Pinto, I do not "always" make snarky ass comments but I do make my share. People on Broadway sometimes know how bad a show is doing, and sometimes don't. Obviously, it's not cool to bring talk of doom backstage when there is performance to put on, and the reported comment sounded like someone who was not facing reality. It happens. The bottle, per the comment above that you apparently missed, was empty. That's something that would get a props person and maybe even an ASM written up, but it's hardly enough to get more than a laugh from a critic who was already bored to death by the awful excuse for a Broadway show.
Pinto, the reality to which I am referring is that the show sucks, and that critics are not going to bash it for a props dept goof. And no, I am not, nor have i ever been Ben Brantley, or Ben Bradlee, or Ben Affleck, or Ben Stiller, or Ben Folds, or Ben Vereen, or Ben Kingley or, most especially, Ben Gazzara, who suffers from the additional complication of being dead.
Well then .... since it sounds like the only person on the entire Eastern seaboard interested in seeing Living On Love is Philly, and he is stuck in Philly in his dorm room patiently waiting for his Tony voter sugar daddy to wisk him away in a private jet and/or limo to see it .... it sounds like it will be closing very soon.
So what's next for the Longacre until Allegiance in October? Are there are any plays waiting in the wings for a theater looking for a summer limited engagement?
I wish Iceman Cometh would f'in come, but unfortunately many of the principals are busy.
I saw the matinee yesterday. I thought it had a high end community theatre feel. The set looked like it could be used year after year for a string of similar comedies. The stars hit most of their moments but stumbled over several lines. There was a disproportionate amount of cheering at the end compared to the quality of what had actually taken place.
I didn't think it was bad. I actually really enjoyed it. It's the perfect summer theatre festival for rich people in the middle of nowhere show. It has absolutely no business being on Broadway. If I had paid any amount of serious money for it I would've been severely disappointed.
I never understood when people say that? Do shows now need a magic flying carpet to feel like your getting your money's worth? I just wrote a paper on this
Prices create expectations in all aspects of life from everyday products to Broadway shows. I don't expect the same quality or longevity out of a $50 end table from IKEA that I might from a $250 piece from Crate and Barrel.
It partially boils down to perceived value and price anchoring (lots of research in these areas can be found online). So no, I for one don't need a magic carpet ride. But if you're going to charge prevailing Broadway prices, it isn't unreasonable for people to compare you to what they receive from comparably priced productions ... as well as those that cost far less.
Average doesn't matter as much as what any individual attendee paid and her/his expectations based on the "comparison set" of value the individual associates with that price.
Rightly or wrongly we do it in all aspects of life: with college tuition, dining out, rent or home prices, etc.
"the average ticket price was 32 dollars last week"
Here is the problem with that kind of non-analysis. Can we agree, Pinto, that at $32, the show is by design a flop? (I'll give you the benefit of the correct number, which you inexplicably were incapable of providing: $34.18. At that price, a week yields, at sellout, $293,401.12, less credit card and other off the top charges, which is a substantial six figure number under the nut.) So to suggest that the show is looks like it is worth $32 necessarily suggests that it looks like a failure. But the reality (there's that ugly word you hate to confront rearing its ugly head again!) is that the show is not selling out, and thus the failure is much greater. And a show that is (as you would have it) a failure by design has no place on Broadway. Why is it that you seem to choose the failures (not the underdogs, mind you, but the utter train wrecks) to champion? Is there some pathology we are not aware of that would explain this?
"I don't give a crap if its a flop, i just want to see it"
and there's the rub: if you don't care if a show flops, and only care about yourself, then you don't care about Broadway. And if that's the case, perhaps you'd better pack you bags and call your mother; tell her there is a very good chance you will not be in show business if and when you grow up.
Hogan, you out of everybody on this board seems to talk the most about shows closing, and being flops and how they are doing bad at the box office sooo SHUT UPPPPPPPPPPPP. go be a pessimist somewhere else please.