#1
Posted: 6/22/13 at 10:44am
Any buzz on Murder Ballad transferring to Broadway in the fall?
#2
Posted: 6/22/13 at 10:54am
I think what makes it work is the unique seating. Where on B'way? Circle in the Square? I have never been at that theater so don't know.
#3
Posted: 6/22/13 at 10:56am
They're papering left and right off-Broadway. It would flop in 2 seconds on Broadway.
#4
Posted: 6/22/13 at 10:59am
no one is going to pay $130+ for an 80 minute show. They would be better off looking into NWS or an event space. I get the impression that it is not selling that well at it's current location based on all the discounts being offered.
#5
Posted: 6/22/13 at 12:21pm
It's a tough sell down in Union Square. "In The Heights" wasn't selling off-Broadway, and look at it now.
I think "Murder Ballad" has an awful name.
I think "Murder Ballad" has an awful name.
#6
Posted: 6/22/13 at 1:14pm
I like the intimate feel, and the cast using the entire space, meaning walking around the audience. I feel like it would lose that in a huge theater. The only Broadway theater I can think of that working in is Circle in the Square, as mentioned earlier. That's booked already.
"I don't want the pretty lights to come and get me."-Homecoming 2005
"You can't pray away the gay."-Callie Torres on Grey's Anatomy.
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#7
Posted: 6/22/13 at 8:53pm
People are saying Soul Doctor is a sure flop so the Circle may be open again pretty quickly
#8
Posted: 6/22/13 at 8:56pm
Not every piece of theatre can or should go to Broadway.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
#9
Posted: 6/22/13 at 9:06pm
^ This.
It is nestled into a wonderfully unique setting at the Union Square Theater, where it should stay. I enjoyed the show quite a bit, but it would be a very, very tough sell for Broadway. As previously mentioned, it's being papered like crazy right now.
It is nestled into a wonderfully unique setting at the Union Square Theater, where it should stay. I enjoyed the show quite a bit, but it would be a very, very tough sell for Broadway. As previously mentioned, it's being papered like crazy right now.
#10
Posted: 6/22/13 at 10:18pm
I've enjoyed this twice at the Union Square Theater. There is something so unique and intoxicating about this show. That being said, I would actually hate to see it transfer to a broadway house. Part of what makes the show work is the theater and the intimate setting. I've sat in two different sections of the theater and both times have caught nuances that would be missed in a larger house.
#11
Posted: 6/22/13 at 10:48pm
The running length of a show doesn't nessecarily detract ticketbuyers. Cast-in-point: I'LL EAT YOU LAST: A CHAT WITH SUE MENGERS.
MURDER BALLAD could work on Broadway if they setup the stage with the bar, and did on-stage seating. You would then have two ways to experience the show: 1) being on stage in the bar, or 2) observing from the auditorium. This would be a hideously horrible decision. The show wouldn't have a prayer on Broadway.
MURDER BALLAD could work on Broadway if they setup the stage with the bar, and did on-stage seating. You would then have two ways to experience the show: 1) being on stage in the bar, or 2) observing from the auditorium. This would be a hideously horrible decision. The show wouldn't have a prayer on Broadway.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
--Aristotle
#12
Posted: 6/23/13 at 12:56am
You are comparing an hour and a half with Bette Midler, doing gossipy shtick, to 4 relatively new people in an 80 minute all singing show off Broadway.... Apples and Oranges my friend. Not even the same ballpark. Yes. I have seen both shows and there is no way I would pay Real Broadway prices to see Murder Ballad unless it was longer or they added another gimmick, Like Sleep NO More and you follow the cast. But would gladly fork over what ever the going rate is for a full price ticket to see Bette again. (I rushed the first time).
#13
Posted: 6/23/13 at 1:12am
I don't see your point. I was merely saying that a short running time of a show doesn't detract ticketbuyers. In fact, a short running time can even suade a ticketbuyer to said show over a lengthier one.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
--Aristotle
#14
Posted: 6/23/13 at 3:05am
"People are saying Soul Doctor is a sure flop so the Circle may be open again pretty quickly"
Not until "Here Lies Love" transfers first!
Not until "Here Lies Love" transfers first!
Xanadu! Can't cry on cue!
#15
Posted: 6/23/13 at 11:17pm
I'm sorry, I'm sorry...
I HATE when people think 'Broadway' is like, 'a goal' and that Off-B'way is a stepping stone. Sometimes? A LOT of times? The best shows aren't meant to be ON B'way. They're just not. Off-B'way is a treasure, a nest for new works, new composers, new playwrights. Creative, innovative experiences that ... oftentimes, can't, or shouldn't be attempted on a grander scale. That doesn't make or break a show's integrity. I don't mean to be terse, it's just something I run into A LOT.
Rant. Over.
