uncageg said: "I am sure the Stage 42 comment was a joke.
Many shows have closed on Broadway and transferred/reopened there. Avenue Q, Peter & The Star Catcher, RENT, Jersey Boys, The Play That Goes Wrong). One of the NYT's critics even cracked the joke in the article remembering Phantom."
Those shows were at New World Stages, not Stage 42.
Listener said: "Nobody with any connection to this show, besides Cam, is saying it was losing so much money it had to close. I really think if it was budget issues, people would be backing up Cam. They are not. Not even Andrew
OH LOOK!
It's Andrew talking about how Phantom was costing nearly a $1m A WEEK !
TBFL said: "The London production is barely breaking even as it is. I'm sure it will come back to Broadway and yes it will be a cheaper production. Best save some of those tears for then."
I need to know where this information keeps coming from that the London production is either barely breaking even or is doing so poorly financially.
AKarp2013 said: "TBFL said: "The London production is barely breaking even as it is. I'm sure it will come back to Broadway and yes it will be a cheaper production. Best save some of those tears for then."
I need to know where this information keeps coming from that the London production is either barely breaking even or is doing so poorly financially.
"
Particularly after ALW just said last week was it's best grosses in West End.
The fact that ALW has been planted on NBC - (Lester Holt, MSNBC, Tonight Show) makes me think this summer or fall we'll see that Phantom inspired TV project they were talking about last fall
From someone at RUG, but just looking at the seating plans will say as much. Yes Thurs - Sat are pretty well sold, but the Mon - Thursday? Not good. This is for 3 weeks time. They do sell more, but very few are ever face value. Yes this production is cheaper but not enough to cover half of the weeks' performances
I don't doubt that it's probably not doing the gangbusters business it once was but I'm not gonna lie and I'm not trying to be snarky: some of those seating plans for the upcoming 1-2 weeks for the London production look better than how some day-of performances of Phantom on Broadway were looking for a chunk of time before closing was announced.
AKarp2013 said: "I don't doubt that it's probably not doing the gangbusters business it once was but I'm not gonna lie and I'm not trying to be snarky: some of those seating plans for the upcoming 1-2 weeks for the London production look better than how some day-of performances of Phantom on Broadway were looking for a chunk of time before closing was announced."
Yes they probably are and thats what I said - they do sell more nearer the date, but never at the full price. You could have a full theatre for weeks, but if the audience is on a cheap ticket, you're not covering your costs. Also, having no real advance isn't great either. Sure, its made lots of money and can afford to cover for a while, but for how long?
TBFL said: "AKarp2013 said: "I don't doubt that it's probably not doing the gangbusters business it once was but I'm not gonna lie and I'm not trying to be snarky: some of those seating plans for the upcoming 1-2 weeks for the London production look better than how some day-of performances of Phantom on Broadway were looking for a chunk of time before closing was announced."
Yes they probably are and thats what I said - they do sell more nearer the date, but never at the full price. You could have a full theatre for weeks, but if the audience is on a cheap ticket, you're not covering your costs. Also, having no real advance isn't great either. Sure, its made lots of money and can afford to cover for a while, but for how long?
Jon Robyns addition to the UK cast is likely to give the box office a boost. Having Earl Carpenter back was also a great PR move until Robyns finished his stint in Les Miz. He appears to have a good following and will no doubt generate some great energy especially with Holly Anne's amazing voice.
It will be interesting to see what they come up with for the next Broadway launch. They might need some "names" to kick things off. As I noted in an earlier post, Sierra Boggess indicated an interest in playing Madame Giry, although would be a great Carlotta - as would Meghan Picerno.
TBFL said: "g.d.e.l.g.i. said: "It's coming back as the NBC show, to prime the pump for the downsized London version. Then the downsized London version comes back. Likely not to the Majestic; house minimums wouldn't let them slash the orchestra."
