DEH Flops in Toronto- Page 2

[Fosse76]

Posted: 5/23/19 at 12:31pm

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.

[bdn223]

Posted: 5/23/19 at 12:37pm

I will agree that the show is over-hyped to a degree and rode a box office SRO tidal wave to Best Musical Tony victory over 2 equally if not more so deserving musicals.

The issue with the show, which Ben Platt has mentioned in multiple interviews is that Evan Hansen is a horrible person. If the young actor playing Evan can't immediately get the audience to sympathize with him, the show won't work.

Evan literally ruins the Murphy family's lives for his own benefit, and arguably the catalyst for Connor's suicide.

 

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Initially he doesn't know the damage he is causing, and has the best of intentions when trying to comfort the Murphy's after Connors death through keeping up the comedy of errors that is his initial letter. By the end of Act I though, it is clear that his intentions have turned selfish beyond the point of return through his kissing of Zoe. This is where the musical lost me when I was seeing it, as he looses any benefit of the doubt I gave him because of his clear "mental illness". His intentions go from attempting to comfort the family without realizing the damage he was causing, which his mental illness allows the audience to sympathize with, to simply wanting to date Zoe. Evan should not reciprocate after Zoe kisses him, to show he still has a conscience at that point. She can then persist and he gives in as the curtain falls, but instead he makes the conscious choice to kiss her pointing to his realization of the benefits of the rouse gives him. The second act is all about Evan trying to maintain the illusion of the friendship with Connor simply for his own benefit and the detriment of the Murphys. Then when the internet mob turns on the Murphys and arguably causes even more damage to them then Connors's death, Evan simply admits guilt and cries to his mother. Yes, Evan finally admits the story about falling out of the tree hes been telling the entire show is about his failed suicide attempt, but it doesn't repair any of the damage he caused. The show then time jumps a year later, where we find out he still hasn't apologized to the Murphys, and the only consequence to his actions was shame.

Therefore if the audience isn't on Evan's side from the start, the show simply comes across as if a production of  The Crucible was played with Abigail Williams as the "morally good" protagonist. One could actually argue that Dear Evan Hansen is a modern adaptation of The Crucible from Abigail's perspective, as his arc very much mimics hers. Also I think the popularity of "cancel culture" has made Evan's lack of resolution/consequences even more unsatisfying.  Is the show bad? No, but it very much rests on the actor playing Evan and that a problem for the show. Its similar to the problem faced by all productions of The Producers as they will forever live in the shadow of Nathan Lane and Matthew Broderick's performances. If the actor playing Evan is even slightly off, the show falls apart. I am not blaming Robert Markus, but I think it maybe why producers went with 16 year old Andrew Barth Feldman over another early 20 something. By having an actual 16 year old play Evan, it gives the actor a little more good will from the audience, as he looks innocent. Therefore the the show's problem of having one of the most arguably vial protagonists in musical theater history should be less apparent to audiences. 

[lt03302]

Posted: 5/23/19 at 12:40pm

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.

[RaisedOnMusicals]

Posted: 5/23/19 at 12:45pm

RippedMan said: "It’s not a good show. That’s prob why. The main character is unlikable and the songs all the sound the same.

Any pics of the blue theater? Or the fake walls built for the other theater? Never been to Toronto but might have to check it out."

You know what they say about opinions. You have yours and you're entitled to it, period.

Others have different opinions, including the overwhelming majority of professional theater critics who thought and continue to think (if you read their reviews in tour cities) that it's a wonderful show. That includes the critic from the Toronto Star:

https://www.thestar.com/entertainment/stage/review/2019/03/28/torontos-dear-evan-hansen-is-a-sad-sad-surefire

 

[fashionguru_23]

Posted: 5/23/19 at 12:51pm

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. 

[lt03302]

Posted: 5/23/19 at 1:13pm

Looking further into ticket sales, DEH is definitely selling better, or at least the same, as CFA. I really think there's something going on more than the show not selling as they planned.

[Bettyboy72]

Posted: 5/23/19 at 1:32pm

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.

[fashionguru_23]

Posted: 5/23/19 at 1:38pm

lt03302 said: "Looking further into ticket sales, DEH is definitely selling better, or at least the same, as CFA. I really think there's something going on more than the show not selling as they planned."

