| re: They’re trying to get $110 for the front of the balcony | |
| Posted by: NewtonUK 06:59 am EDT 09/06/18 | |
| In reply to: re: They’re trying to get $110 for the front of the balcony - ryhog 09:47 pm EDT 09/05/18 | |
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| Put aside whether this show is actually good or not. It exists off Broadway because of viral frenzy over songs that appeared online after the show's lacklustre run at Two Rivers in NJ in 2015. I say lackluster because it wasn't reviewed very well and vanished without a trace. But a young audience clamored for it, and has filled the houses at the Diamond in the Signature. And they are having a great time. But .... Back in the day when RENT opened at NYTW, a buzzy rock musical became a hit with the older audience at NYTW. It extended, sold out, and the audience mostly mirrored the age range of the Broadway audience - maybe NYTW skews 5 years or so younger overall. It became a hit because critics and adults loved it. And continued to buy tickets after it moved to Broadway, as did younger audiences. Flash forward to AMERICAN IDIOT. Green Day is not a band on adult radar. And yet here this show came to Broadway. And enthusiastic Green Day fans ... couldn;t afford to buy tickets. The natural audience for a Green Day musical was not Broadway friendly. The BE MORE CHILL fanatics skew even younger than Green Day fans. The show is going to Broadway and will cost, I would imagine, $7-8 million to move (in the West End you could move this show for under $1 million, but thats another story). Of course the producers have to charge Broadway prices - otherwise the recoupment math will never work. I question whether the audience for this show can afford to support it on Broadway. And I might suggest that in subject matter and presentation (and content) this is not a show that is going to score highly with grown up theatregoers (the BANDS VISIT and HAMILTON crowd) nor with tourists. This feels a bit like the Edinburgh Fringe Syndrome, where some smash hit at the Fringe goes to the West End and dies. So much frenzy about its smaller venue success - but in fact it was just the nest of the 800 shows you saw at the FRinge that year, and you were desperate to love something. And the major critics already are not favorable to your show, so you can write that off. I would have found another OB home, and let it be a hit for a year or so, and make some $. But the lure of Broadway seems irresistible. Sadly. One does not want to see a hit become a flop, ever (e.g. title of show, Passing Strange, Bloody Bloody Andrew Jackson, Scottsboro Boys, Caroline or Change) |
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