THE PROM to Open on Broadway in November 2018 — Page 3

I've been listening to audio of the Atlanta production and while the book could use some sprucing up, from what I can hear, the show sounds surprisingly good (far more interesting and memorable than either Amelie or Tuck Everlasting). A solid original conventional musical comedy score with hummable tunes. Given the current political climate, the topic is (sadly) STILL VERY RELEVANT. But whatever your personal thoughts are on the subject, the title or the pedigree, it's clear from the recording that the audience LOVED it. It might not be a runaway smash hit out the gate, but I wouldn't be surprised if it scores Tony nominations and earns itself a decent run and subsequent tour. Not to mention, solid reviews could clinch it as a lucrative licensing property for regional, amateur and school productions. I wouldn't pooh-pooh this one just yet.

Updated On: 2/9/18 at 04:53 PM

The fact that Bob Martin is involved has intrigued me since I first heard about it. I've been waiting for a follow up to The Drowsy Chaperone for years.

Christopher Sieber's involvement is also a real draw for me.

I'm just crossing my fingers that they've worked a bit from Atlanta and it'll be a strong fun show. It'll be all about the execution for this one.

BroadwayConcierge said: "Taking the Cort. Such a dumb choice.

https://www.broadwayworld.com/article/THE-PROM-Begins-Performances-at-the-Cort-Theatre-October-21-With-an-Official-Opening-Set-for-November-15-20180309"

It may as well not even open.

Hopefully the Shubert Organization does some serious renovation between now and then.

Taking the Cort is almost like saying, "yes, we're a flop, but maybe we'll make it up on the tour."

With only a very few exceptions, nothing has lasted past a three-month run there since 1989.

uncageg said: "With the cast and creatives involved, I am really looking forward to this. I alsolike that it centers around two young girls instead of boys."

I agree. It is nice to see a story with two young girls.

This and "Summer" both point to a new Broadway dream that I've posted about before: where getting the show on Broadway for a long run is neither the point nor even the ideal. If your show isn't aiming to be the next zeitgeist-defining "Hamilton" or eternal "Phantom," the Broadway run is essentially a commercial for licensing.

I used to call this model a "redeemed flop" plan, where what is lost on the Great White Way is recouped in licensing, but now I'm starting to think of it more and more as "licensing bait" from the beginning.

Shrek has to be one.

About 600 performances for Sarafina. I don't believe The Cort makes flops, though a lot of flops have played there. And I don't believe that The Prom would be playing there if they had better options. But in the end, if the show works, the audience will find it. No theater, including The Cort was any more snakebit than The Nederlander until the night Rent opened there. And in the '60s the Winter Garden had a string of flops I'll never forget -- All American, Sophie, Nowhere to Go But Up, Georgy (or was that the early '70s?), etc. and it hasn't done too badly since then And, to misquote William Goldman, it has't moved.

https://www.broadwayworld.com/article/Complete-Casting-Announced-for-THE-PROM-Ticket-Pre-Sale-Begins-May-23-20180503

They're lucky they could move theatres. I hope this means the Cort renovation project will start sooner now.

Thank god! I hate seeing shows in the Cort. That place is a dump.