“Cabaret” Concludes Its Run

Last Performance March 29 at Studio 54

cabaret Roundabout Theatre on BroadwayOn March 29, 2015, the Roundabout revival of Cabaret shuttered its doors at Studio 54, one of Roundabout Theatre Company’s Broadway venues. The revival has been playing since it began previews on March 21, 2014, ensuring that the show stayed on just past the one year mark. This production of Cabaret was based off an earlier production from 1993, also directed by Sam Mendes and co-directed by Rob Marshall, with choreography by Rob Marshall. Furthermore, Alan Cumming reprised his renowned role as the Emcee from that production, and he stayed with this revival for the entire run. It therefore makes sense that the production would choose to close upon the end of his contract, rather than rehearsing a replacement who would probably not fare as well as the box office. Instead, the focus has been on ensuring that his co-star, the leading lady playing Sally Bowles, would attract enough ticket buying attention. When the show began last year, Michelle Williams played the role of Sally. She received mixed reviews, and was able to attract some but not wildly outstanding box office attention. Michelle played that role until November 9, 2014. Throughout her stint, the highest weekly gross was $839,690, which took place in the week ending August 3, 2014.

Emma Stone as Sally Bowlesemma stone cabaret

Beginning November 11, 2014, Emma Stone stepped into the role of Sally Bowles, which she continued in until February 15, 2015. She ended up extended her run two weeks longer than originally planned. Emma Stone received excellent notices, and furthermore she brought the box office higher than it had been ever before in the run. The weekly gross box office record while she was in the lead was $1,051,850, which took place in the week ending January 4, 2015. That was one of two weeks in which the show made it into the millionaire’s club, the other being the week ending December 28, 2014. The combination of the high tourist Christmas season, along with Emma Stone, was a winning mix. Emma Stone was riding high off of her excellent reviews in the movie Birdman, where she played the daughter of a Broadway actor, with the movie primarily taking place backstage in a Broadway theatre. It was therefore fitting when she stepped into the role of Sally Bowles soon thereafter.

Sienna Miller as Sally Bowles

sienna millerTo complete the rest of Alan Cumming’s run, from February 17, 2015 until the last performance on March 29, 2015, Sienna Miller stepped into the role of Sally. Miller had been on Broadway once before, as the title role in After Miss Julie in 2009. Though she didn’t receive excellent reviews then, she has certainly captivated the attention of America through her screen performances in such recent hits as Foxcatcher and American Sniper. Miller, though not as successful as Stone, also did fairly well at the box office. She reached a high note in the final week, with a weekly gross of $935,989, although the credit is not due entirely to her of course, as a show generally picks up its ticket sales in the final week before closing. All in all, this revival of Cabaret can be considered a success, but the musical is such a classic that it almost supersedes the concept of success and failure. Whether or not the Tony committee chooses to recognize a revival of a revival, there will always be an audience delighted to see Cabaret.

“The Visit” Starts Performances on Broadway

Chita Rivera Stars in a Kander and Ebb Musical

the visit chita riveraOn March 26, 2015, The Visit began previews at the Lyceum Theatre. This musical has a book by Terrence McNally (It’s Only a Play, Mothers and Sons, Master Class). As for the score, the music is written by John Kander, and lyrics are by Fred Ebb, making this the newest musical from the all star team behind Cabaret, Chicago, The Scottsboro Boys, The Rink, and Woman of the Year. This musical, which is based on a play by Friedrich Duerrenmatt, has only been staged once before in New York: for a one night only performance on November 30, 2011 at the Ambassador Theatre (where Chicago has been playing for many years). That concert performance starred Chita Rivera in the role she is now playing in an extended Broadway run: Claire Zachannassian, a very wealthy woman. This was a benefit staging produced by the Actors Fund and the Vineyard Theatre. Rivera assembled along with other cast members from a previous production at the Signature Theatre in Arlington, Virginia, where the show played for just over a month in 2008. Prior the that, it had a run in Chicago in 2001. However, it wasn’t until 2014, when the Williamstown Theatre Festival reworked the play into a one act structure, that it was finally deemed ready to come to Broadway.

