The Imperial Theater after The Great Comet

Regardless of how someone feels about the sum of the parts that is The Great Comet, the praise for the theater's transformation and the production's use of that space is fairly universal.

The show's days are numbered; the only question is whether that number is big or small. So, in the interest of reduce, reuse, and recycle, I'm wondering what happens after the show closes. Do you think the theater will revert to it's previous proscenium incarnation, or is there a chance this conversion will have a life after Comet? Are there examples in Broadway history of similar cases? Finally, are there musicals (previously produced or otherwise) that you would like to see staged in this configuration? I'm imagining Les Mis, specifically the song One Day More, produced in the space and directed by Rachel Chavkin, and I like what I see.

Updated On: 7/11/17 at 05:55 PM

When I saw this thread, I thought it would be about the short of life the show itself would have after Broadway, which I do want to touch on.

I don't think touring is going to be an option unless they restage (and frankly, reconceptualize) the entire show.

I can't see it being a big hit for high schools or summer stock, though I definitely see it being a fun challenge for some colleges who have unique on-campus spaces. For example, my college staged a production of "Urinetown" in what was basically a warehouse that they filled with cheap playground equipment. It was...innovative, to say the least, and I could see "Great Comet" filling that niche of theatre kids who have lots of talent but little money.

However, on the subject of the Imperial, with so many shows wanting theatres so desperately, I can't see it staying as is. But I do want to ask: who will be paying for the renovations? Still the production, who I am assuming paid for it to become what it is? Or the Shuberts? Or both? Or the next production that wants the theatre?

Rent at the Nederlander comes to mind.

Obviously that was on a much smaller scale that Great Comet's renovations, but I recall seeing Rent around the time it closed and wondering how another show would ever play that theatre. The outside was covered with graffiti and the balcony was lined with a dirty metal bar. Obviously they did a major renovation before the next tenet opened.

I may be manufacturing this in my memory, but I wanna say the 1974 revival of CANDIDE re-used some of the MAJOR renovations done to the Broadway for the flop DUDE.

belrowley said: "I'd love to see Hadestown makes use of the immersive staging. And Amber Gray could stay at the Imperial.

But really, I don't want it to happen any time soon. I adore the Great Comet, and I hope things turn around for a healthy run."

As neat as that would be, I don't think Rachel Chavkin would want to be known as the "weird staging director." Hadestown is immersive too, but it's a different sort of it. I could see it ending up in Circle in the Square if Once on This Island is out by the time it transfers.

Mr. Nowack said: "I may be manufacturing this in my memory, but I wanna say the 1974 revival of CANDIDE re-used some of the MAJOR renovations done to the Broadway for the flop DUDE.



I've always wondered about that- from the description of how the two shows were staged, it could certainly be done. Playbill Vault has Candide as the next tenant of the Broadway after Dude (albeit more than a year later), so if the theatre had been left in the "Dude" configuration, Candide could make use of it.



I've never been in the Imperial (either in its normal configuration or in the Great Comet configuration) but from everything I've heard its in good shape. Still- has it been refurbished any time recently? They could use the time required to return it to its original configuration to do any work that was needed. My understanding is thats what they did to the Winter Garden after Cats left.

Mimi Lien (the scenic designer) said they could restore the theater to its original condition in a matter of hours. I think the set pieces were specifically designed so they could be placed/removed easily.



@leighmiserables - yeah, I guess Chavkin wouldn't want to be pigeonholed as a niche director. I never had the chance to see Hadestown, but I loved the concept album/recording, and it'd be cool if they could use some of the staging left over from TGC. But I agree, Circle would be the ideal fit.

yes, dramamama, and the chances the Shuberts are not going to carefully oversee the return of their property to its original condition are about the same as the chances of Leo Tolstoy taking over for Oak after Labor Day.

I really don't think that the changes at the Imperial are terribly invasive to the original architectural detailing, a lot of it is simply done with curtains.

I saw it in the tent in the lot next to the Imperial. It would be nice if they could tour it that way. Of course they would have to find space in each city for a tent. That could be a challenge.

While I do not think it is probable, the tents could be put up in stadium parking lots.

Also, regarding restorations, it is not uncommon. Holler If Ya Hear Me had to fix up the Palace after ripping out the seats in the orchestra.

RippedMan said: "They have it in their contracts to return it to it's usual state after the show is done. And I can totally see this touring. I mean, Fun Home - originally in the round and heavily using elevators - has made it work. I don't think it would be that hard. They'd just design a theater with on-stage seating.



"

Fun Home benefits from being originally designed for the proscenium during its off-Broadway run. Great Comet has never experienced that treatment.

From a technical standpoint, the alterations made to the Imperial to accommodate Comet is much less severe than you would imagine. Everything is built on top of what was already there, besides the theatre seats that were removed for the platforms and tables. Striking the platform and risers built on top of the actual Imperial stage is simple, as is replacing all the seats. The red curtains that surrounding the theater are on poles, and can be dismounted. The lighting would follow suit as any normal strike.



As per touring, I am certain Chavkin + Co. are the people who can figure out how to make it work, and make it awesome. Even if they just take the risers and put it on a stage (like the Tonys), it could still be wildly successful.