That is the list from the 2015-2016 rulebook, when the Hudson was not in use as a legitimate theatre.
The administration committee announced back in October after they met to determine eligibilities for Cats and Paramour that the Hudson will be considered Tony eligible.
N2n is correct. If he wasn't, there'd be joining reason for them to withdraw.
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.
That is a really stupid idea. Like they'd do that.
broadwayguy91 said: "dianamorales said: "What the chance that they'll perform at the Tonys?? Wicked and Phantom werent up for anything a couple years ago either...
"
the show will be closed by then, I doubt they will perform
I still find it silly. If selling tickets is such a huge concern.. they could have filmed the production and organized a private viewing party / parties for the Tony voters. there are ways to work around it..
Some others have pointed this out as well, but to me this makes total sense. It's not just the money they would lose for all the comps for Tony voters. The shows usually also spent a fair bit of money for the Tony campaign, including paying for a spot to perform.
Even f they might not expect to recoup, they still want to make as much money back as they possibly can.
Besides the prestige of winning the award, the shows do it because Tony wins will help them sell the show. Sunday will be closed even by the time the nominations will be announced, so they have nothing to gain from it. And this year is so crowded as it is, any nomination or more so a win would have been a long shot anyway.
I understand that the producers ran the idea by the company for their thoughts. Jake was the first to say, "I agree." and everyone else followed suit. The financial ramifications have to do with the responsibility they have to their investors. Also, in addition to the Tony voters, you have the folks from the Drama Desks, NY Drama Critics Circle, and Outer Critics Circle Awards. All of those seats add up to a lot of the investors' money you're giving away, and for what return? As for JG being a diva, speak with anyone involved in Little Shop or Sunday and they will dispel that myth. "I'm here to learn so please push me hard." seemed to be his mantra.
Skimbleshanks2 said: "Interesting that they're now offering $49 seats...were those the ones saved for TONY voters...?"
Get your facts straight. They have always been offering $49 seats on certain dates. I bought four of them for March.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
Given Tony voters won't get comp'd seats for Sunday in the Park, do you think they will nonetheless pay the premium prices to grab a great seat to watch Jake & Annaleigh perform? After all, Tony voters are big fans of Broadway, right?
Wick3 said: "Given Tony voters won't get comp'd seats for Sunday in the Park, do you think they will nonetheless pay the premium prices to grab a great seat to watch Jake & Annaleigh perform? After all, Tony voters are big fans of Broadway, right?"
Most Tony voters are likely at least able to get house seats (which are generally prime locations at regular orchestra price).
Skimbleshanks2 said: "I'd give it up because now I'm scared it's going to get canceled...
I don't need Valium... I just think BroadwayRox is right... This production is being catered to and likely held hostage by its star... I think there's more to it than the press release said... But maybe I'm just cynical...Or right...
ljay889 said: "There are $49 balcony seats and rear orchestra seats as low as $129. These are affordable options."
Affordable by Broadway standards, yes. But that is still out of reach for many people. Given the length of the run and the cost of mounting the production, I'm not saying they should be charging less - it's just the reality of the situation.
Some rushes are hitting $49 now, aren't they? I can see $129 rightfully being out of reach for some people, but If $40-$50 is impossible for some, they may need a new hobby. That range is starting to become the norm for the affordable options on Broadway.
ljay889 said: "Some rushes are hitting $49 now, aren't they? I can see $129 rightfully being out of reach for some people, but If $40-$50 is impossible for some, they may need a new hobby. That range is starting to become the norm for the affordable options on Broadway."
Yes, some rushes are certainly creeping up to those price ranges, but that does not make it any more affordable to certain classes of the population. Should it be, though? That's debatable in the realm of Broadway, and my answer would vary on a case-by-case basis with the intentions of the producing entity. For this production, I take no issue with the pricing scheme but still wanted to make the distinction that this should not be called affordable without qualifying the term.
And I would certainly hope that a lack of accessibility would not deter someone from giving up his/her hobby of attending the theatre all together.
Look, SUNDAY is a great show. It was great in its initial run, the first revival with Jenna and Daniel was amazing, and the recent concert version was breathtaking. Let's all be glad that we have this chance to see one of the great musicals of the 20th century, which is happening because of Jake, and stop carping at him, rather than being grateful. A whole new audience will get to see why this show is held in such high regard, and for many people, is considered Sondheim's masterpiece.
....this particular production might as well be called "Sunday in the Park with Jake Gyllenhaal." Everything is about Jake. Jake, Jake, Jake, Jake, Jake. If Jake can't be in town, oh crap, might as well cancel the show.
So what would rather have?
A Broadway production of a superb Sondheim show that will never recoup its investment (even with a full run) unless it has star power to draw in non-traditional audiences?
or...
No production at all?
The choice is obvious.
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