Hair to close September 4th — Page 2

I think that the thing is that with regards to the difference between young people at the theatre in NYC V West End. I do think that the rush system does help out a fair amount. You get these people who really cannot afford a ticket higher then rush price and that is how these mega fans often go so many times. I commented on the Broadway forum that the reason why I think that American Idiot is not doing as well as it could be doing, is partially due to the fact that the young people that it is attracting (both theatre fans and Green Day fans) really aren't the lot who can afford more then twenty five bucks a pop.

I was looking at a listing of some of the shows playing in The West End. Now, I must say that I have started to follow West End Theatre and London theatre in general closer then I have since I was in London last. And, there is nothing that I as a tourist would like to see in The West End, save for Les Miserables which is a favourite of mine that I can't see in NYC.

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Honestly Winston , you need to check that list again!

I think Whoppi will move "Sister Act" to this theatre.

Updated On: 6/1/10 at 04:44 PM

I really dont think Sister Act is gonna move, its attendence is always low, its gonna close and head to Broadway

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I wouldn't go ahead and act like Hair is this huge interesting theatrical event to too many people. I'm young, saw it and really didn't like it.

I think the West End transfer failures just shows that Broadway has a new young fanbase, where recent shows like A Tale of Two Cities, Ragtime Revival & Finian's Rainbow Revival didn't have a chance. I think the West End is opposite: you have these overly produced, high budgeted productions with weaker material that are able to run longer than those shows: Gone with the Wind (Tale is far superior!), Napoleon, Woman in White, Les Miserables, LoVE NeVER DiES, etc. because I suppose the audience is older & is familiar with theatre being like that. Think of Grease, the older generation in their youth was seeing that where as younger audiences today don't go in awe over it at all as much as they would have years ago. (Grease is still my biggest shock at how that's still running in the West End!)

Is REBECCA still coming next season to London or Broadway? I'll be curious to see what audiences do with it!

Mama, I was talking about musicals not plays that are going on in The West End. As it is right now if I were to visit London I would be more interested in seeing what something like The National or Donmar's Warehouse had to offer rather then some of the things that are playing in The West End.

What bothers me the most, at least as far as Broadway is concerned is that many of the young fans who do go all the time feel that they are entitled to a rush just because so many shows do offer it. However, they sometimes forget that shows don't have to offer it if they don't want to. It has and always will be at the desecration of the producers. I can only afford rush price. However, I don't get all up in arms should a show not offer it. There have been many things that I couldn't see due to there not being a rush. I couldn't afford a ticket to Enron and there wasn't a rush so I missed that one despite wanting to see it.

I do think that it is a bit of a double edged sword. It doesn't do any damage to the box office to sell a given number of tickets at twenty five bucks a pop on Broadway and therefor that is why most shows do it. However, it doesn't help the box office either.

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I think apart from the basic theory that younger people have less money to spend on theatre, and it is nice to help out, the younger adult market is an important one for shows as they are at an age where they will talk to a lot of friends, or post about a show on their facebook/twitter and provide some free advertising for a show.

It's obviously wrong to presume that a show ought to provide discounts, but I think that a lot of young people just don't even consider going to see a show a viable option for a night out. Reducing the price would reduce the cost barrier, and simply getting more young bums on seats would help to break down the perception that it's something you only do when your parents come to visit.

It just kinda makes me a bit sick that something that's completely fresh to London (maybe Hair doesn't count so much in this, but the production is certainly new) but things like Spring Awakening and Sister Act just get outrun by tacky revivals of shows like Grease. And seriously Les Mis; when are you gonna give it a break?! What do we think the chances of a tour of this production are? I assume doubtful.

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Never say never about "Shrek." Just because the latest movie "Shrek Forever After" didn't do as well as they would have hoped to on opening weekend doesn't mean it won't be a success. The movie is heading for an impressive impressive 27 percent week-to-week drop from its $70.6 million opening, which is around $56 million. It's showing sings that it could hold strong like "How to Train Your Dragon."

http://www.thewrap.com/article/saturday-box-office-17873

"Wait do you think Gone With The Wind, Napolean and Woman in White had long runs? Also apart from Love Never Dies we dont do over produced shows (that was us in the 80s really) if anything we downsize everything from revivals to shows like Legally Blonde. Broadway is the overproducer at the moment lol "

How was Napoleon not way over done? Based on the material (which is extremely weak, long & boring) and hugely negative reviews, a run of 4 months shocked me. Remember the Notre Dame scene, for example? The huge orchestra?
Gone with the Wind was even worse, even longer & panned even more (from what I remember) and managed a run of 2 months...certainly not long run but I can't imagine a 3.5hr show even lasting on B'way for a month! Woman in White had a longer run in London than Broadway, but again I agree they weren't terribly long.

On a side note I forgot how terrible Ragtime did over there...didn't it get like 8 nominations & a few wins for Olivier Awards? I know Maria Friedman won....hmmm!

My view on Webber and Cameron as producers is this. Webber and Cameron are producers of Phantom and Cameron is the producer of Les Miserables, the two shows that are the longest running and most successful in The West End. It wouldn't shock me to find out that they are convinced that because of that fact that what they are doing is fine and that there is nothing wrong. It's like the old saying goes, if it's not broken don't fix it.

Of course, I don't agree with this but it wouldn't shock me to find out that that is their mindset.

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Last time was the 80s, that was along time ago

so sad :*(