Why does the CHORUS LINE revival cost 10 million dollars? — Page 3

Oh the topic:
10 million sounds high to me too.
No One in that cast can be making a lot.
And people wonder why DISNEY will not even discuss
How much a show costs or costs to run.
TARZAN?
Take a guess.
And DISNEY does major work on the Theatres they use or rebuild.

I suppose if you factor in that every design element is built from scratch, the first 90% of the show and the finale, all with the best materials available, that the large cast and the equally large crew are making at least a bit over minimum, the royalties, the marketing, the playbill printings, the cast album in production, the out of town tryout running costs, maybe even hotel and travel accommodations for the out of town tryouts for everyone, it could add up.

CurtainPullDowner, I said "I really dislike it. For me, a musical is all about the music. If the music is not good, the show really has no legs."

I think that is pretty straightforward in that I personally do not think a show is worthwhile if I do not like the music.

It's just my thought about it.

yeah, out-of-town, actors are given a few options on hotels (usually close to the theatre): one is a good deal, the other is a nicer hotel, and they get to pick, but they have to pay for it
it might come out of their salaries, im not sure
at least that's what I heard from Mylinda Hull...

and yeah, Wicked only being $14 million doesn't really make sense...hmmm

Wicked was 14...and its stars weren't exactly cheap either. Plus all of the lavish sets and costume. Im really confused...

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Okay - gotta step in here now. Been there, done that.

In it's day, as far as gay men being portrayed on stage, it certainly was a Brokeback Mountain. For the first time we were seeing homosexuals played onstage - and several of them, without the remorse displayed in Boys in the Band or Find Your Way Home(both great plays of their time) and the like. These were happy, well-adjusted gay men for the most part and even Paul's father in some sense, finally, accepts him, "Take care of my son" is heartrending.

And the cost - I would think (hope) the cast is on a favored nations contract where they all get the same. They really all do equal amounts of work (except Zack, who has like, every other line though he gets away with missing most of the dancing).

Royalties for the revival must be a nightmare due to the extensive ownership of those whose stories are used from the original workshop - there may have been lump sums paid out against grosses to get the show up and running.

And why should the costumes cost so much? Because they are immaculately sewn and maintained by Union members and they get the #@%* worked out of them. No, there is no need for the extensive cost given for the Finale designs - I've seen fine interpretations many times, but that doesn't mean the realities of union broadway productions don't just run up the bill. And I am pro-union, so no bitchin, please.

Shoes and hats are another thing - they are expensive and break down very quickly with this type of show. Replacements are contstant.

I don't know how many musicians are being used for this production, but the original orchestration is a bear and they don't come cheaply, either.

10 Million? No surprise. I just hope it has the wang-bang of the original and a decent run.

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Updated On: 9/4/06 at 08:58 AM

There are no royalty nightmares -- those who participated in the original recording sessions and workshops signed away the rights to their stories for $1 a piece before previews began at the Public. That's all. Long story, but there was no negotiation in the matter -- the dancers either signed the release or the implicit message was that they would be dropped from the show and none of them wanted to risk getting a chance to be in it. Bennett later gave them a small percentage of his writer's royalty which has added up to a few thousand a piece for each of them over the years.

The number I'd heard was $8 million, not $10 million. $8 million is completely standard for a show with that large of a cast, especially if it goes out of town beforehand (out of town engagements alone can cost $2-3 million). Marketing budgets for big musicals can easily be over $2 million (and yes -- for whoever wondered -- that figure is part of the initial capitalization cost). Just having one full page ad in the Times for one day costs over $250,000 (and having your show included in the listings daily costs thousands) so yes it's not hard to go through $2 million very quickly.

So, yes, while $10 million sounds a bit high for this show -- $8 million or a little more is more likely -- it's not outside the ballpark in this day and age.