A Starry Cast and Revered Creative Teamchita rivera roger rees

According to Kander and Ebb, this role was written for Chita Rivera, whose previous credits include The Mystery of Edwin Drood, Nine, Kiss of the Spider Woman, and Chicago. She plays Claire Zachannassian, the richest woman in the world who has been widowed on several occasions. The title refers to when she pays a visit to her humble hometown, and the entire town expects this to bring great prosperity to all. However, she has other plans in mind, and a sardonic and complex series of events ensue. In addition to Rivera, the role of Anton Schnell is played by Roger Rees (The Addams Family, Peter and the Starcatcher, Uncle Vanya). Other roles are played by Mary Beth Peil (Follies, Women on the Verge of a Nervous Breakdown), George Abud, and Jason Danieley (Next to Normal, Curtains). The show is directed by John Doyle (The Color Purple, A Catered Affair, Company), who was behind the reworking at Williamstown that persuaded producers to bring to show to Broadway. Furthermore, it is choreographed by Tony nominee Graciela Daniele (Ragtime, Pal Joey, The Most Happy Fella, Zorba). The musical coordinator is John Monaco, and the associate conductor is Jesse Kissel.

Struggling at the Box Office

In the three weeks that the show has been running so far, it is having difficulty at the box office. In the last reported week of box office figures, the week ending April 12, 2015, the show brought in only $224,289, which represents 29.41% of its gross potential. Over the course of the eight performances that week, the top ticket price was $225.00, but the average paid admission was only $43.19. Still, it managed to fill up only 72.0% of seats across the week. The previous two weeks were not much better, although the first partial week of five performances brought in 35.12% of the gross potential. The show will open on April 23, 2015, upon which the reviews will hopefully send many more ticket buyers to the box office.

“Something Rotten!” Begins Previews

A New Musical from the Director of “The Book of Mormon”

something rottenOn March 23, 2015, Something Rotten! began previews at the St. James Theatre. This is a new musical with a book by Karey Kirkpatrick and John O’Farrell, and music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick. The musical is directed and choreographed by Casey Nicholaw, who also directed and choreographed The Book of Mormon, Aladdin, Elf, and The Drowsy Chaperone. The musical will officially open on April 22, 2015, and is scheduled for an open ended run. The musical deals with two brothers named Nigel Bottom and Nick Bottom, who are desperately attempting to write a hit play, but they keep being overshadowed by some guy named William Shakespeare. In this effort, they accidentally invent the first ever musical! Like the protagonists, the show was conceived by a pair of brothers: Wayne and Karey Kirkpatrick. Though they are both Broadway newbies, they have had a great deal of success in other realms. Wayne Kirkpatrick is a songwriter based in Nashville whose hit songs have been sung by the likes of Amy Grant, Trisha Yearwood, Eric Clapton, and Garth Brooks. Meanwhile, Karey Kirkpatrick is based in Los Angeles, where he is a writer and director of such films as James and the Giant Peach, Chicken Run, and The Hitchhiker’s Guide to the Galaxy.

A Heavy Hitting Broadway Cast and Creative TeamCasey Nicholaw

The lead roles of the musical writing brothers are played by John Cariani (Fiddler on the Roof) and Brian d’Arcy James (Macbeth, Time Stands Still, Next to Normal, Shrek the Musical). The role of William Shakespeare is played by Christian Borle (Peter and the Starcatcher, Legally Blonde, Mary Poppins). Additional roles are played by Brooks Ashmanskas (Bullets over Broadway, Promises, Promises, Present Laughter), Heidi Blickenstaff (The Addams Family, [title of show], The Little Mermaid), Brad Oscar (Big Fish, Nice Work if You Can Get It), and Kate Reinders (Good Vibrations, Wicked, Gypsy). In addition to the extremely successful director and choreographer Casey Nicholaw, Something Rotten! also has a very experienced creative team. The scenic design is by Scott Pask, the lighting design is by Jeff Croiter, the costume design is by Gregg Barnes, the sound design is by Peter Hylenski, the musical coordinator is John Miller, and the conductor is Phil Reno. Also notably, the lead producer is Kevin McCollum, who is also behind Hand to God this season, as well as The Last Ship, Motown the Musical, and Bengal Tiger at the Baghdad Zoo.

Difficult to Pre-Sell, but Not Necessarily to Sell

In his interview with Variety, producer Kevin McCollum was questioned about his choice of lead producing two new shows this season – Something Rotten! and Hand to God – both of which have little name recognition with the average audience member. In response, he said that these shows are not hard to sell; they are just hard to pre-sell. Something Rotten!, which is still in previews, is proving this to be correct thus far, as the box office figures in the first few weeks of the run are not spectacular. In the last reported week of box office, the week ending April 12, 2015, the show brought in $619,159, which represents 76.60% of its gross potential. With a top ticket price of $197.00, the average paid admission was $66.50. However, the good news is that this is a steady increase from the previous two weeks. Even with one fewer performance, that week was an increase of $112,057 from the week ending April 5, 2015, and that week showed and increase of $143,228 from the week before. Therefore, word of mouth is beginning to spread, and the post-opening reviews will prove whether this musical will be a long-standing hit.

