What Went Wrong with HONEYMOON IN VEGAS? — Page 2

I can't recall the last time seeing a marquee has really led me to buy a ticket to something. And that location didn't seem to curse Rent or Newsies?!?

Seems like a lot of excuses for a bad show.

The biggest problem it had is that a lot of us who saw it told other people they didn't need to see it.

Agreed. I don't think real estate is big an issue as people believe. If Hamilton was playing Stage 42 there'd be no issues.

I actually think a lot of what makes flop vs hit comes down to hotel concierges either having "deals" with certain shows or just know the tourists coming in from wherever just want to be told "See The Wicked! You'll love it!" I know when I worked front of house people would ask me what else to see and they only wanted to hear Wicked, Jersey Boys, and Hairspray, even when I picked fun and upbeat family shows they'd say "What about the Jersey Boys? Is that good for kids?"

I think there's also "bridge and tunnel" word of mouth. Someone comes into the city, sees Scottsboro Boys, and I'll assume they enjoy it. They get home to their church/women's group/book club/whatever and say "oh, it's so serious! it's so good, but wow it gets dark!" A good review, but they'll scare the person off most likely.

Now, Honeymoon wouldn't have gotten the "dark" word of mouth, but I think a show needs a selling point--a big big star, a "star-making" performance, an already-hit score, or just a superior "wow" production. Honeymoon had a sorta star, McClure giving a charming performance, a good but not great score, and an average production. It had nothing more than a "well, how was it?" "Oh, it was cute. I liked the mom!" word of mouth.

I'm going off the cast album here since I didn't see the production, but part of the word of mouth may have come down to issues with the score as well. Seems like most of the best shots are in the first act and most of the clunkers in the second. The title number at the finale is pretty ho-hum. And some of the lyrics are kind of sloppy. The leading lady's I-want song boils down to a fantasy of a house with a white picket fence and contains lyrics like "with a rusty old swing set for our baby to ride". A) You don't "ride" a swing set, and B) Does she want her baby to get tetanus? Why does she want the swing set rusty? The songs weren't good enough to overcome a property that just didn't generate much heat.

I do love the orchestrations, the overture, and the entr'acte, though.

I saw the show and remember liking the show and thinking it was a solid B show. I just remember how cramped the show made the Neaderlander feel, yet simultaneously feeling way to small for what they were advertising. They used very large set pieces, but they were all relatively plain, and didn't wow me. I just thought the show was much smaller then expected. For a show that sold itself on the glitz and glam of Vegas it just seemed very plain. I think part of that has to do with JRB's score, which like most of his scores are smaller and more introspective and didn't scream chorus numbers, and thus the production followed suit. I think that was what many felt going in that they were seeing a glitzy and glamorous stage adaptation along the lines of Legally Blonde, Kinky Boots, Sister Act, or The Wedding Singer, and instead ended up seeing a smaller, smart, and witty musical along the lines of Xanadu.

I'd honestly compare it to having the exact opposite problem of Catch Me If You Can, where there were too many big chorus numbers and not enough character/plot driven numbers. I'd honestly wonder what would of happened if JRB scored Catch Me if You Can and Shaiman and Wittman scored Honeymoon in Vegas.

carolinaguy said: "bdn223 said: "I'd honestly wonder what would of happened if JRB scored Catch Me if You Can and Shaiman and Wittman scored Honeymoon in Vegas."



That's a fascinating notion. The introspective/character numbers in CMIYC tended to become too big ("Someone Else's Skin", be dull ("The Man Inside the Clues", or not be properly motivated ("Fly, Fly Away". JRB would probably have focused these more, and Wittman/Shaiman might have captured more of the silly Vegas pizzazz in Honeymoon.

"

My point exactly, but better worded.

It was at best a third-tier show based off of a property that no one remembered or cared about with a plot that seemed decidedly old-fashioned...in the sort of casual misogyny and racism way. Had Danza not been attached, it would never have transferred and been one of countless shows to die on the regional vine.

When the comedic highlight of your comedy is a second-act filler song about having your flights routed through Atlanta, I think that says it all.

This was all dissected in real time, and remains true. Looking back on it, it is easy to say that there really was nothing about this show that drew people in. There are shows that have weak elements, but here there was no strong element. Come From Away, as an example, has pretty pathetic songs, but it tells a story people have been interested in hearing. Honeymoon has a story that, even in the best light, is not a compelling one. Quite a few people here like JRB's songs, but he has never appealed to a broader audience and, as others have said, the songs in Honeymoon are out of his wheelhouse as well. Finally, while there are those here and beyond who might have enjoyed Danza's tap-dancing, the broader audience would prefer to avoid that sight at all costs. So what's left? Nada.