Leslie Odom, Jr. sets Broadway return in revival of PURLIE VICTORIOUS, directed by Kenny Leon. — Page 5

DrMonicaDeMoneco said: "JSquared2 said: "Could this show close before Opening Night?

I can't even remember the last time that Broadway has seen as blatant (and misguided) attempt at a vanity project where no one was steering the ship. Maybe that golden classicThe Blonde in the Thunderbirdstarring Suzanne Somers?"

Glory Days, anyone? Anyone remember that craptastic show? It’s a great example of a blatant (and misguided) attempt at a vanity project! It opened and immediately closed.
I hope Leslie’s show isn’t on the same path. At least his show has producers with deep pockets



Although yes, Glory Days was a disaster -- it would not fit the definition of a "vanity project" (unless Nick Blaemire sunk $10-$12M of his own money into0 the show -- which I highly doubt). The only reason that this revival of Purlie Victorious is happening is LOJ and his ego.

I am amazed this has not shown up on papering websites nore has a rush policy been announced today

I am also so surprised how the marketing has not focused on the other people in the show, granted Jay O.Sanders and Billy Eugene Jones aren't "names" but they both have a lot of credibility in the theater community

JoeW4 said: "^You answered your own question. Neither of them mean anything to the box office, so there's no value in using up marketing resources on displaying their names/faces (and I say this as someone who thinks that Sanders, Jones, and Young are 3 of the most skilled actors working in the industry today).



Many of the comments in this thread are pointing out things that are probably true, but am I crazy that it feels like the claws are out for this show, in a way that feels a little disproportionate? Feels like there's a bit of a pile-on taking place. A lot of these criticisms could applied to a whole slew of Broadway plays from recent years - many of which were well-received.

Also feels a little bizarre to call this a "vanity project" before we actually see it. The play is rarely performed, so that alone feels like a good enough reason to revive it, and makes it feel less like it just exists for vanity. Especially if the play is actually good (I haven't seen it or read it), and especially especially if the production turns out to be good. And the fact that it's doomed to flop at the box office doesn't make it a vanity project - I'd argue it reads more like a passion project. A "prestige money-loser," to use a term that sometimes appears on this board."

I am being sincere when I say that the production’s initial marketing- that stock photo of a church- is easily the worst I’ve seen for a Broadway production, particularly one with this caliber of artists involved. I am reacting more to that and the continued poor handling of the show’s marketing and I would guess many others are, too. I only assume they want to sell tickets but nothing they’ve done actually seems to reflect that very much.

Well being that Leslie Odom Jr. IS the international box office draw, It makes perfect sense to use him as the face of the Production. This cast is filled with Dynamic Actors in addition to Leslie's top billing. I think this is more of a "Passion Project" than a Vanity one. I hope it has great success and I Loved the musical version of the show I saw at City Center some years back. So I am sure the play version will be just as good if not better.

On That note, I will also say while many are looking for discounts and free Tixs my hope is that they find a way to make $$ even it means implementing an in-person rush.

Updated On: 9/7/23 at 01:28 PM

I wouldn't call this a vanity project, either, but it is absolutely the first real test of Leslie Odom Jr's draw as a "star."

Stopped by the box office on a whim to see if they had a rush policy, aand they do.

General rush, 2 per person, $35 when the box office opens, my seat is in the front row but I was told it is meant to be a full view seat

I was reading the Hollywood Reporter Tony roundtable and was reminded of this thread and the discussion about why Odom chose to do the play instead of the musical.

In the Vulture interview discussed above, he claimed he always wanted to do the play.

"“Purlie Victorious was the first thing my subconscious brought to mind,” he said. Ossie Davis’s 1961 play, a satirical romp set in the Jim Crow South, had been put into Odom’s hands when he was coming up as an actor, and over the years he had turned to it for audition monologues and scene studies. He wanted to get the play back onstage, and he wanted to play the title character"

And yet, in the Tony roundtable article, he claims he wanted to do the musical, but Ossie Davis's children would only give him the rights to the play.

"ODOM I had every intention of doing that musical. I was only looking for the musical. But Ossie’s three children run his estate — Nora, Hasna and Guy. Guy wrote all the original music for our production. And they said, “No.” They said, “We love you. We’re a fan of your work. But listen, the musical came about 10 years after the play, and the musical is an adaptation of our dad’s words.” Hasna very famously talked about the fact that her siblings got to interact with the piece because they’re older than her. In ’61, when it was presented, Hasna was like, “I was too young. I was 3 or 4. I don’t remember it. I want to see Daddy’s play.” Like, “Listen, we can talk about the musical later, but I want to see Daddy’s play.” And so I knew that if ever I wanted to do the musical, the play was going to be the door. And by God, I’m so thankful that they held the line in that way. I was worried like everybody, “Listen, I have affection for it, but are these jokes going to work? Is the humor going to be creaky? It’s a little dangerous. We’re saying some words and some things that can we say this now?” And all this stuff. But every reading that we did, this piece — Ossie’s words, Ossie’s heart and his brilliant mind — was demanding to be heard in this time. And then I discovered, in the doing of it, all this music that was there, not unlike Lynn or Shakespeare or Tennessee or August — there was so much music, and lyricism, and rhythm, and rhyme in the poetry of the text. It’s the most musical non-musical you’ll ever see."



Just found that interesting.