Broadway Show Ticket Sales Analysis w/e 4/12/2015

This week’s notable movements on Broadway are:

Two Plays Still Going Strong: “The Audience” and “Fish in the Dark”

In the week ending April 12, 2015, two straight plays are still playing in the big leagues. With weekly grosses beat out only by the top five high grossing musicals, these two plays are beating all odds against straight plays and performing very well financially many weeks into their runs. The Audience starring Helen Mirren in the role of Queen Elizabeth II brought in $1,143,548 this past week, which represents 108.18% of its gross potential. With the exception of only one week, The Audience has been in the millionaire’s club every full performance week since it began previews on February 14, 2015. This past week, with a top ticket price of $323.00, the average paid admission was $151.56, showing that fans of the film The Queen, as well as history buffs and those who love Helen Mirren, are paying more than full price to see this play. Furthermore, Larry David’s Fish in the Dark brought in $1,169,986 in the week ending April 12, 2015. That represents a remarkable 112.41% of the show’s gross potential. With a top ticket price of $497.00, the average paid admission was $134.17, and the average audience capacity was at 101.6%. This play wins out because of the event nature of the show, as Larry David is not a usual face on Broadway, but he certainly has national acclaim.

Three Plays Struggling: “Airline Highway,” “Living on Love,” and “The Visit”

This past week, three shows that played full performance weeks of eight shows brought in barely enough to stay afloat. First of all, Airline Highway, a Manhattan Theatre Club production at the Samuel J. Friedman Theatre, brought in only $143,150, which represents 24.29% of its gross potential. The average paid admission was only $37.42, and the audience was filled up to an average of 76.3%. As the next lowest performing show this past week, Living on Love brought in $198,392. This play stars opera singer Renee Fleming in a play based off of Peccadillo by Garson Kanin. With an average paid admission of $34.18, the show reached 20.73% of its gross potential, and had an average audience capacity of 67.6%. In addition, The Visit starring Chita Rivera brought in only $224,289, which represents 29.41% of the show’s gross potential. With an average audience capacity of 71.5%, the average paid admission was $43.19, despite a top ticket price of $225.00. These three shows will need to up their numbers if they are to compete in this cut throat Broadway season, and so far it is not looking good. Fortunately for at least Airline Highway, that is produced by a not-for-profit institution that can afford to take in low numbers due to the endowment subsiding the production.

The following are the Broadway ticket sales numbers for the week ending April 12, 2015:Broadway-Show-Ticket-Analysis-4-12-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $712,576 7,149 98.53% $99.67
AIRLINE HIGHWAY $143,150 3,825 76.26% $37.42
ALADDIN $1,768,354 13,786 100.01% $128.27
AN AMERICAN IN PARIS $826,417 11,559 98.35% $71.50
BEAUTIFUL $1,057,902 7,890 96.13% $134.08
CHICAGO $612,057 7,128 82.50% $85.87
DOCTOR ZHIVAGO $535,584 8,920 75.44% $60.04
FINDING NEVERLAND $1,129,481 12,040 102.31% $93.81
FISH IN THE DARK $1,169,986 8,720 101.58% $134.17
FUN HOME $401,034 5,239 98.33% $76.55
GIGI $635,256 8,637 77.67% $73.55
HAND TO GOD $282,901 5,431 86.81% $52.09
HEDWIG AND THE ANGRY INCH $437,941 4,711 66.83% $92.96
IT SHOULDA BEEN YOU $402,840 7,683 95.65% $52.43
IT’S ONLY A PLAY $694,877 7,430 86.23% $93.52
JERSEY BOYS $808,116 8,231 83.78% $98.18
KINKY BOOTS $1,082,034 10,614 93.17% $101.94
LES MISÉRABLES $919,372 10,373 92.02% $88.63
LIVING ON LOVE $198,392 5,804 67.61% $34.18
MAMMA MIA! $766,214 8,438 90.46% $90.81
MATILDA $1,248,351 11,429 99.76% $109.23
ON THE TOWN $752,482 10,755 71.74% $69.97
ON THE TWENTIETH CENTURY $517,707 5,667 98.11% $91.35
SKYLIGHT $749,843 6,403 99.80% $117.11
SOMETHING ROTTEN! $619,159 9,310 99.03% $66.50
THE AUDIENCE $1,143,548 7,545 100.83% $151.56
THE BOOK OF MORMON $1,517,969 8,746 102.56% $173.56
THE HEIDI CHRONICLES $368,596 4,934 61.61% $74.71
THE KING AND I $761,311 8,376 100.00% $90.89
THE LION KING $2,293,061 13,436 98.79% $170.67
THE PHANTOM OF THE OPERA $1,097,215 10,482 81.64% $104.68
THE VISIT $224,289 5,193 72.04% $43.19
WICKED $2,181,861 14,678 96.01% $148.65
WOLF HALL PARTS ONE & TWO $594,758 8,525 77.05% $69.77
Totals $29,465,955 296,999 89.31% $93.83

