Working on a bomb — Page 2

Zeppie2022 said: "Scarywarhol said: "I've worked on a couple of terrible musicals. You know if it sucks if you've got any taste, you stay in your lane and you do your job.

Doesn't mean you aren't glad for employment but the pearl-clutching histrionics from the most basic Disney Adult-esque Broadway fans when a terrible show closes about how yOu ShoUldN'T ceLeBraTe peOpLe loSiNg JoBs are hilarious.

Wicked was not *panned*. Gatsby was and deserved worse and is still running on name recognition (or as I like to call this case, stolen valor)."

Yes, it was which included the NY Times (Ben Brantley). Only positive thing from him was the performance of Kristen Chenowith."



I know it's a fool's errand to try to reason with any of your usernames, but a review that praises a performer is not a pan and a negative review or even several major negative ones does not mean that a show was panned at large, these words have meanings.

That was the intention. I have no idea who Flash is ...

jazzicat said: "I also don’t think Boop was a bomb… I don’t think it was given long enough to run. I think it needed more time. It’s going to be spectacular on tour.

I also think Redwood had some great songs but a terrible book. They needed to make some changes and didn’t do it in time. I think it’s going to be seen as a classic some day like If/then and might get revived with edits.

Queen of Versailles was painful… there was no need.



"

Neither of those shows will ever be seen as classics, ever.

jazzicat said: "If/then isn’t considered a classic? Really? It’s not “Into the Woods,” but a lot of people think it’s beloved."



Literally no one thinks that. Not even the people who wrote it.

always bway said: "Heart of Rock and Roll was a blast and got rave reviews across the boards. They just had no advance in a crazy season of over 30 new shows. If it opened this season, could be a contender for Best New Musical. It knew what it was and was cheeky great fun. Not a bomb. That cast loved their show fyi."


except none of what you wrote above changes the fact that it was a complete bomb

the heart of rock and roll grosses never cracked $400k until its closing week

most weeks it failed to even crack $300k

and it only ran for a whopping 9 weeks

meaning it never made a cent

in fact it bled tens of millions of $$

losing its entire capitalization and investment

in broadway lore they have a word for this:

BOMB



MezzoDiva47 has spoken

bow down accordingly

Scarywarhol said: "THE KING AND I is a classic. SWEENEY TODD is a classic. IF/THEN is a tepidly received show that an extremely niche group might appreciate or associate pleasant memories with, but is virtually unthought of outside of its association with the star it was written forand has never materialized a real life since, especially compared to just about any show with a similar run I can think of. I'm always surprised to remember it exists.

Boop wasn't a bomb because it didn't make it? That's *what a bomb is.* (But it also certainly got a shot, ran for months at a weekly loss.) Possible the tour does a bitbetter.

No words mean anything in this thread!"

Please, Boop was a nuclear bomb. It lost every penny.

I liked If/Then a lot. I saw it on B’way with Idina then again on tour with Jackie. I think it’s an under-appreciated show. But a classic? That’s laughable. I know that my opinion is a minority one. It’s not beloved - as evidenced by the fact that it’s rarely, if ever produced. I know that Pace University inexplicably did a production a couple of years ago (really weird choice for a college, right?) but other than that I don’t even know where it’s been done.

darquegk said: "I’ve always been of the impression that a flop is a show that closed at a loss (but can redeem itself via touring and licensing in the modern market, rare though that may be). But a bomb is the next step up: a show that not only closes at a loss, but drags the careers or reputations of the people attached down with it.

Boop flopped, but neither David Foster not Jasmine Amy Rogers have stains on their career or reputation from it. It was just a show that didn’t turn a profit. True bombs are rarer: even a full blown nothing burger like Redwood doesn’t turn Idina Menzel into “the woman from the lesbian tree musical.”"



a good distinction

i think the theatre cognoscenti would agree with your analysis here

my lengthy list earlier in this thread was to highlight just how many recent new musicals have closed at a complete loss — flop or bomb

it doesnt bode well

im not here to celebrate it

but no one seems to know a sustainable path forward

even a legend like cameron mackintosh has thrown in the towel

Most shows lose money- ie, flop- and that includes very well-regarded and award-winning shows. Flop is not a judgment of quality, just a statement of fact.


Bombs are rarer, in the “how the hell did this make it this far?” way.