"Also, I think this speaks to the need to record all shows and release on DVD."
I strongly agree, I would like to see this become common practice. Broadway seems very reluctant to embrace the 21st century media universe. Why not film every Broadway show and release a DVD 6 months after it closes? I think this would add far more revenue than would be lost by "competition". Of course this would require some imaginative thinking on the part of producers and the theatrical unions, so it would be a challenge.
Imagine being able to pre-order a DVD of the show you're watching at the theater, there's a revenue stream for you.
Eventually these shows could wind up on a 24 hour a day Broadway cable network. There's a desperate need for "content" for all these new media outlets, and yet some of the best writing and performances in the world vanish forever from Broadway every year.
The best part is all those people with those amazing bootleg DVDs would have less to brag about.
"I have got to have some professional music!" - Big Edie
Well the other piece is all those folks who sell bootlegs, that money could be going into the producers hands if legit copies were available.
"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal
"I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello
I agree Tech. And I really hope Grey Gardens gets recorded.
But, on topic, it's not suprising at all, but still sad.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
Exactly! I think there are plenty of us who wouldn't think twice about buying most of these. Everyone yells about people "stealing" when they buy bootlegs, but... stealing from who? It's not like buying DVDs on Canal St. There's no other way!
It's just a message board. Let's not take it too seriously.
I understand the sadness about Grey Gardens closing, and I would much prefer to know that anytime I was in the City for the rest of the year I could drop by and get a discount ticket to watch Ebersole's incredible performance.
At the same time I'm very happy that this show was able to be produced, get critical and award recognition and be seen be so many people. It's a beautifully written, challenging piece of work, and its success shows that artistry and craftsmanship isn't dead on Broadway.
Of course Mamma Mia and Phantom will far out-last and out-earn Grey Gardens. With the high costs of producing theater in present day New York and the resulting importance of tourists dollars Broadway has inevitably become mostly a live entertainment theme park.
Grey Gardens running here is like a great Monet exhibit being installed at Disney World.
"I have got to have some professional music!" - Big Edie
I am not surprised, but I am very dismayed that this wonderful show never really caught on.
"I wouldn't let Esparza's Bobby take my kids to the zoo...I'd be afraid he'd steal their ice cream and laugh."- YankeeFan
"People who like Sondheim enjoy cruelty."-LuvtheEmcee
In the recent history of the Broadway musical, really, when does a show like Grey Gardens ever catch on? It had a good run, got a lot of attention, and will enjoy a popular regional life for diva actresses across the country. Too bad it didn't make any money but so few shows do.
I don't know if it will go down as a Broadway milestone such as Company or West Side Story, but it will be remembered for its excellent lead performancs. The show itself I see becoming sort of a cult favorite.
In 15 years they can revive it for Kristin Chenoweth as Little Edie and Patti LuPone as Big Edie and we can all talk about what a lost masterpiece it was :P
Yes, yes, I know that Grey Gardens is The Greatest Musical Ever Written Bar None, but now I'm curious if Korie and Frankel are going to write another show!
PS: The songs kind of do take place in Edie's head. In my opinion.
Broadwaybaby86 points up the split between popular mass entertainment and so-called "serious" theatre. It would be nice if one show could satisfy both groups.
This problem is not unique to theatre: Look at the big box office movies vs. the "art" films which often do not play outside of major metropolitan areas.
Still, I feel sad when she writes about GREY GARDENS: personally, I never liked it. It was tooo boring....
But in other message she writes:
I think my fav. would have 2 b Bye Bye Birdie, or Phantom. i am one of the biggest wicked fans in connecticut. i know that the musical was based on the book- i have not seen the book, i just know it exsists...
Hmm so she found GREY GARDENS boring but loves WICKED and PHANTOM.
I myself found PHANTOM to be a tedious bore except when the scenery was on the move. WICKED has more entertainment value but it's a lumpy show in need of a considerable re-working.
Yet the popularity of WICKED and PHANTOM seems to beget us more big, lavish, empty spectacles while plays and musicals that are about interesting characters and unusual situations cannot attract "the tourists." Shows that dazzle the eye are welcomed, but shows that make you think with scores that intrigue because you don't know where the music is taking you are eschewed.
I wish I knew the answer. I wish I knew the way to unlock COMPANY or GREY GARDENS so that everyone could experience the thrill of discovery and rediscovery as both shows yield more with each subsequent viewing or listen.
"Is anybody there? Does anybody care? Does anybody see what I see?"
Cast albums are NOT "soundtracks." Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
I think people just need things to be fanatical about. Wicked, Phantom, etc... these are the shows that everyone feels fanatical about, and most people are perfectly willing to jump on the bandwagon and be the biggest fanatic you've ever seen--even if they haven't seen the show!
Also, I think there's a cultural perception that Phantom of the Opera is high art, because it has the word opera in the title and the characters sing a lot of really long notes.
Then you have people who can make decisions for themselves, and hey, sometimes they still prefer the Phantoms of Wickeds. I guess it's all a matter of taste!
I love that she hasn't "seen" the novel of Wicked.
If only people could realize that Christine Ebersole can sing better and more beautifully than any Elphaba or Glinda out there... :)
My 2007/2008 Season:
Grey Gardens (7/5)
110 in the Shade (7/6)
Mary Poppins (7/7)
Xanadu (7/7)
Deuce (7/8)
Spamalot (7/8)
Jersey Boys (8/25)
The Year of Magical Thinking (8/25)
Mauritius (11/2)
Young Frankenstein (11/3)
Rock 'N' Roll (11/3)
Pygmalion (11/4)
Mauritius (11/10)
Mauritius (11/21) Mauritius (11/21)
Sunday in the Park with George (3/6)
South Pacific (3/7)
Gypsy (3/8)
Cat on a Hot Tin Roof (3/9)
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
Maybe Little Edie should have flown? Or maybe the should have painted Mary Louise Wilson green. I hear that's what's in right now. Then again, they could have had the Edies, Jerry, and George Gould Strong perform stale pop hits in falsetto. THAT would have sold the house out!
It's just a message board. Let's not take it too seriously.
MLW also should have sung with hand held mikes and do alternative dance moves from her rocking chair.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
I can't refer to this beautiful, fascinating musical as a flop. I will always acknowledge it as a resounding artistic success that unfortunately didn't make money.