Jarethan said: "One thing I have never been clear on. I know this received 4 Olivier nominations and won 1, but a decent number of real dogs have been nominated for Tony awards and have occasionally won some. Was this a hit in London. I know that it played in the tiny Almeida theatre, but did it move to the West End? I can see that it is no longer running in the West End, so it could not have been much. I have to admit that I don't regret leaving after Act 1 at the first preview."
It has been suggested (both here and on the UK board) that a transfer was in the works but when the lead got pregnant that plan was shelved.
Something has obviously gone horribly wrong between London and Broadway. I do think one of the biggest downfalls in this transfer that the producers didn't seem to take in to account is that America is a much much much more religious country than the UK, and people lost money to Tammy and her husband and all those alike.
Here in the UK we find the idea of TV evangelism hilarious, the whole thing is bonkers, so the show has clearly leaned in to that approach, the way UK audiences see this subject matter.
It's also interesting that Enron, American Psycho and Tammy Faye are all critical of American greed culture, maybe Americans just don't want to be reminded of that.
Namo i love u but we get it already....you don't like Madonna
BrodyFosse123 said: "rg7759 said: "Don't forget this didn't just lose 1 main star...but both if you include that Kristin chenoweth was originally intended for the part"
Chenoweth was attached to a completely different production. She was attached to one with Henry Krieger as the composer and an Australian playwright."
You can complain all you want, but I said nothing about production, I said intended for the part.
The fact is, this was not selling even before its dismal word of mouth or critical thrashing. It had positive buzz from London and Elton John’s name and those couldn’t get people interested.
This indicates to me a deep lack of interest in the subject and/or a failure of marketing to get people engaged. Opening cold on Broadway just meant it could only manage to get less bad during a period in which it needed to be building good word of mouth.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
rburton66 said: "Did the renovation unleash a curse? I figured anything could do better than Ben Platt's half-filled residency, yet here we are."
Just throw the Beauty & The Beast revival into the Palace at this point.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Jay Lerner-Z said: "I really could not care less what the business angle is. I’m glad at least that producers took a risk, perhaps even for the sake of passion.
P.S. The colon joke wasn’t funny."
As a person with a defective colon and a dark sense of humor - I laughed!
rg7759 said: "BrodyFosse123 said: "rg7759 said: "Don't forget this didn't just lose 1 main star...but both if you include that Kristin chenoweth was originally intended for the part"
Chenoweth was attached to a completely different production. She was attached to one with Henry Krieger as the composer and an Australian playwright."
You can complain all you want, but I said nothing about production, I said intended for the part."
Oh my , isn’t “the part” always “in a production” ?
songanddanceman2 said: "Something has obviously gone horribly wrong between London and Broadway. I do think one of the biggest downfalls in this transfer that the producers didn't seem to take in to account is that America is a much much much more religious country than the UK, and people lost money to Tammy and her husband and all those alike.
Here in the UK we find the idea of TV evangelism hilarious, the whole thing is bonkers, so the show has clearly leaned in to that approach, the way UK audiences see this subject matter.
It's also interesting that Enron, American Psycho and Tammy Faye are all critical of American greed culture, maybe Americans just don't want to be reminded of that."
I think there’s also a sense of annoyance when a show from another country arrives and says “Here’s how we see your problems”. Observations that are trenchant to a British audience might seem shallow or even insulting to an American one, and vice versa. Groundhog Day was a great example, and if I can catch Tammy Faye before it closes I’ll be very curious to see if that disconnect is at play here as well.
KevinKlawitter said: "Jay Lerner-Z said: "I really could not care less what the business angle is. I’m glad at least that producers took a risk, perhaps even for the sake of passion.
P.S. The colon joke wasn’t funny."
As a person with a defective colon and a dark sense of humor - I laughed!"
Jay Lerner-Z said: "A shared septuagenarian composer?
P.S. Comedy is subjective… I guess."
Sure, but in all fairness, The Devil Wears Prada will have had two additional runs from its initial outting in Chicago -- a greatly reworked production in Plymouth, UK and it's upcoming West End run. Not quite the same as opening cold on Broadway after a small, Off-West End run.
Back when ''KPOP'' closed I tried to get all the 2000's musicals that closed ''early'' and that was the Top 15 I found:
1. Glory Days 1P 2. The Story of My Life 5P 3. High Fidelity 14P 4. KPOP 17P / Amour 17P 5. Leap of Faith 19P 6. All About Me 20P 7. The Adventures of Tom Sawyer 21P 8. Doctor Zhivago 23P 9. Hands on a Hardbody 28P / The Times They Are a-Changin' 28P 10. Scandalous 29P / Tammy Faye 29P 11. Lysistrata Jones 30P 12. Wonderland 33P 13. Diana 34P 14. Flying Over Sunset 35P 15. Bonnie & Clyde 36P
Don't know if all of them are musicals, but I guess they are.
The key difference between DEVIL and TAMMY is that DEVIL is working from famous IP and probably could have done a minimum of 10 weeks of good business on Broadway without changing a thing from the Chicago production.
These revisions, new director, new co-lyricist, etc. are all a matter of getting it beyond that initial 10 weeks.
People may know who Tammy Faye is, but this show demonstrated that they do not care about who she is.