National Tour Flops — Page 3

Forewarned about this, I grabbed some auditory assistance headphones for the show. It helped immensely.

MarkBearSF said: "Charley Kringas Inc said: "...It was a weird experience because I knewwhatthey were (meant to be) saying, but the actual sounds that arrived at my ears were jumbled."
Forewarned about this, I grabbed some auditory assistance headphones for the show. It helped immensely."

I sympathize with those who had difficulty understanding the words. I think the above statement again supports that it was more a matter of poor sound design as a potential “flop” rather than the show or a problem with the cast. Having seen the musical nine times so far, including several times in both North America and the West End, the sound was disappointingly hit and miss. As a self-confessed Matilda mega-fan, I love the lyrics and long to hear them clearly.

The fact that many of the same children almost immediately garnered Broadway roles in shows like School of Rock and Frozen (currently, two of the four young Annas and Elsas were Matildas), and have received stellar reviews, further supports this line of thinking. I would find it hard to believe they all suddenly gained excellent enunciation skills. Others are in shows in venues such as Paper Mill Playhouse or have gained screen roles. Simply put, they are talented, and I believe some will be future Broadway stars.

I would take issue with the idea that the Broadway/US tour Matildas couldn’t do a British accent. After the first year on Broadway, they and the cast were directed and trained to do a hybrid accent and include more American language (e.g. use “sweater” instead of “jumper&rdquo to allegedly make it easier on American audiences. In my opinion, this was a mistake that led to additional confusion.

As previously noted, it is doubtful that the show would have extended its multi-month run twice in Toronto and then headed out for a second US tour if it was struggling financially.

RippedMan said: "It has made, and continues to make - in the UK - boat loads of money for its investors and creators. It's a great show. I'm actually surprised to not see it so heavily picked up in the regional houses."

It’s only recently been released to select venues, though I think you are correct about what is to come.

Have you seen the Tuacahn (Utah) regional theater photos? Appears to be an excellent production. I am hesitant about future productions because of the level required to do it justice. It’s also opening in South Korea...translated into Korean.

Tag said: "As previously noted, it is doubtful that the show would have extended its multi-month run twice in Toronto and then headed outfor a second US tourif it was struggling financially.

It did not do well in Toronto. There was no buzz and it was playing to half houses. It's a tremendously expensive show to run as well. Not to mention the book is terrible :P"

Any chance you are joking?

1. Why would Mirvish extend the show's run twice if it was losing money? That makes no sense. The company has little trouble attracting top shows for their theaters (e.g. currently Wicked and Come From Away). Do you have documented proof (actual attendance figures)? Possibly you attended on a slow night or perhaps late in the run?

Here is the Mirvish press release of September 26 , 2016: "Toronto Can’t Get Enough MATILDA!"..."Due to unprecedented demand for tickets, David Mirvish, The Royal Shakespeare Company and The Dodgers are delighted to announce that the Canadian premiere production of MATILDA THE MUSICAL is once again forcing them to extend its run, this time through January 8th, 2017. This will be the final extension, MATILDA must leave Toronto after its final performance on January 8th." Even if one recognizes the hyberbole of advertising, the extension was made because it was making money. Mirvish also just extended Come from Away because it is a popular, profitable show. Side note: I'll be seeing Come From Away at the Royal Alexandra in ten days.

2. My personal experience agrees with the "unprecedented demand" and differs greatly from your lack of buzz. I saw Matilda twice in Toronto and had difficulty obtaining a single seat with a decent view because tickets were in high demand with sold-out performances.

3. As for the book, you're certainly entitled to your opinion, but I concur with the Tony voters who awarded it Best Book of a Musical in 2013. It also won Outstanding Book of a Musical from the Drama Desk Awards and the Outer Critics Circle Awards that year, and the New York Times review stated the book was "a sweet and sharp-witted work of translation."

Matilda in Toronto was always scheduled for a July- early January run. Although, Mirvish has learned with open ended runs like The Producers, and Hairspray; the best thing to do is always announce an earlier closing date, and then open a new block of tickets as need be. Tour groups are always offering trips to shows in Toronto on dates that are after their current closing date, and sure enough a new block goes on sale.

Matilda in Toronto was not what I was expecting from all the buzz coming out of New York and London, that I did not like it. I was really hoping to. I too waiting months for tickets, not because I couldn't get one (which you could by end of September, really) but because the prices were way above what I wanted to pay. and hoped there would be a deal which I got in late November. Side note: Ms. Honey's accent had no idea where it was suppose to be.

Re the book: In my opinion the show comes to a grinding halt every time the librarian comes out, and we have to sit through the circus b-plot. And the finale with the gangsters is just so messy and anticlimactic.

Re the Toronto run: The numbers dwindled after the subscribers saw the show. They had to put up a wall in the balcony that makes the theatre smaller later in the run. The show was never really "extended", it was always going to run as long as it did, it just wasn't announced that way. The plan (and pre-bookings) were to always start the tour up after the January ending in Toronto. Many in the company were so over the show by that point, that they didn't continue onto that second leg of the tour. There were no accolades or awards for the Toronto run, there was just no buzz (compared to awards, press and transfer of Come From Away for instance).

Tag said: "Re the book: In my opinion the show comes to a grinding halt every time the librarian comes out, and we have to sit through the circus b-plot. And the finale with the gangsters is just so messy andanticlimactic.

Re the Toronto run: The numbers dwindled after the subscribers saw the show. They had to put up awall in the balcony that makes the theatre smaller later in the run. The show was never really "extended", it was always going to run as long as it did, it just wasn't announced that way. The plan (and pre-bookings) were to always start the tour up after the January ending in Toronto. Many in the company were so over the show by that point, that they didn't continue onto that second leg of the tour. There were no accolades or awards for the Toronto run, there was just no buzz (compared to awards, press and transfer of Come From Away for instance)."

I will happily agree to disagree based on the numerous major awards for the book (believing the circus stories essential to tying plot elements together) and in attending the Toronto show twice with a definite buzz and sold-out performances, though I would believe your summation of a decrease in audience at the end of its anticipated/extended run.

Looking forward to Come From Away and a production at the Toronto Fringe before heading back to Broadway. Hope you are finding many shows to enjoy.