Have you even seen the new London production? It's hardly downsized. It's had a few set pieces removed and some added and the orchestra cut in half. Unless you're an uber Phan and moan when they dust the set, then you really wouldnt notice any difference.
"
It's really sad people have such disregard for attention to detail. The London production has major excisions and anyone who claims 'there is no difference' clearly does not remember the original production.
BJR said: "How did the nut rise 150k post-pandemic? That's a lot, and can't just be testing."
Testing wasn't cheap and that is a large cast. there were also Covid Safety managers backstage and in the front of houses. I know people who did it and they were making very good money.
Chase Miller said: "What a slap in the face if they just revive this show in the next 2-3 years. Phantom needs to be gone for at least a decade."
That's exactly what I have been saying for a while now! Let people move on and bring it back in like a decade or so with a new creative team. Bringing it back immediately is a major slap in the face to Hal Prince and members of the OG creative team who are no longer with us.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
uncageg said: "BJR said: "How did the nut rise 150k post-pandemic? That's a lot, and can't just be testing."
Testing wasn't cheap and that is a large cast. there were also Covid Safety managers backstage and in the front of houses. I know people who did it and they were making very good money."
This. Each lab test was about $300. While FOH staff were tested only 2-3 times per week, I believe the cast was tested more frequently. There was a COVID manager backstage at all times, and a team of at least 3 in FOH (excluding additional ones checking the verification info outside). They were making at least $25/hour. Anyone absent due to covid still received their pay. Add to that rehearsals and salaries for alumni to come in and perform, it's easy to see those costs rise.
Jordan Catalano said: "Are shows still Covid testing?"
Mobile Health location on 8th ave (between 43/44) is closing on April 23rd so after that date I'm guessing shows will stop testing or will have to find another provider.
Fosse76 said: "uncageg said: "BJR said: "How did the nut rise 150k post-pandemic? That's a lot, and can't just be testing."
Testing wasn't cheap and that is a large cast. there were also Covid Safety managers backstage and in the front of houses. I know people who did it and they were making very good money."
This. Each lab test was about $300. While FOH staff were tested only 2-3 times per week, I believe the cast was tested more frequently. There was a COVID manager backstage at all times, and a team of at least 3 in FOH (excluding additional ones checking the verification info outside). They were making at least $25/hour. Anyone absent due to covid still received their pay. Add to that rehearsals and salaries for alumni to come in and perform, it's easy to see those costs rise."
My understanding is each lab test that was PCR (not rapid) is $300. If it was rapid I think it's $60? However, if someone tested positive from the rapid test, they had to take a PCR test immediately to confirm. I know back in winter 2021/2022 the theater required workers to test at least 2x a week or every 2-3 days.
In addition to covid testing and covid manager, I believe POTO also had to hire extra swings.
Since masks are optional nowadays on Broadway and testing is not as frequent (if they even test), I'm guessing the weekly nut would have decreased.
Was Phantom eligible for the $10 million covid relief from the government back in 2021? I recall reading in NYT Hamilton got $10 million for its Broadway production (which makes me think other bway shows got that amount as well.)
Dylan Smith4 said: "Chase Miller said: "What a slap in the face if they just revive this show in the next 2-3 years. Phantom needs to be gone for at least a decade."
That's exactly what I have been saying for a while now! Let people move on and bring it back in like a decade or so with a new creative team. Bringing it back immediately is a major slap in the face to Hal Prince and members of the OG creative team who are no longer with us."
This was clearly what was planned all along (and the ridiculous 'letter' on Jimmy Fallon merely confirmed it), but I agree. There is, or was, a lot of anger backstage the Majestic that that community was torn apart for no good reason other than for Cameron Mackintosh and Really Useful to open the show and hire newbies to do their jobs.
Yes, 'it's showBUSINESS' I hear some say. In that case find a show that does do the business, rather than parasitize off the hard work of deceased creatives who are no longer around to argue against their names being wrongly attributed to shoddy work.
Impeach2017 said: "Everyone is totally sick and tired of hearing about Covid, especially the endless politicizing about this disease. Let us please move on!"
