#51
Posted: 4/12/07 at 1:06am
The thing is, up until about 10-15 years ago, previews were ALWAYS less expensive than regular performances after the opening -- often by $25 or more. But, that was when producers still actually cared about the quality of the product they were putting on the stage and weren't motivated solely by greed (heck it wasn't that long ago when balcony/rear mezz seats still cost under $20, but I digress). Occasionally, that still happens (like with TARZAN last year which had a top price of $75 in previews when they knew they would still be working out all of the swinging and harness issues and that they would have a lot of technical issues to work out in front of the audience). JOURNEY'S END had a $25/ticket offer for previews even more recent than that to help spread word of mouth (not that it's helped unfortunately).
Just because producers CAN get $110 for a play that's not performance ready, doesn't mean that they SHOULD. And it's a myth that previews are always somehow disasters waiting to happen. I've seen very early previews of dozens and dozens of shows over the years and 90% of the time, the show is in outstanding, nearly flawless shape. In a few other cases, it's been somewhat rough going here and there, but still a decent representation of the play. In New York, on Broadway and in the main Off-Broadway houses, it's a rare occurrence when something is just flat-out not ready, even as early as a first preview -- there's a difference between actors dropping a line or two here and there, but otherwise giving a solid account of the play, and a show that simply wasn't anywhere near being something worthy of being presented to the paying public. In the latter instance, it's irresponsible and unfair for producers to be charging full price for such a mediocre product and they know better, but simply don't care due to their greed.
That said (here's my disclaimer), I should emphasize that I'm speaking in generalities here and since I was not at the play tonight, I have no opinion as to the current condition of that show (or, obviously whether it's fair to charge full price for tonight's first preview or not). I simply think that if we're talking about a brand new work, play or musical, that is opening cold and has never had the benefit of an out of town engagement, it's obviously going to need a lot of work and that a conscientious producer recognizing this might strongly consider cutting the ticket price a bit for those audience members brave enough to act as guinea pig to a work that is in no condition to be presented to the public yet.
Just because producers CAN get $110 for a play that's not performance ready, doesn't mean that they SHOULD. And it's a myth that previews are always somehow disasters waiting to happen. I've seen very early previews of dozens and dozens of shows over the years and 90% of the time, the show is in outstanding, nearly flawless shape. In a few other cases, it's been somewhat rough going here and there, but still a decent representation of the play. In New York, on Broadway and in the main Off-Broadway houses, it's a rare occurrence when something is just flat-out not ready, even as early as a first preview -- there's a difference between actors dropping a line or two here and there, but otherwise giving a solid account of the play, and a show that simply wasn't anywhere near being something worthy of being presented to the paying public. In the latter instance, it's irresponsible and unfair for producers to be charging full price for such a mediocre product and they know better, but simply don't care due to their greed.
That said (here's my disclaimer), I should emphasize that I'm speaking in generalities here and since I was not at the play tonight, I have no opinion as to the current condition of that show (or, obviously whether it's fair to charge full price for tonight's first preview or not). I simply think that if we're talking about a brand new work, play or musical, that is opening cold and has never had the benefit of an out of town engagement, it's obviously going to need a lot of work and that a conscientious producer recognizing this might strongly consider cutting the ticket price a bit for those audience members brave enough to act as guinea pig to a work that is in no condition to be presented to the public yet.
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