At the same time, you are comparing a show that has been open for almost a year and a half to a show that by the time it closes will have been open 4 months...to say DEH is doing the same or better than CFA is a little unreasonable to me. There aren't bus loads of people on matinee shows for DEH

[kevinr]

Posted: 5/23/19 at 1:52pm

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!

[Tag]

Posted: 5/23/19 at 2:08pm

 

Looking further into ticket sales, DEH is definitely selling better, or at least the same, as CFA. I really think there's something going on more than the show not selling as they planned.

There's nothing else going on.  Ticket sales were non-existant post-subscribers.  And when your subscriber base is mostly seniors, what appeal does this show & the social media content have?  There was no word-of-mouth from them.  Also the summer was already discounted.  The show bled $ from the start (ie. rehearsing in NYC costs, wrapping the theatre in blue for what reason...).  Not to mention the cost of moving CFA.

[LizzieCurry]

Posted: 5/23/19 at 2:13pm

Didn't the Jersey Boys sit-down also have a slightly shorter run than expected?

[DottieD'Luscia]

Posted: 5/23/19 at 2:19pm

Didn't the Toronto production of Hairspray close earlier than expected?

[Tag]

Posted: 5/23/19 at 2:23pm

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.

[LizzieCurry]

Posted: 5/23/19 at 2:24pm

I didn't realize that about not recouping. Wow!

[dramamama611]

Posted: 5/23/19 at 2:47pm

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.

[LuPita2]

Posted: 5/23/19 at 3:13pm

When I saw it there, I really disliked it, even though I loved it on Broadway.  It really had to do with the cast for me, there was not much chemistry.  It's always interesting, what works in certain cities and what doesn't.  Maybe Canadians want more comedic or optimistic (Come From Away) shows.  DEH is kind of a bummer.  

[all_that_jazz]

Posted: 5/23/19 at 4:43pm

In the city Come From Away is advertised way heavier than Evan. I keep forgetting we even have a sit down playing or even that its in town. It seemed like a wrong show for a sit down here from the beginning and it doesnt seem much effort has been put behind marketing it.

[amaklo]

Posted: 5/23/19 at 8:11pm

By coincidence, the DEH tour opened in Pittsburgh Tuesday and got a rave review in today's paper. I hadn't been very interested in going, but after reading the review I checked availability and snagged the one single orchestra seat available for Sunday. Granted, it's only here a few days but it's almost completely sold out the 1800+ seat Heinz Hall for the run.

[sabrelady]

Posted: 5/23/19 at 8:57pm

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.

 

[sabrelady]

Posted: 5/23/19 at 9:14pm

Going back to the Hairspray and Producers et al I recall  it being discussed that there were too many options available in TO at the time inc Phantom  PLUS the smaller theatres and they competed w each for  available dollars. Oh I found this:

https://www.theglobeandmail.com/arts/mirvish-pulls-plug-early-on-the-producers/article18265638/

https://www.theglobeandmail.com/arts/mirvish-cuts-hairspray-run-short/article20434112/

 

I also felt they had left it too late- by the time they brought it to  TO the show had been playing a LOOONG time on B'way and I felt a lot of the more serious theatre goers  had made the pilgrimage and weren't interested  esp at the regular bway prices.

I had a friend who saw DEH and while he liked it he also said he wouldn't see it again. I simply couldn't get interested enough to invest $70.00 (at the lower end) when balcony CFA are $39.00. And I like CFA> 

[Tag]

Posted: 5/23/19 at 9:23pm

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

[sabrelady]

Posted: 5/23/19 at 10:52pm

^^^^

 

You are correct. Lion King & Mamma Mia were still running not Phantom (tho they were approaching the ends of their runs)

[RippedMan]

Posted: 5/23/19 at 11:12pm

I don’t see DEH doing well in London. They have odd tastes.

[passing strange]

Posted: 5/23/19 at 11:29pm

VotePeron said: "Super curious if this is any indication of how it’ll do in London. Not sure how much other countries are interested in a severely overhyped musical about a boy who lies to solve all his problems and then faces no consequences."

Couldn’t agree with you more.  The fact that the UK is going crazy for Come From Away (it even won the Olivier for Best New Musical) does not bode well for Dear Evan Hansen.  One is a show about people being selfless in the face of tragedy, the other is about people being opportunistic in the face of tragedy.

[Almira]

Posted: 5/23/19 at 11:33pm

"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