The 2009/2010 season was/is exceptionally weak (The Color Purple in December 2009; Legally Blonde scheduled for June 2010).
I've heard that next season will bring South Pacific (Jan 25-30, 2011), Spamalot (March), A Chorus Line (April), and Beauty and the Beast (June).
They'd like to add a fifth show, but it won't be The Lion King because the stage can't hold an elephant (as explained to me by a theater representative).
p.s. I'm looking forward to at least three of the shows (Beauty and the Beast for my first time). I saw Spamalot on Broadway with what's his name and I don't know who else and couldn't help dozing off.
Spamalot has to be non-equity because I remember reading audition notices on playbill.com for that. Plus, the equity tour did close.
"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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Not always. The Legally Blonde tour (which is going to make a mint, by the way) is equity, and I assume the South Pacific tour will be, too. Spamalot and Beauty and the Beast will both be non-equity tours, though.
"(which is going to make a mint, by the way)" Sorry for not knowing, but that's a bad thing right?
And I just looked on Wikipedia (great source I know) and it said that Spamalot will be Non-Equity, but they're still using that same set. What will be the difference besides the actors? Do they pay them less?
I can tell you right now that the Legally Blonde equity tour has not been performing up to many people's expectations. It is far from making any kind of "mint."
I'm not sure the reasoning. But road grosses have not been kind, many venues reporting half-empty houses.
Not according to Variety:
"Legally Blonde" may have had a bumpy Broadway berth, but its accompanying MTV reality show has helped boost the tuner's touring street cred. Take a handful of recent road stops: $2 million for a couple of weeks in Houston; $2 million at St Louis' fabulous Fox; high $900K's for single-week stands in Buffalo and Rochester, N.Y.
"Every presenter has gotten into splits," says producer Mike Isaacson, referencing the sweet spot where, after meeting guarantees, venues get to share some profits. "That's a real joy to be able to say these days."
The boffo road grosses are especially noteworthy because "Legally Blonde" got mixed reviews and no Tony love on Broadway, where it did not fully recoup its investment. In New York, it was perceived as yet another teen-oriented musical fueled by mass culture. Many Gotham critics couldn't stand it. 'Legally Blonde' makes its case
Major markets that I'm aware of such as Los Angeles, may be reporting decent numbers, but compared to their venue size are still considered disappointments. Los Angeles barely filled to 60% capacity over 8 performances. A few other smaller markets were reporting 50% and under capacities. But yes, a handful (4-5 max) markets were able to get to 90% capacity. And the bottom line is only as important as compared to the actual gross potential of a theatre. So $800,000 may seem like a lot, but not if the GP is $1.8 million.
"And I just looked on Wikipedia (great source I know) and it said that Spamalot will be Non-Equity, but they're still using that same set. What will be the difference besides the actors? Do they pay them less?"
From the tours that come through Atlanta's Fox the difference in production values (i.e. set, lighting) can almost, ALMOST be the same if the performers are or aren't equity. HOWEVER, it is very noticeable if the performers aren't equity regardless of who is the "star" of any non-equity tour.
But $800,000 is much more than their weekly operating costs, which means the tour is incredibly profitable.
That's a generalization. For Los Angeles, maybe it made something of a profit. But most markets are bringing in far less. Meaning the tour is not being considered a success. Weekly operating costs for a tour are much different than a sit-down production. Most markets on the Legally tour are bringing in $300,000-$400,000. Reviews in most markets are not good and road presenters are not happy that something they considered would do well is tanking...badly.
^No, but extremely talented teenagers from the Tri-State Area. Last year's Sweeney Tood was phenomenal, and they usually do shows not usually performed by that age bracket (1776, Ragtime, etc.)