Woman In White 77% attendance Christmas week — Page 2

MargoChanning -

actually Sunset Blvd returned about 85% of it's initial investment, and the remaining 15% was to be returned through licensing the second american tour. Not sure if it did, but it was hardly the financial mess you claimed it to be.

Neither was Joseph the financial flop. It had a decent run in NY and only closed (and went on tour) to free up the Minskoff Theatre for Sunset to move in.

Yes, Aspects, By Jeeves, JCS were finanical failures. Yet, I think that's why ALW has been so cautious - that's why the critically acclaimed Beautiful Game never reached America, nor Whistle Down The Wind, which became an American story never came back.

What's sad is ALW said in hindsight he thought they should have proceeded with the Hal Prince version of Whistle and came to NY with it. From what I heard of the score, it sounded better in DC than the final product from London.

Yes, the mistake the investors for this show have made is assuming that the masses see shows because they are ALW. The fact is, most tourist money goes to shows that they have seen a movie version of, or have seen a tour of, or have heard saturated news stories about. WIW doesn't fit any of those, and (sadly) its nature as a melodrama isn't the stuff that makes the news, or water cooler conversation.

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No, that Joseph revival was a horrible financial flop. It played 231 performances and lost its entire investment.

My sister purchased $800 in tickets for this march. That was in november before the Jersey Boys buzz kicked in. She now regrets buying tickets to 'the wrong show.'
That is unfortunately Women In White's fate--'that other show which isn't Jersey Boys.'

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Updated On: 1/4/06 at 10:36 AM

Before I saw WIW for the first time, I knew practically nothing about it- nothing about the book, the story, the Vicotrian feel, or the sets. However, since seeing it, I've don't think I've ever been so receptive toward one show.
And I think that's a problem- no one knows. This is real theater- this is a haunting and suspenseful story told by intriguing characters, surrounded by gorgeous sets and a beautiful score.

I just wish this was noticed and celebrated because it deserves to be- and not just by a few

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Updated On: 1/4/06 at 10:58 AM

haha, Kec- adding onto your story. Like two weeks ago I was in the city at the Minskoff and there was a mother and a daughter behind us in line debating what show to see and asked for our opinion. I ofcourse went into my WIW "schpeel" and they seemed interested and headed off to its box office. Afterward we decided to meet at the Marquis stage door and they both gave RAVE reviews about it. And while we were all discussing it, there were like 10 other people listening in on our conversation.
People are interested and want to know, there just aren't enough resources for them. And I doubt the Really Useful Group can afford to keep me and Kec outside of their box office

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Judy = glad to see your still "working" for the show!

For some perspective too - here's the list of Musicals that FEWER people went to see last week than the Woman in White:

Rent
Sweet Charity (in its closing week)
Jersey Boys
Chicago
Odd Couple
Sweeney Todd
Light in the Piazza
Doubt
Ave Q
Chita Rivera
25th Annual Putnam...
A touch of the Poet
Latinologues
Souvenir
Seascape

My point - it's easy to throw numbers around to make your favorite look better than the others. Shouldn't we hope they ALL do well? If not for personal preferences but the good of the art form and theatre in general?

This show has a wonderful, innovative set, a wonderfully strong cast with two of the theater world's best in it -- Maria Friedman and Michael Ball -- and, in my opinion, a truly lovely score. It is, however, one of those shows that one either really likes or really doesn't. And plenty of people who go really do like it. The problem is: it isn't being advertised.
With an asset like Michael Ball in the cast, who, when given the chance, can charm interviewers and listeners alike, why not utilize him to sell the show? I can understand why Maria Friedman might not be up to publicity in addition to performance, but a little publicity other than strictly word of mouth would certainly help IMHO.

Does not suprise me!

The show started off good in London and now is on cheap touts every where and is coming off in London this Summer on going on tour (Spamalot replace WIW in Londons Palace theatre)

I give WIW until next Autumn on Broadway, if that. A Chrous Line would be great there!

I kinda wanna see this show, I like ALW. Hopefully it lasts long enough!

Because some shows shouldn't do well, period. Saying that it employs people shouldn't be the reason to keep a show running...if that were the case in other businesses we wouldn't have unions and no one would complain about the existence of sweat shops. That said, if WIW is covering its costs than it should be fine through the Tony's. So far the only show it'll be compteing with at the Tony's is Jersey Boys, and the Tony voters aren't too keen on jukebox musicals. So maybe it'll get a boost.

I completely forgot about the Color Purple! I haven't seen it yet, but it's one of those mixed reaction shows, much like The Woman in White. I liked Jersey Boys, but I really don't think it deserves Best Musical.

"I think its audience niche can be found among those who want their musicals with a good book, a romantic musical score, and an excellent cast."

Jo, first of all I want to say that I really appreciate you and I think you are a very well-mannered and informed poster. But really, this comment sounds REALLY arrogant ! I want my musicals with all those ingredients and I did NOT have a great time at WIW. Sure it has some very good moments but there were moments I was bored out of my mind !
I really respect the people who loved the show, but I expect to be respected for not liking it that much.
Peace