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God I'd like to quit you
I'd like to quit you
Or take a crowbar to the head

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When it comes to people that “like” or “don’t like” A Chorus Line, I have a few general observations I’ve noticed over the years: (these may or may not be the case with you, phantom8019, but since you brought up the topic…)

First of all, I think we have to ask ourselves what A Chorus Line is really about and what makes it so different. While there are certainly many interpretations and layers to the show, I’d like to suggest that A Chorus Line at it’s core is a big dose of HONESTY. Yes, it may deal with dancers and their “issues” on the surface, but what A Chorus Line really offers is a chance for real people to stand in front of a real audience and open up at a real, genuine and HONEST level. The question that the show continually asks is “what is True?” First, what is True on the surface (“Name, age, where you are from”) This is the level that most people know…the image they try to project and have others see (strong, confident, likable) But then, the show goes deeper and asks what the Truths are underneath that the characters maybe DON’T want others to see (childhood pain, insecurity, feelings of inadequacy) and takes us on a journey into the characters’ “shadow” sides and to see them for who they really are, both “positive” and “negative.” In this way we are allowed to see the true “heart” of the characters.

The thing is, going to this level of honesty can be very scary. It took a huge amount of courage for the original dancers to share their actual stories that the show is built on. Some never could really do it. (read the book “On the Line” sometime…fascinating). But for those who were able to truly open up, it was a completely transformational experience. A Chorus Line can also be a completely transformational experience for the audience, but it demands that we go to a place of equal honesty; to look inside ourselves and remember events that may not be particularly pleasant; that we probably don’t want others to see; and that we may even actively try to hide.

What I’ve noticed over the years is that there are many people who can and and people who can’t appreciate this level of honesty (again, phantom8019, I’m not directing this at you personally). Opening up to others seems to “embarrasses” and/or “bores” some people and they actively resist and resent this type of process, labeling it as “self-indulgent” or “whining.” One poster on another theatre site said something like “I just don’t want to hear about people’s personal stuff,” or as phantom8019 puts it…[I don’t like listening to these] “drama personalities" who I perceive to exaggerate everything and always be the center attention.” I’ve also heard the resistance to this level of honesty stated as: “why do we have to talk about ‘bad’ stuff?….or “Why do people have to be so serious.” They just can’t or won’t “go there” for whatever reason. I suspect it’s a protective mechanism to keep them from looking at the “dark, scary” places inside themselves. Personally I find the process liberating. In fact, my idea of Hell is standing around a cocktail party having chit chat without really saying anything.

When A Chorus Line is right it isn’t about acting…it’s about being…especially being open to others. And when people are unable or unwilling to “tune in” at that deeper level, they miss what this show is all about. At least, that’s been my experience of people’s reactions over the years. It’s similar to the way some people talk about “The Fantasticks” when they say “nothing happens,” or it’s “slow” or “boring.” And I suppose for them that is true. They’re not wrong. That’s just where they’re at. But when you’re tuned into “The Fantasticks” at an emotional level, it’s actually quite and extraordinary experience.

As far as the music goes, I’m not sure what to tell you. Perhaps it’s just a preference thing. I personally find it one of the most listenable cast albums ever recorded, from beginning to end. Not just because of the music, lyrics or orchestrations (which are masterful), but because every song serves the dramatic flow of the piece. There is not one superfluous or wasted note or word. The music does have a certain “bombastic” quality about it by design – it’s supposed to feel almost like a pulse (or military beat) running underneath. The music of A Chorus Line is definitely more pop sounding than Sondheim, but it’s certainly not Andrew Lloyd Webber. And I would argue that the music goes just as deep as Sondheim without being as cerebral. A Chorus Line isn’t music you think about and ponder, like Sondheim, as much as FEEL.

Are the culture references in A Chorus Line dated. Yes, absolutely. But when the actors really allows themselves to open up, be vulnerable and be real (and when the audience can allow this kind of experience in) it makes not one whit of difference. Truth and honesty are timeless. A Chorus Line will never be the breakthrough theatrical experience it was when it opened (it has been copied and emulated to death), but I believe if done properly it can and will carry forever the same emotional punch.

$eem$ pretty obviou$ to me. They are going to CGI all the dancer$ $o the finale can go on ad infinitum$$$

I def. need to see this show. I'm starting to see how the movie doesn't do it justice. I didn't notice the whole weaving of songs and whatnot. I can't wait to see it how it was meant to be seen.

Yeah, I had always heard the same thing (even from one OBC member himself), that they were getting royalties... albeit small ones.

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