started to turn around. They haven't really presented Broadway tours in about <10 years. They are actually bringing the Non-Eq tour of Spongebob in December 2019. The theatre that Drabinsky help build in the northern part of the city, about 20 mins from downtown on the subway, (Toronto Centre for the Arts) has recently been renovated, and the largest theatre that saw pre-Broadway Ragtime, Fosse, Show Boat, and the Canadian Sunset BLVD has been divided into 2 smaller theatres.

So, if Mirvish doesn't bring a show, you are SOL unless you are willing to travel to Buffalo or Detroit.

Many musicals that are hits, often feel like a zeitgeist moment. A phenomenon. DEH with Ben Platt felt like that to me. He was a force of nature. After his departure, the whole show seemed flatter and less interesting. The cracks showed. The Toronto reviews I read were fair and not glowing. It truly appeals to teens, but it is too expensive to take them for most families. DEH was expected to land in TO with sold out initial run and huge advances. Sales were soft and you could get tickets anytime. That is not good news for producers and the DEH brand. I saw it with Platt and sang the shows praises but friends who saw it in TO were like, "it was ok." Something is missing. I just saw the tour and it was exceptional, but again, the cracks show. It's sloppy but it has a lot of heart and great power pop. Not surprised it tanked.

I just saw Dear Evan Hansen in Toronto yesterday afternoon and it was excellent. I am very surprised it will be having such a short run. Since the actors would under contract, what happens when a show closes early? It truly is worth seeing before it leaves Toronto!

Jersey Boys had a 2 year run (the first 4 months being the tour, then the Toronto company took over). Interestingly, the Toronto production was the only version that didn't return it's investment.

Hairspray and The Producers both closed drastically early, at around the same time (2004). There was a major tourism hit at the time due to the SARS scare.

kevinr said: "I just saw Dear Evan Hansen in Toronto yesterday afternoon and it was excellent. I am very surprised it will be having such a short run. Since the actors would under contract, what happens when a show closes early? It truly is worth seeing before it leaves Toronto!"

The crew and actors go on unemployment. Same thing that happens on broadway. A contract only is in play if the show runs.

ACL2006 said: "The COME FROM AWAY production has been running for over a year now and is still selling out. It's scheduled to run until September, but I'd expect another extension."

Not so sure. Since the move to the Elgin tickets seem more available. at least when I've checked the website.

^Phantom had closed years earlier (in 1999) and wasn't a factor in the Hairspray/Producers era closings.

"Many musicals that are hits, often feel like a zeitgeist moment. A phenomenon. DEH with Ben Platt felt like that to me. He was a force of nature. After his departure, the whole show seemed flatter and less interesting."

I agree with BettyBoy72, except that I would describe Platt's performance as profoundly wrought rather than the man himself being a force of nature. Platt was so concentrated and vulnerable that one was forced to surrender to the pain of empathy and the pay off was a catharsis that all to rare in today's theatre. Platt brought a depth and courage that no one could have anticipated.

However... his performance (and the other extraordinarily strong members of the original cast) made a well written piece appear a lot better than it is. Subsequent casts have not been able to hide the cracks as well. The national tour was was downright embarrassing.

So.. clearly Toronto can sustain a long run of a show, Come From Away being the proof. Of the two shows Come From Away is the superior piece. It's tribal story telling technique is something I can't recall ever seeing and its simple demonstration of the power of community is a tonic to a world of self-centered individualism.

Of the two Come From Away will, I predict, age better and Hansen will be of its time.

Updated On: 5/24/19 at 11:33 PM