Kad said: "Broadway previews have never really been a time for huge changes- it's performing surgery on a conscious patient at that point. That should all be happening in readings, workshops, and tryouts.
But the development process is lengthy and drives up investment costs, yet all-too-often doesn't yield much, if any, of the changes a show may really need. The blame is probably diffuse but the buck has to stop with the lead producers."
I think "never" is being a little hyperbolic and a sign of a short memory. "Spiderman" anyone? Or how about "Titanic"? I attended the first preview of "Titanic" and it bore very little resemblance to the "Titanic" I saw after it won the Best Musical Tony. Everything else you state is absolutely true. Producers and production costs are definitely to blame but the amount of scrutiny shows are now suject to during a preview or tryout period by audiences who then feel compelled to share their opinions widely whether it has additive value or not does not help. Bottom line is that musicals are very hard to get right and the percentage that arrive fully formed is very low. I saw "Queen of Versailles" in Boston and admired it as a vehicle of Cheno but thought the 2nd Act suffered from a lack of a point of view about Jackie. It doesn't know whether to satirize her, demonize her, or sanctify her and settles for walking a safe neutral line which is fine but ultimately safe and uncompelling. While she is not a producer, Jackie Siegel is an investor in the show. I would like to think that has no bearing on the creative team's choices but it is a tangential relationship most new musicals do not have to contend with. I am curious to see what has changed though and to see Sheri in the role. I wish it well!
"When you're a gay man, you have to feel good about yourself when a urologist says, "Yeah. I pick you". - Happy Endings