West Side Story revival? — Page 2

If you think of it, doing two months of previews makes sense for a revival that's definitely going to be taking risks.

It allows for tons of time to work with an audience and since Bway doesn't charge less for previews, what's the downside? Perhaps if you need the reviews, but it may be Rudin's thinking that more time to work toward good reviews is better than counting on good reviews.

It's not uncommon for Rudin to schedule a long preview period. I would guess that, in his case, it's more for creative purposes than financial. Carousel had 7.5 weeks, Mockingbird/Gary/Shuffle Along all had 6 (and Shuffle also had 4 consecutive dark days in the middle of previews to make changes). This is 8 weeks, but I can't imagine they'll be doing any daytime rehearsing/major changes during the week between Christmas and New Year.

Trust me! With Rudin's shows it is almost always financial. A lot of the funding for CAROUSEL and SHUFFLE ALONG (along with the other shows you mention) was finalized during previews. That doesn't mean the show itself might not undergo changes and experimentation in previews, but as we know most shows on Broadway these days make relatively few changes compared to the amount of time allotted for previews.

Yes, once upon a time it was common for a show to drastically change during previews. This happens less for several reasons, the principal reason being that the technical elements of shows today (automation in particular) make it much more difficult to make changes that don't also require a major 're-tech" of major production elements. Such a re-tech is hugely time consuming and expensive. Ah for the old days when tech elements consisted of four lighting cues and a series of back drop curtains!

Secondly, and this is my own opinion, I think creative teams today largely don't have the tool belt to know how to fix shows during previews. The skill to write a musical is one set - the skill to re-write or actually improve it is another. A constant you will find on these boards is bewilderment about how little a show is often changed either in previews or from an out of town engagement to a Broadway opening despite the need for changes seemingly being in clear view.

QueenAlice said: "Yes, once upon a time it was common for a show to drastically change during previews. This happens less for several reasons, the principal reason being that the technical elements of shows today (automation in particular) make it much more difficult to make changes that don't also require a major 're-tech" of major production elements. Such a re-tech is hugely time consuming and expensive. Ah for the old days when tech elements consisted of four lighting cues and a series of back drop curtains!

Secondly, and this is my own opinion, I think creative teams today largely don't have the tool belt to know how to fix shows during previews. The skill to write a musical is one set - the skill to re-write or actually improve it is another. A constant you will find on these boards is bewilderment about how little a show is often changed either in previews or from an out of town engagement to a Broadway opening despite the need for changes seemingly being in clear view."

A major reason that you're forgetting is that shows spend far more time in development nowadays than they did back in the day. Shows often would go into the rehearsal period for the Broadway production without ever having workshopped it, and that means they would only have 6-8 weeks from first rehearsal to final preview to get the show in the shape they want it to be in. And many would also have out-of-town tryouts, but that would only add another 8 weeks of development. Most shows now are workshopped for years and years. Just look at Hadestown's journey, starting as a concept album in 2010 and having three major runs of the show before making it to Broadway 9 years later. Come From Away had a very similar process, starting as a college workshop in 2012 and having four major regional runs before hitting Broadway in 2017

OhHiii said: "A show must be fully capitalized before their first paid performance. That said, they can increase their capitalization if they need to make adjustments, but they must raise what they file with the SEC before "opening for business""

False. Shows can raise capitalization up until Opening Night. Investors can see a show in early previews and decide to invest. (Not ideal, but shows are expensive and this stuff happens.) Often the final money from investors is not wired until opening night. It just can't happen after the opening.

Updated On: 7/3/19 at 01:58 PM

LesWickedly said: "Isaac Powell is all but confirmed for Tony. "

How so?

ACL2006 said: ""

Daddy.

I'm not really familiar with the work of the director, but what I meant by "2019 Oklahoma-y" is that the marketing makes me think that it's going to be a more dark and/or artistic take than the usual productions.

YvanEhtNioj said: "I'm not really familiar with the work of the director, but what I meant by "2019 Oklahoma-y" is that the marketing makes me think that it's going to be a more dark and/or artistic take than the usual productions."

Yes, one should expect dark + artistic from Ivo Van Hove. I have a feeling the production will make Arthur Laurents, Leonard Bernstein, and Jerome Robbins turn over in their graves.

Streisand was 19 years old when she made her Broadway debut in I CAN GET IT FOR YOU WHOLESALE in a show-stopping featured role and was 21 when she starred in FUNNY GIRL. Both times she was nominated for Tony Awards and by 21 she had 3 enormously successful albums released, won a Grammy Award as well as an Emmy Award for being a Guest on THE JUDY GARLAND SHOW.