Cupid Boy2 said: "The way I see it, this revival is happening because a group of individuals were very passionate about a piece of art and they were hoping to share their passion with even more people...While sales may be abysmal even by those standards, I'm happy that people like that exist and that they chose to take on the risk involved with bringing this to New York. It's exciting to see art like this on a Broadway stage."
I agree 100%. I think production knew this was a risk but they were willing to take it. One of Deaf West's missions is to broaden audiences views about theater and creating more inclusive art. They're doing that here, whether crowds are flocking to it or not.
Also I should mention that during the LA run, tickets were on Goldstar and deep discounts were easy to find, and the house was completely packed and full of young people both times I attended. I know that was a smaller capacity theater and shorter run, but discounts are important to draw in this show's audience and obsessive young fans who will watch again and again. The audience members who pay full price will follow suit as they won't want to miss out on all the buzz. Right now, I think ticket prices are killing the chance for that kind of momentum.
It's sad . . . I wish they had done this through a subscription house - I think it would have allowed the show to run longer, and get the word of mouth it needs.
But, it's true about discounting a show too much backfires.
Let's say I am selling two broadway shows . . . and you know nothing about either show.
Show A is selling for $100.00 a seat.
Show B is selling for $50.00 a seat.
Which is the the better show?
What every really wants is the $50 seat to a show that sells for $250.00.
dramamama611 said: "I used a discount to get tickets for tomorrow nights show with no problem. I used MAIL1."
That produces the same map I posted, with all of the discounts in the rear and off to the sides. Again, if you have a show selling well, good on ya, and I'll take them. But with so many better seats not selling, seems weird buying in the horseshoe...
Conversely, for Last Ship, when premiums converted to regular price 90 minutes to show time, they also would take the discount code. I haven't tested whether SA allows for any shenanigans like that.
"Big River," the comparable here, was a mostly beloved family show, high schools had performed it, it was a deeply ingrained slice of Americana for both (recent) theatrical and (vintage) literary reasons, and a chance to revisit it was welcome. It was a lovely, feel-good show. You can't quite come to that decision about "SA," despite the artistry and brilliance of the musicalization. Which are extraordinary. I saw the original twice, loved it both times, own the CD, played it often. But I'm not drawn to the revival. I'm not the target audience, except: I see a lot of shows, many if not most revivals. And was willing to put my dollar elsewhere. I don't think I'm in the minority, clearly.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
I'm hoping that they will release a video recording of this production. sell it on iTunes etc. could help them to recoup a bit lol.
The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
I would see this show again in a heartbeat if I could afford to, and bring a lot of friends. Such a teriffic production. Hope it makes it to the end of its run. Maybe Roundabout or something would have made more sense.
Personally, what pops out of the article most for me is that the capitilization was only 4.5 million dollars. It has such a large cast, so that low number really surprised me.
somechrysanthemumtea said: "Personally, what pops out of the article most for me is that the capitilization was only 4.5 million dollars. It has such a large cast, so that low number really surprised me."
It's also a fairly young cast, so a lot of people are working for minimum. And when all is said and done, cast salaries are not as big of a capitalization budget as some may suspect. In theory you only need to raise enough to cover rehearsals and whatever reserve you are building in. After that those expenses are (hopefully) covered by the weekly earnings.
Lost Hamilton and SA lotteries today (which I fine, I was just in midtown to see the Christians)... but just wondering: Has anyone done the lottery loser seats? At that price, do you get to be fussy with your seat or not? I mean, within $10 of the TKTS cost at that point, and I always make them give me options, heh. Just curious if good seats are on offer to losers, since that seems my designation every time I try...
We were in the back of the orchestra tonight, from house left on the aisle in Act 1, then direct center for Act 2. (There was an obese man sitting next to me "sharing" my seat. Didn't miss a thing from either.
I'm torn about the show itself. First I'll say I did love the original. There was a lot of scenes that were improvements here, especially the Ilse/Moritz scene....especially Ilse return in finding him. Hansen's masturbation scene was sublime. But I also felt so number of scenes didn't climax well, and felt unfinished. Totally F%¡ed lacked build and energy.
Overall, I enjoyed many of the performances, but didn't fall in love. Maybe I wanted to, too much.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.