Disappointing Broadway show(s) of this decade? — Page 2

For me, it's Groundhog Day, War Paint, and Sister Act.

Groundhog Day seemed a bit boring and it didn't satisfy me enough to where I'd think it was amazing like the other 2017 Best Musical nominees.

Same with War Paint. Patti, Christine, and the company were brilliant, but the score isn't all that great. I thought the storyline and the set design were interesting though.

And... Sister Act. IT'S HORRIBLE (in my opinion). The only song in the score that was decent was "Raise Your Voice". I was really disappointed when I found out NONE of the songs from the movie (including my favorites, "Hail Holy Queen" and "My God (My Guy)" were in the musical. I think Alan Menken should just stick to Disney musicals in all honesty. And about the love story thing with Deloris and Eddie, it honestly sucks and kind of ruined the whole story.

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Runs on the other hand...

- I honestly LOVED American Psycho and when I first listened to the cast recording, I could see why people didn't like it, but I personally loved it. I wish it could've found it's audience, but it, unfortunately, didn't.

- Same thing with Tuck Everlasting, Amelie, and The Wild Party (LaChiusa).

- If the creative team would've kept everything the way it was in the LA Try-Out, then it probably would've done better than it did.

- Here's another if / then... If people didn't make Mandy Patinkin replacing Oak Onaodowan in Great Comet such a big deal and causing this big controversy, then the show would probably still be running or would've still been running by the end of 2017. It is truly an amazing and wonderful show, but life happens.

- HONORABLE MENTION: I know this show wasn't in this decade, but the INTO THE WOODS REVIVAL FROM 2002. That revival was unnecessary and sucked BIG TIME. They should've just kept the original run running.

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NOW FOR FUTURE RUNS...

- I feel King Kong is going to be one BIG, HUMONGOUS FLOP. I hope that puppet doesn't fall...

- I also feel The Prom might not do well. I think it might be like the next Amelie or something like that now that I've thought about it more and more.

- And finally, SUMMER: THE DONNA SUMMER MUSICAL. First off, that's the cheesiest name for a musical I have EVER heard in my life. And how does Donna Summer music even fit into a musical? Welp, hope it does well!

Updated On: 2/3/18 at 05:10 AM

I think it's hard for me to say considering the pantheon of shows that have opened in this last decade. BUT I tend to base my decisions on disappointing shows on potential, aka shows we all know could have been amazing, it had a great show built right in from the source material, and you wonder how it could possibly be messed up...and it was. The number one spot for that for me goes to "Charlie" 1000%. I will forever be baffled at how the creatives messed thsi one up. I DO understand the rock and a hard place of contending with something that has become such an iconic societal lexicon, but like many shows adapted from iconic source material that came before it, it suffered from the identity crisis of wanting to be it's own thing AND still give the audience what they already know. Clear direction.

Tuck Everlasting I feel could have also been great, I REALLY liked the idea of a musical T.E., but the big reason I feel it didn't last is because no one really asked for a T.E. musical. The writing certainly wasn't great, it was pretty generic, but I don't think audiences really cared much to have a musical version of T.E. in existence anyway.

Creatively, I was super disappointed in A Gentlemen's Guide to Love and Murder. I saw it after the Tony win and was hoping for so much more (Jefferson Mays was out though so that could have played a factor).

In terms of run, I was very disappointed that Groundhog Day and Bandstand didn't run longer.

BroadwayAndSports said: "DISAPPOINTING SHOWS...

Shuffle Along: So much potential with that cast, but it was a nothingburger.

Natasha, Pierre, and The Great Comet of 1812: Outside of the immersive part, I really didn't think this was a good musical. The story was all over the place and the music was mostly just singing about what they were doing. I was hoping for more based on the hype.



DISAPPOINTING RUNS...

Bandstand: Powerful story but funny and enjoyable, and overall really well-done. Still upset this didn't find an audience.

Groundhog Day: Andy Karl was a stud, really good balance of heavy and funny, but had high running costs.

"

I agree with Bandstand and Groundhog Day. Both had the strongest sense of storytelling on Broadway in 2017. I'm still in shock that Bandstand did not get a Tony Nom for Best Musical. That piece of work was overall stunning.

Fun Home. I didn't find it bad exactly, just I wasn't as emotionally invested as the show wanted me to be. I wanted more and Middle Allison as an actress in particular I had issues with. People had really hyped it too, and I thought with the whole concept of the graphic novel, I wanted to understand more why that medium to tell this story.

And Bridges of Madison County. Take the Score, and the Cast and just put them in a more interesting story.

theater_tech said: "Rainah said: "in terms of reception/length of run, Comet. It truly wasn't the controversy that closed the show, the public just did not embrace it as much as it really deserved and they couldn't find their audience."

Yes, this is true, but it would not have ended that early if the controversy did not happen. Most importantly, it would not have ended the way it had, in a midst of a pointless controversy, to inflate some SJW's egos on twitter,that overshadowed the creative and original piece that it was. And for that, everyone involved in that production (and those who loved it)deserved much better.

The stated reason for the casting choice that caused the controversy was that ticket sales were tanking after Josh Groban left, and so they hoped some stunt casting might help it limp along for a few more months. That’s not the sign of a successful musical that audiences were dying to see for the material itself. Agree or disagree about whether people were right to object to Oak’s dismissal and Mandy’s drop-in casting, but you can’t claim the show was doing great when the producers say the terrible sales were about to cause it to close, and that casting a famous star was a last-ditch effort to keep it open

ACL2006 said: "The Addams Family
Charlie and the Chocolate Factory
Follies revival
Promises, Promises revival
Bandstand
Tuck Everlasting
Finding Neverland"



Finally, I was waiting for someone to say Addams Family I really wanted that to be great. The only thing that kept it worth watching was Nathan Lane One he left, it was unbearable

Finding Neverland, Tuck Everlasting, and Charlie and Chocolate Factory also top my list.

Updated On: 2/4/18 at 03:21 PM