I HATE when people think 'Broadway' is like, 'a goal' and that Off-B'way is a stepping stone. Sometimes? A LOT of times? The best shows aren't meant to be ON B'way. They're just not. Off-B'way is a treasure, a nest for new works, new composers, new playwrights. Creative, innovative experiences that ... oftentimes, can't, or shouldn't be attempted on a grander scale. That doesn't make or break a show's integrity. I don't mean to be terse, it's just something I run into A LOT.
Rant. Over.
#16
Posted: 6/23/13 at 11:24pm
THE ANARCHIST was less than an hour long when I saw it and it didn't stop it from enjoying a Broadway run!
"Long live God!" (GODSPELL)
#17
Posted: 6/23/13 at 11:43pm
It's all a gamble. Smaller musicals are a harder sell on Broadway than a smaller play. People expect a play to have a handful of characters, whereas a musical is usually considered "big."
#18
Posted: 6/24/13 at 6:42am
Let's call it BANG for the BUCK. 90 Minutes of Bette doing basically Bette.(yes I would pay to see) or 4 mostly unknown "Kids" singing something new for 80 minutes and you have to turn your head every 10 to 20 seconds to follow. (Yes I saw it, liked it, but would I pay $130 to see it NO)
I would sell a testicle to be able to see Ben Walker back at the Public doing Bloody Bloody again...Look how long that lasted on Bway and it was a great show. Better moved would have been to NWS!
I would sell a testicle to be able to see Ben Walker back at the Public doing Bloody Bloody again...Look how long that lasted on Bway and it was a great show. Better moved would have been to NWS!
Updated On: 6/24/13 at 06:42 AM
#19
Posted: 6/24/13 at 8:04am
Having only seen the Union Square version, and not the previous MTC incarnation, I think in addition to the intimacy of the space, the aesthetic has lots to do with it. Union Square feels dark, the seats are a little ragged and mis-matched, and it really gives you the gritty, downtown bar feel. The only show I've seen on broadway that has come anywhere close to creating this type of audience ambience was the Follies revival.
I bought the album yesterday and am surprised how much I wish this could have been recorded with Levy. She is killing it out there - this role is a much better fit for her than sappy ol' Molly in Ghost.
I bought the album yesterday and am surprised how much I wish this could have been recorded with Levy. She is killing it out there - this role is a much better fit for her than sappy ol' Molly in Ghost.
#20
Posted: 6/24/13 at 5:42pm
What is the format/staging of this show? Listening to the cast album it has the feel of "Passing Strange" with combination of self narration/character interaction.
#21
Posted: 6/24/13 at 6:06pm
I should have said transfer/extend. I'm heading to NYC in Nov and was hoping it would still be playing!
#22
Posted: 6/24/13 at 11:14pm
Limelightmike, AMEN.
I haven't seen Murder Ballad yet, hoping to get to it this weekend, but Broadway isn't the end all be all. Some of my favorite theatrical experiences weren't on Broadway (and one or two *gasp* weren't in New York.)
This show would have to be completely restaged and reconceived from everything I understand and wouldn't work in any Broadway theatre.
I haven't seen Murder Ballad yet, hoping to get to it this weekend, but Broadway isn't the end all be all. Some of my favorite theatrical experiences weren't on Broadway (and one or two *gasp* weren't in New York.)
This show would have to be completely restaged and reconceived from everything I understand and wouldn't work in any Broadway theatre.
Scratch and claw for every day you're worth!
Make them drag you screaming from life, keep dreaming
You'll live forever here on earth.
#23
Posted: 6/25/13 at 12:02am
IF the show was proving to be a massive, sell-out success Off-Broadway then they could find a way to do it in a Broadway house. Hal Prince's revival of Candide back in the 70s, for instance, completely transformed the Broadway Theatre:
"Eugene Lee helped Prince make sure that the multi-scene show would not get bogged down in set changes - he created platforms for the action that allowed scenes to change by refocusing attention instead of changing scenery. Actors performed on platforms in front, behind, and sometimes between audience members. Some sat on bleachers, others on stools on the stage floor. As the story unfolded, so did the stage, with sections falling from above, opening, closing, flying apart or coming together. A 13-member orchestra played from four areas. The conductor, who wore period costume and gold braid, could be seen by audience and musicians alike on television monitors."
However, it does not seem like the demand for this show to move uptown and transform a space like that actually exists.
"Eugene Lee helped Prince make sure that the multi-scene show would not get bogged down in set changes - he created platforms for the action that allowed scenes to change by refocusing attention instead of changing scenery. Actors performed on platforms in front, behind, and sometimes between audience members. Some sat on bleachers, others on stools on the stage floor. As the story unfolded, so did the stage, with sections falling from above, opening, closing, flying apart or coming together. A 13-member orchestra played from four areas. The conductor, who wore period costume and gold braid, could be seen by audience and musicians alike on television monitors."
However, it does not seem like the demand for this show to move uptown and transform a space like that actually exists.
#24
Posted: 6/25/13 at 2:39am
Exactly.
Is there a rush for this? I'd love to check it out.
Is there a rush for this? I'd love to check it out.
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