Fiddle flopper

What does that mean?? I mean what is TKTS and what is bad about being on it??

I don't think Fiddler is going anywhere before Tony time.

the show is good, just probably not this production of it. I have to say, I wasn't too excited when I heard about it, even though I love the show.

How reliable is the website that shows what tickets appeared at the TKTS booth last week? (http://www.tdf.org/programs/tkts) It says that (what I thought were popular shows) Boy From Oz and Aida were discounted last week. Does it mean that *any* unsold tickets will go there or only if the theatre still has, say, 20% of the tickets unsold by the day-of?

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i believe that when Millie was on tkts, it was barely hanging on. then after the tony it jumped to making a healthy weekly gross. its done that for about 1 1/2 years. Millie has been hanging on by a thread for about a month now. even though its runnign doesnt mean its doing great.

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you know I agree with you, but I figured I'd say it again.
But I am sort of surprised it's up there. Fiddler does seem to have a lot of fans. (Or do I just think that because I'm Jewish?)

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Well some producers feel that being early on TKTS sends a bad message. When Glenn Close went on vacation, ALW wouldn't allow the tix for Sunset Boulevard to go to TKTS.

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Actually, Stop!...

1. Producers use TDF as a last result. TDF customers pay Producers approx. $25 per ticket.

2. It's Lilhead not Little Head

3. Fiddler wasn't at the booth on Opening Night. Lilhead said "Opening Weekend"

4. You're welcome.

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Updated On: 2/29/04 at 12:00 PM

It's just you, Wicked_Elphie.

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it always blows my mind that anyone can believe that new bway shows have a chance in hell of really succeeding. in the past two to five years or longer only a hand full of the dozens of shows produced ever go on to make money. in this economy and with a new generation of people who didn't grow up on theatre how does anything last when producers have to pay out the butt to get a show up and pray it catches on with audiences who can find 100 better ways to spend 100 dollars. how can a show really be good enough to please tastemakers like critics and messageboarders who long for the old days when a show had the time to develop and costs were manageable. all the best writers and composers don't want to work on bway when they cant make a living. the old days bway was a real job. so i say don't just beat down the shows... we all know they suck mostly... but when you look at the why they suck, you understand how could they not suck. Even the good ones mostly leave you feeling like, OK... well.... OK... sort of...yeah...that was good... wasn't it... it must be, right... everyone was trying so hard... and the sets... the costumes... and they spent a lot of money on it right? NOPE yall, the emporor has no clothes on! it did suck! It ain't the king and I or My Fair Lady, or whatever you saw on dvd. And yes let me admit i like the lion king as a spectacle but was it really a great work of compositional and writing craft? DEM DAYS IS GOOOONE, MARTHA!

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I remember reading years ago that the producers of shows to some extent actually use the discount price (50%, 75%) of a ticket as a guide to cost their shows. In other words, they could sell 80% of the show at a discount rate and still cover costs. I guess this really means we could all be paying a lesser price for our tickets in the first place!

I am a very positive thinking person - but I have to admit that Orphan has a few good points - people just don't seem to be willing to take a chance on any good new material. Look at Wicked - its an OK show - JUST OK. No interesting effects, no real showstopper numbers, kinda lame plot, not at all as dark and sinister as the book (which I was hoping would inform the show)...wonderful performances, though - to which I give loads of credit where keeping that show open is concerned. I guess revivals just do so well because no one is writing really GOOD work these days. Doesn't this inspire young writers to take some chances? I'd love to see some cutting edge theatre with guts, heart and soul - but I never seem to find any. And THAT'S one of the reasons I'm seeing Sweeney Todd next week - its a glorious score, wonderful story and Elaine Page is in it - what more could you want?

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