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2015 nytix.com


“If/Then” Concludes Its Run

Idina Menzel Led this Musical for One Year

Idina Menzel in if/then on BroadwayOn March 22, 2015, If/Then concluded its run on Broadway at the Richard Rodgers Theatre. Starring Idina Menzel as a woman named Elizabeth, the musical had been running since its first preview on March 5, 2014. It officially opened on March 30, 2014, and closes having played 401 performances on top of 29 preview performances. The major draw for this musical with book and lyrics by Brian Yorkey and music by Tom Kitt (co-writers of the Pulitzer Prize winning musical Next to Normal) was the star, Idina Menzel. It was therefore fortunate that Menzel stayed for the whole run. Menzel is very well known among Broadway diehards for her star turns as Maureen in Rent, Elphaba in Wicked, and more recently the Ice Queen in the Disney animated film Frozen. For the latter, she sang the Academy Award winning song “Let It Go,” and when she performed the song live at the awards ceremony, John Travolta memorably flubbed the pronunciation of her name, calling her “Adele Dazeem.” More than an embarrassment, this was actually beneficial for her career, enhancing her renown beyond the community of Broadway fans. It is therefore possible that this occurrence augmented interest in the musical she was starring in at the time, If/Then.

Mixed Reviews and Mixed Box Officeif/then

After the show opened in March 2014, it received mixed reviews. To make matters worse, the Tony committee failed to recognize the musical in a significant capacity, snubbing it for the nomination for Best Musical. Therefore, although the show received some early buzz and great box office weeks early on, it is understood that the show closes having failed to recoup its initial investment. The show was capitalized at $10 million, which is a mid level amount for a musical of this size. The initial box office was looking promising, partly due to the timing of the Oscar name flub right at the beginning of the run. From the first week through the week ending May 11, 2014, the musical made over $1 million in its weekly box office a total of 5 times, and the addition 5 weeks had a weekly gross in the $900,000 range. However, starting mid-May, the musical began to bring in weekly grosses in the $800,000 range, by July it was averaging $700,000, and ever since August 2014, the show has been fluctuating in weekly grosses between $500,000 and $600,000. In early November 2014, the show brought in its record low weekly gross of $404,308. Therefore, it was difficult for the musical to keep up the audience interest, especially after the mixed reviews and the Tony nomination snub.

Nevertheless, Reuniting Great Artists for a Fulfilling Experience

The creative team of If/Then was a reunion of many great shows from the past. First of all, Brian Yorkey and Tom Kitt are the musical writing duo who won a Pulitzer Prize for Next to Normal, which also won the Tony Award for Best Actress in a Lead Performance in a Musical. In addition, If/Then was produced by David Stone, and directed by Michael Greif, both of whom served those same roles on Next to Normal. On top of this, David Stone is also the wickedly successful producer of Wicked, which brought Idina Menzel great fame and acclaim. Furthermore, Michael Greif was the director of Rent, which was Menzel’s first big breakout role. Therefore, though If/Then may not have been financially successful, it was a reunion of great artists who had a very fulfilling experience playing a show for a year with great love and devotion.

