Josh Groban to star in The Great Comet of 1812 on Broadway in September

Any chance of Philipa Soo leaving Hamilton for this?

willep said: "But it will probably be considered a revival.

No, it won't. It's the same production (same director, designers, etc.) as before. It's just that it's had a slightly longer road to Broadway than shows like Hamilton that transfer immediately. They've changed it and re-worked it, through its multiple incarnations, but it's still a new musical that has been aiming for Broadway. Kinda like The Visit, but The Visit had even more incarnations before it finally went to Broadway and was still considered a new musical.

Updated On: 12/13/15 at 11:28 PM

^The article clearly states that it will be in a proscenium theatre.

This is crazy! I'll be so happy to see it on Broadway, but with Josh Groban...? Weeeeell, we'll see...

After seeing it at ART this weekend and how WELL it worked in this setup, I think Circle would be a totally WRONG fit for the show. I would love to see it in the Music Box, but Shuffle Along will likely still be open in the fall.

The website is updated!

http://thegreatcometof1812.com

I am so excited for this and really hope it finds an audience. I actually think Groban could be a pretty inspired choice for Pierre. I was upset that I wouldn't get to catch the redesign and reworking of the show at ART, but will be first in line for tickets to see this on Broadway. The redesign really means it could work in any smaller house on Broadway. Thrilled to see how the rest of the cast shakes out and I agree it would be lovely if Philippa Soo would return. Soo was one of the (many!) highlights of the production and I think her contract would probably be up right around the time they're aiming to premiere.

Also, it will certainly be considered a new musical.

The infamous "classics rule" states, "A play or musical that is determined by the Tony Awards Administration Committee (in its sole discretion) to be a “classic” or in the historical or popular repertoire shall not be eligible for an Award in the Best Play or Best Musical category but may be eligible in the appropriate Best Revival category, if any, provided it meets all other eligibility requirements set forth in these Rules."

While that's quite vague, precedent shows us the only shows that fall under the "classic" rule have had major productions (often sit-down) in multiple cities around the country and around the world for at least 15+ years.

Assassins, Violet, and Hedwig were all considered revivals but had been produced in a major way and around the country (and in some cases the world) for 15+ years. Little Shop of Horrors premiered 21 years before bowing on Broadway and was considered a revival. As far as I know, those are the examples of the shortest time spans that the classics rule was invoked. Cinderella debuted 50 years before its Broadway production and, despite its new book (which incidentally was nominated for best book), the show was considered a revival.

As pointed out in this thread, The Visit got to bounce around for 14 years before hitting Broadway and was considered a new musical. A Christmas Story first debuted 3 years before Broadway and was also considered new in 2013. Surely a show that has had exactly 2 major productions in only 3 years will be considered new.

Updated On: 12/14/15 at 11:59 PM

I don't know that Phillipa Soo will want to jump into another Broadway show for a year with no chance to take advantage of the attention she's gotten from HAMILTON, particularly one she's already done in New York multiple times.

Chalk this up as another Broadway transfer for ART. The amount of shows that have come from Boston to New York since Diane Paulus's tenure is staggering. This will be the seventh show to move in her seven years there (including ONCE, which they developed but did not formally produce.)

Updated On: 12/14/15 at 12:01 AM

Wow! This is pretty amazing!

Josh Groban is probably the last person I would have guessed to play Pierre but I'm all in for it.

Curious why you think the Circle would be a terrible choice? I think it would be an easy theatre to fill with an immersive show and make everyone feel included, whereas other theaters have the issue of mezzanines and balconies that would cut some people off.

(Obviously in the end it makes no difference, as it is clearly not going to go into the Circle)

Updated On: 12/14/15 at 12:28 AM

Sort of irrelevant but in my head the Circle seating would be redone to have seating on the floor like it was for Lady Day, perhaps even with a bar, which would replicate the seating at Kazino quite well.

That said, now that the show has been redesigned, that makes less sense. I think it could easily fit into a standard house with on-stage seating and small stages in the front of the orchestra and in the mezz to prevent anyone from feeling too far removed from the action.

Sucks for the guy playing Pierre at ART knowing he's got to take a backseat.