Posted: 6/12/23 at 4:39am
A few quick thoughts and questions in the wake of the Tony Awards:
- For months, the producers of Kimberly Akimbo have been planning for this moment, and it went even better than expected (with the minor exception of Justin Cooley losing to Alex Newell): Best Musical, Best Score, Best Book, Best Actress. Now the question is whether they can capitalize on it. I glanced at Tuesday's ticket prices and noticed that the rear orchestra seat I got for $104 in March (in an otherwise empty row) is at $155.50, like much of the orchestra except for seats close to the stage. There are still $94 seats up in the mezzanine. The question: Will they sell at those prices? Will the musical no longer be easy to buy at the TKTS booth? Will summer tourists be interested? The musical doesn't have to do fantastic business to make a profit given its low running costs. It just has to make its weak box office better.
- What happens to the other non-& Juliet new shows? Are they pretty much doomed, or is there a way to capitalize on Tony performances or something else? The Shucked performance drew much debate Sunday night (I thought it was a mess, and the first misstep I've seen the producers/creatives make in terms of promotion, but others liked it).
- There are some high-profile musicals opening this summer, including the Back to the Future adaptation and Here Lies Love. How much will those shows affect the struggling ones?
- Any chance Parade tries to extend beyond Aug. 6 in the wake of its impressive win over two Sondheim revivals, or does it go out on a high then with Ben Platt's stated departure? (I assume the latter.) Will it make a profit?
- Is Sweeney Todd pretty much invulnerable as long as Josh Groban stays with the revival, which is apparently until mid-January?
- How much did Funny Girl help itself with its Tony Awards performance as it enters what already promises to be a profitable last few months. Sales had gotten a little soft in recent weeks. Is that over now, with summer tourist season starting?