“Wolf Hall: Parts One and Two” Begin Previews on Broadway

An Epic Adaptation in Repertory

wolf hallOn March 20, 2015, Wolf Hall Part One and Wolf Hall Part Two began previews in repertory at the Winter Garden Theatre. This two-part epic play comes to New York following a successful run first at the Royal Shakespeare Company’s home theatre in Stratford-Upon-Avon, followed by a slam dunk engagement in London’s West End. These two plays are based on two novels written by Hilary Mantel, entitled Wolf Hall and Bring Up the Bodies, respectively. In the United Kingdom, the plays went by the same name as the books, but in New York, the producers decided it would be more accessible to American audiences to make obvious that this was a double bill. Therefore, they renamed the shows Wolf Hall Part One and Wolf Hall Part Two, thereby avoiding any ambiguity about which order they come in. The novels, both of which were selected as winners of the Man Booker Prize, were adapted for the stage by Mike Poulton. In addition to these theatrical renditions, Wolf Hall was recently also made into a TV mini series on the BBC, then broadcast in the United States on PBS, starring Mark Rylance (Jerusalem) as Thomas Cromwell.

Prize-Winning Historical Fiction about King Henry VIIIwolf hall

Wolf Hall Part One spans the period from 1500 to 1535, and Wolf Hall Part Two starts where the previous play finishes. Hilary Mantel plans to publish a third novel in what will be a trilogy, which will be entitled The Mirror and the Light. However, there was so much praise for these two novels that both stage and screen adaptations were made before the third novel has even been written. The novels (and their adaptations) deal with the period of English history in which Thomas Cromwell rapidly rises to power during the reign of Henry VIII. The stories are historical fiction, as some dramatic liberties were taken with the biography. In Wolf Hall Part One, Cromwell becomes the right-hand man of the advisor to King Henry VIII, Cardinal Thomas Wolsey. This characterization of Cromwell depicts him as a talented and practical man who really aims to serve the country amidst the difficult political climate. The first play ends with the death of Sir Thomas More, a councillor to King Henry VIII as well as a lawyer, statesman, and philosopher. In Wolf Hall Part Two, Thomas Cromwell and the King are the guests of the Seymour family. When the King falls in love with Jane Seymour, Cromwell is tasked with negotiating a separation from the King’s present wife, Anne Boleyn, who has failed to give birth to a male heir.

Cast and Creative Team

Mike Poulton’s adaptation of Hilary Mantel’s novels are directed by Jeremy Herrin, an accomplished British director who is making his Broadway directorial debut. The role of Thomas Cromwell is played by Ben Miles (The Norman Conquests trilogy), Lydia Leonard plays Anne Boleyn, and Nathaniel Parker (The Merchant of Venice) plays King Henry VIII. All three of these stars are reprising their roles from the London production. In addition, the cast of over 20 actors play approximately 70 diverse roles. Because of the marathon nature of these productions, they can both be seen in one day, amounting to 5 and a half hours of theatre with a dinner break, or they can be seen on different days.

Broadway Show Ticket Sales Analysis w/e 4/05/2015

This week’s notable movements on Broadway are:

New Shows: “Living on Love” and “Airline Highway”

In the week ending April 5, 2015, two new shows began previews on Broadway. First of all, Living on Love began previews on April 1, 2015 at the Longacre Theatre. Written by Joe DiPietro (Nice Work if You Can Get It) based on a play called Peccadillo by Garson Kanin, Living on Love is directed by Kathleen Marshall (Anything Goes) and stars opera singer Renee Fleming in her Broadway debut. Over the course of its first five performances, it brought in $126,172, which represents only 26.13% of its gross potential. With a top ticket price of $275.00, the average paid admission was $31.73, which represents very heavy discounting. Furthermore, the show filled up 74.1% of its audience capacity, so many of these tickets must have been complimentary in addition to discounted. In addition, Airline Highway began previews on April 1, 2015 at the Samuel J. Friedman Theatre in a Manhattan Theatre Club production. Written by Lisa D’Amour (Detroit) and directed by Joe Mantello (An Act of God), Airline Highway is one of the rare MTC productions on Broadway to be written by a woman in recent years. In its first six performances, the show only brought in $90,799, which represents 20.54% of its gross potential. The average paid admission was $34.67, and average audience capacity was at 69.6%. Fortunately, an MTC production can afford these low wraps more than a commercial work such as Living on Love, as the not-for-profit’s endowment should help make up for some of these losses.

Big Leaps in a Nine-Show Week

This past week, three of the top-grossing musicals on Broadway made the choice to play for nine performances, up from the usual eight. It is unclear why all three of these shows made this decision for the same reason, although two of them – Aladdin and The Lion King – are both Disney Theatricals productions and therefore probably made this choice in tandem. The third show is Wicked, which along with those two is generally at the top of the box office charts. In the week ending April 5, 2015, therefore, each of these shows saw a major increase in ticket sales. The Lion King went up by $569,329, which is accounted for not just by the extra performance, as the gross potential also went up to 100.78% from 99.2% the week before. Wicked saw an increase of $486,223, and Aladdin went up by $454,855. One of the reasons that these three musicals chose to add a performance may have been due to the timing of spring break, as these three shows are all major fare for tourists and families alike.


