FANtomFollies said: "A flop is any show that fails to recoup its investment and make a profit."
The media reports around the closing announcement of American Idiot indicated that it was close to recouping but it was unclear if that would happen before the last performance. It had a very solid start, some lean winter months, and a strong finish. If anyone knows of a trustworthy source that could settle the matter of recoupment, I'd be very interested.
For what it's worth, Beetlejuice flopped on Broadway - by those terms - but is a giant hit on the road. It's already got a second Chicago stop planned due to demand.
RippedMan said: "For what it's worth, Beetlejuice flopped on Broadway - by those terms - but is a giant hit on the road. It's already got a second Chicago stop planned due to demand."
Jagged Little Pill has also done well on the road. Sadly, COVID killed the Broadway production.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Des McAnuff's Jesus Christ Superstar played/extended to sold out shows at the Stratford Festival/had acclaim at La Jolla but definitely didn't translate on Broadway — save for Josh Young's performance, eventual Tony nom.
As a fan of Alice Faye, I was thrilled when she was signed to do the revival of GOOD NEWS. It toured successfully for almost a year but ran for only 16 performances on Broadway (12/23/74 to 1/4/75).
SEVEN BRIDES FOR SEVEN BROTHERS with Debby Boone had a well-received 18 month tour prior to opening on Broadway where it had a 5 performance run (7/8/82 to 7/11/82).
Legally Bonde recouping on the road and Seussical recouping in licensing were big game-changers in terms of how flops and hits work. Beetlejuice has defied conventional Broadway metrics since the pandemic; theatre business students in the future will be talking about Beetlejuice as a case study for decades to come.
It sometimes seems like people are thinking and talking about flops and hits like it's still 1994 before Disney Theatricals and the boost of the licensing houses changed the business of how a show is designed to make money. "Running for fifty years on Broadway" isn't necessarily the game plan anymore.
Not Since Carrie is required reading for any theater fan. It is essentially the bible for flop lovers. It's not just something some guy wrote in a book. As someone said, American Idiot ran a year but did not profit so that's a bad measurement too.
Ken's book is thoroughly researched and his definition is not only well put together with a great deal of care, it is also used as the end-all in most theater circles.
FantomFollies wrote: "It's becoming obvious many people on this forum don't know what a flop is. A flop is any show that fails to recoup its investment and make a profit. It doesn't matter if it runs for a long time or is praised by critics or audiences. If it doesn't recoup, it is a flop."
I couldn't agree more. For example, the revival of 42nd STREET ran over 3 1/2 years and clocked in with 31 previews and 1,524 performances. Yet, it was so costly to run that, if I'm not mistaken, it closed without recouping its initial investment. I loved the show and saw it several times. It was a lavish production and you saw every penny spent on the stage. It also had an orchestra pit with over twenty musicians. A financial flop. yes, but it far surpassed the original 1980 production IMO which was a financial hit and ran twice as long as the revival.