Ok… moving on…
yes they still test for Covid on bway but only once a week and no one has to wear a mask anymore backstage. Everyone is equal and no one is left to feel like a 2nd hand citizen
The Scorpion said: "Dylan Smith4 said: "Chase Miller said: "What a slap in the face if they just revive this show in the next 2-3 years. Phantom needs to be gone for at least a decade."
That's exactly what I have been saying for a while now! Let people move on and bring it back in like a decade or so with a new creative team. Bringing it back immediately is a major slap in the face to Hal Prince and members of the OG creative team who are no longer with us."
This was clearly what was planned all along (and the ridiculous 'letter' on Jimmy Fallon merely confirmed it), but I agree. There is, or was, a lot of anger backstage the Majestic that that community was torn apart for no good reason other than for Cameron Mackintosh and Really Useful to open the show and hire newbies to do their jobs.
Yes, 'it's showBUSINESS' I hear some say. In that case find a show that does do the business, rather than parasitize off the hard work of deceased creatives who are no longer around to argue against their names being wrongly attributed to shoddy work."
There wasn't "a lot of anger backstage at The Majestic." Where on earth have you got this from? Either a single highly unreliable source I expect or you've completely made it up.
This version of Phantom has closed because it was haemorrhaging money. It got an incredible well deserved boost in it's last months because it is an amazing musical that has spanned 35 years of our lives. To be expected. But that is not sustainable and before that it was in dire financial straits.
It is perfectly reasonable, and indeed desirable for such a popular musical to return soon in a financially viable format. And bringing it back soon isn't a "slap in the face" to anyone. The producers and creators of this show can put it on whenever and wherever they like. The general public can decide whether or not they wish to spend their money to see it.
I was there for the final matinee on 4/15, Ted Keegan and Julia Udine's last performance, and they were both magnificent. Together with John Riddle as Raoul, they made up what is in my opinion the best trio since the original cast. Ted is a true tenor, which I love, and he plays the role very close to Michael Crawford, going for pathos rather than terror or total intimidation as some Phantoms do. He even copies a lot of Michael's blocking, including raising his arms at the high A of "Music of the Night." Julia's voice has a lot of the qualities I enjoy in Sarah Brightman's voice, that crystalline, birdlike soprano, and her British accent is a lot more even than most American actresses who've played the role. She was crying all the way through "Wishing" (as was the audience), but she still managed to sing it beautifully. She broke down completely afterwards, but the well-deserved standing ovation gave her time to recover before "Wandering Child."
The chemistry between her and Ted was palpable in "Point of No Return." The newer staging makes Christine/Aminta a bit less demure than when Sarah Brightman played the role, and boy did Julia go for it, spreading her legs wide while seated on the bench, and when she flashed her leg at Don Juan/The Phantom, you would have thought she had given him an electric shock, Ted jolted back so far. Ted is the only actor I've seen after Michael Crawford to really show the Phantom's physical torment while he sits on the bench during Christine's part, swaying, not knowing what to do with his hands, and even sort of collapsing in on himself. When he moves away from Christine and she follows him and presses her body against his during the last few bars, the impact is so much stronger than when the Phantom basically sits there like a bump on a log.
Understandably, the finale was super emotional. Ted was putting his hand to his lip right after Julia kissed him; I almost wondered if he's had a mishap like happened to Michael Crawford, with the prosthetic coming off. And when Julia gave Ted the ring back, they stayed holding hands for longer than I've ever seen. At the curtain call, Julia was still crying, and Ted pulled her in for a little kiss before taking his bow.
As my first and last time seeing the original Hal Prince production of The Phantom of the Opera on Broadway, I don't think I could have asked for a better cast or a better performance. While I know when Phantom returns to Broadway it won't be the same, I hope the powers that be don't repeat one of the mistakes of the London revival of not hiring back the veteran cast. It would be a shame if the world never got to see these wonderful performers in these roles again.