TITANÍQUE Reviews — Page 7

Saw it off broadway. It was fine for what it is. Didn’t feel the need to see it again. Marla Mindelle had the mannerisms down but her voice is no Celine. That being said, it was an inspired and memorable performance and more worthy than the actress who won the Tony.

Observation said: "Is the balcony closed off? Their social media team put out a recording of Mindelle’s last entrance and they pan to show the audience applauding, but suspiciously do not stop short of showing the balcony."

Its been closed the entire run.

Kad said: "MB124 said: "ErmengardeStopSniveling said: "Godspeed to the cast, and to the producers on those lawsuits that Philip Boroff reported the other day! (That whole GM situation and who knew what when is still very shady to me, imo)"

Can someone explain these situations in layman’s terms?"

The tl:dr version is that the GM of the off-Bway production was found to have, amongst other things, defrauded the production by diverting funds and taking out loans in its name and covered it up by cooking its books so it looked profitable when it very much wasn’t.

One of the issues as it relates to the Broadway production is that the timelines suggest the fraud was discovered around the time Eva Price (whose management company the criminal GM worked for and whose other productions received some of the fraudulently-obtained loans) would have been getting investors on board for the Broadway production, which means that if financial data citing profitability from the off-Broadway production was used in pitches, it would have been fraudulent. As of now, there don’t seem to be any lawsuits related to that, but considering the Broadway production rarely had any profitable weeks, it doesn’t seem unreasonable to think there may be investors who feel misled and may pursue something."

Separate from the above, there have been claims of authorship throughout the run by Alex Ellis (original Rose), Kathy Deitch (original Molly Brown), and Nicholas Connell (music supervisor/arranger). Though it’s always hard to tell what’s a legitimate grievance vs people who are merely salty.

ErmengardeStopSniveling said: "Kad said: "MB124 said: "ErmengardeStopSniveling said: "Godspeed to the cast, and to the producers on those lawsuits that Philip Boroff reported the other day! (That whole GM situation and who knew what when is still very shady to me, imo)"

Can someone explain these situations in layman’s terms?"

The tl:dr version is that the GM of the off-Bway production was found to have, amongst other things, defrauded the production by diverting funds and taking out loans in its name and covered it up by cooking its books so it looked profitable when it very much wasn’t.

One of the issues as it relates to the Broadway production is that the timelines suggest the fraud was discovered around the time Eva Price (whose management company the criminal GM worked for and whose other productions received some of the fraudulently-obtained loans) would have been getting investors on board for the Broadway production, which means that if financial data citing profitability from the off-Broadway production was used in pitches, it would have been fraudulent. As of now, there don’t seem to be any lawsuits related to that, but considering the Broadway production rarely had any profitable weeks, it doesn’t seem unreasonable to think there may be investors who feel misled and may pursue something."

Separate fromthe above, there have been claims of authorship throughout the run by Alex Ellis (original Rose), Kathy Deitch (original Molly Brown), and Nicholas Connell (music supervisor/arranger). Though it’s always hard to tell what’s a legitimate grievance vs people who are merely salty."

I think this is the real canary in the coalmine. Cooking the numbers for Broadway + no ROFR for the original cast + the authorship claims... how is there not some kind of injunction on future productions while this mess gets sorted out?

GottaGetAGimmick420 said: "ErmengardeStopSniveling said: "Kad said: "MB124 said: "ErmengardeStopSniveling said: "Godspeed to the cast, and to the producers on those lawsuits that Philip Boroff reported the other day! (That whole GM situation and who knew what when is still very shady to me, imo)"

Can someone explain these situations in layman’s terms?"

The tl:dr version is that the GM of the off-Bway production was found to have, amongst other things, defrauded the production by diverting funds and taking out loans in its name and covered it up by cooking its books so it looked profitable when it very much wasn’t.

One of the issues as it relates to the Broadway production is that the timelines suggest the fraud was discovered around the time Eva Price (whose management company the criminal GM worked for and whose other productions received some of the fraudulently-obtained loans) would have been getting investors on board for the Broadway production, which means that if financial data citing profitability from the off-Broadway production was used in pitches, it would have been fraudulent. As of now, there don’t seem to be any lawsuits related to that, but considering the Broadway production rarely had any profitable weeks, it doesn’t seem unreasonable to think there may be investors who feel misled and may pursue something."

Separate fromthe above, there have been claims of authorship throughout the run by Alex Ellis (original Rose), Kathy Deitch (original Molly Brown), and Nicholas Connell (music supervisor/arranger). Though it’s always hard to tell what’s a legitimate grievance vs people who are merely salty."

I think this is the real canary in the coalmine. Cooking the numbers for Broadway + no ROFR for the original cast + the authorship claims... how is there not some kind of injunction on future productions while this mess gets sorted out?"

Somewhere in the mix of this story the producers sued the GM and won a 4 million plus decision, the GM was supposedly a no show or didn't contest. The off Broadway investors are now probably suing the producers for their piece of that award if its ever paid.