| I agree, I am highly suspect of the idea that a show would intentionally, from the start, have a plan to skip Broadway. Each show is a living thing with plenty of context. In the case of Love Never Dies, it seems very smart after terrible reviews in London, and a cancelled Broadway engagement, and a revamped international production that was better received than what came before it, to just skip NYC and head for the road. Nothing is ever 100%, but pretty darn close to 100% that this show would be eviscerated by New York critics, both on its own merits/flaws and the general whipping boy status of Andrew Lloyd Webber. I think Flashdance and Dirty Dancing followed a similar trajectory. These were not shows that were going to be heralded artistically, NY critics were bound to be snooty with them, but they were doing business on the road so they just kept them out there. These three shows also come with VERY recognizable branding. Phantom is...Phantom. And the other two have source material that features singing and dancing and seem an obvious leap for theatrical treatment. I think shows like Margaritaville and SBSP needed to go after the Broadway and press/awards machine to establish themselves. I doubt they would have sold well as tour only properties. |
