I agree with Blaxx...it's the only objective way to quantify a flop vs a success.
Everything else is just opinion.
If the producers didn't get their investment back: it's a flop.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Didn't XANADU make back it's money not long before it closed?
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question... going by the technical defintion of a flop with not getting back its investment... can a show be a flop on broadway but not on tour? it's different investors, right?
HITS THE LION KING THE FULL MONTY THE PRODUCERS HAIRSPRAY SPAMALOT MARY POPPINS
FLOPS HIGH SOCIETY BIG FOOTLOOSE SWEET SMELL OF SUCCESS SATURDAY NIGHT FEVER URBAN COWBOY DANCE OF THE VAMPIRES THOROUGHLY MODERN MILLIE DIRTY ROTTEN SCOUNDRELS CHITTY CHITTY BANG BANG THE WEDDING SINGER TARZAN GREY GARDENS HIGH FIDELITY LEGALLY BLONDE XANADU CRY-BABY YOUNG FRANKENSTEIN THE LITTLE MERMAID 9 to 5
Listen, I don't take my clothes off for anyone, even if it is "artistic". - JANICE
blaxx - don't forget to add DANCE OF THE VAMPIRES to the FLOP list. It's based on THE FEARLESS VAMPIRE KILLERS, written, directed and co-starring Roman Polanski. While the German version that Polanski directed stuck closer to the film, the Broadway version had the same exact plot.
It's the biggest Broadway flop of all time, lest we forget!
I also think it may be the only movie to musical on your list in which the director was the same for both (though TANZ was a HUGE hit and DOTV, which Polanski was not involved in besides having written/directed the source material was not), in this case Roman Polanski. The whole reason DOTV was re-imagined and re-written as drastically as it was, based on the show which ran for over 5 years in Germany, was because Polanski could not bring his production to the US because of all that absurd drama w/ his legal situation. I guess he had to settle for winning an Oscar for THE PIANIST that year, instead.
A Good Nightmare Comes So Rarely, I'll Show You Yours, If You Show Me Mine, P Updated On: 7/29/09 at 08:45 PM
Anytime, blaxx, and DOTV is, indeed, the only musical on that list to have had the film director and the stage version director one in the same at ANY point in development/production, although of course John Rando had credit for directing the Broadway DOTV (though it was more Crawford than anyone by opening).
Unless we count Mel Brook's uncredited direction of the book scenes in YOUNG FRANKENSTEIN...
HITS THE LION KING THE FULL MONTY THE PRODUCERS HAIRSPRAY SPAMALOT MARY POPPINS
FLOPS HIGH SOCIETY BIG FOOTLOOSE SWEET SMELL OF SUCCESS SATURDAY NIGHT FEVER URBAN COWBOY DANCE OF THE VAMPIRES THOROUGHLY MODERN MILLIE DIRTY ROTTEN SCOUNDRELS CHITTY CHITTY BANG BANG THE WEDDING SINGER TARZAN GREY GARDENS HIGH FIDELITY LEGALLY BLONDE XANADU CRY-BABY YOUNG FRANKENSTEIN THE LITTLE MERMAID 9 to 5 SHREK
Listen, I don't take my clothes off for anyone, even if it is "artistic". - JANICE
Less than a quarter of all musicals from the last 14 years based on movies have turned a profit on Broadway. Someone should nail that to every producer's door.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
So in spite of it running two years, Footloose wasn't able to recoup its investment? May I ask why?
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