The following are the Broadway ticket sales numbers for the week ending April 5, 2015:Broadway-Show-Ticket-Analysis-4-05-15

Show Name GrossGross Total Attn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $617,753 6,475 89.24% $95.41
AIRLINE HIGHWAY $90,799 2,619 69.62% $34.67
ALADDIN $2,024,667 15,508 100.01% $130.56
AN AMERICAN IN PARIS $967,151 12,114 92.28% $79.84
BEAUTIFUL $835,957 7,312 89.08% $114.33
CHICAGO $669,411 7,463 86.38% $89.70
DOCTOR ZHIVAGO $368,018 7,480 72.30% $49.20
FINDING NEVERLAND $1,153,212 11,804 99.76% $97.70
FISH IN THE DARK $1,196,788 8,720 101.58% $137.25
FUN HOME $310,222 4,221 90.54% $73.49
GIGI $585,448 8,619 90.80% $67.93
HAND TO GOD $213,302 4,848 77.49% $44.00
HEDWIG AND THE ANGRY INCH $493,136 5,454 77.37% $90.42
HONEYMOON IN VEGAS $368,966 5,371 58.38% $68.70
IT SHOULDA BEEN YOU $310,872 5,473 69.95% $56.80
IT’S ONLY A PLAY $514,337 6,093 70.72% $84.41
JERSEY BOYS $710,080 7,466 76.00% $95.11
KINKY BOOTS $937,627 9,165 80.45% $102.31
LES MISÉRABLES $981,252 10,848 96.24% $90.45
LIVING ON LOVE $126,172 3,977 74.13% $31.73
MAMMA MIA! $813,160 8,884 95.24% $91.53
MATILDA $1,416,637 11,493 100.32% $123.26
ON THE TOWN $563,746 9,468 63.15% $59.54
ON THE TWENTIETH CENTURY $509,348 5,398 93.46% $94.36
SKYLIGHT $625,494 6,201 96.65% $100.87
SOMETHING ROTTEN! $507,102 10,257 95.33% $49.44
THE AUDIENCE $1,142,590 7,505 100.29% $152.24
THE BOOK OF MORMON $1,517,640 8,751 102.61% $173.42
THE HEIDI CHRONICLES $275,393 3,994 49.88% $68.95
THE KING AND I $828,367 8,376 100.00% $98.90
THE LION KING $2,633,531 15,295 99.97% $172.18
THE PHANTOM OF THE OPERA $1,230,960 11,142 86.78% $110.48
THE VISIT $214,803 5,155 71.52% $41.67
WICKED $2,358,372 15,857 91.48% $148.73
WOLF HALL PARTS ONE & TWO $689,541 8,127 73.45% $84.85
Totals $29,551,639 294,345 85.37% $91.82

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2015 nytix.com

“The Heidi Chronicles” Opens on Broadway

Elisabeth Moss Shines at the Music Box Theatre

heidi chroniclesOn March 19, 2015, The Heidi Chronicles opened on Broadway at the Music Box Theatre. This play, originally produced in 1988, won the Pulitzer Prize for Drama in 1989. Written by Wendy Wasserstein (The Sisters Rosenweig, An American Daughter), this production is directed by Pam MacKinnon (A Delicate Balance, Who’s Afraid of Virginia Woolf?, Clybourne Park). Wendy Wasserstein, who passed away in 2006 due to lymphoma, is highly regarded as one of the great contemporary feminist playwrights of our time. This production has done justice to her legacy, with Elisabeth Moss (“Mad Men,” Speed-the-Plow, London’s The Children’s Hour) playing the title role of Heidi Holland, a character who is semi autobiographical. Additional roles are played by Jason Biggs (“American Pie” franchise, The Play What I Wrote, The Graduate) and Bryce Pinkham (A Gentleman’s Guide to Love and Murder, Ghost the Musical). It tells the story of a young woman named Heidi, spanning her life from childhood through more than 20 years of her life, dealing with themes of a woman’s independence, raising children, settling with a man, and building a career. The play is scheduled to run for a limited engagement until August 9, 2015.

Overall Positive Reviews from Criticsheidi chronicles

In sum, the reviews were positive for The Heidi Chronicles. Charles Isherwood of The New York Times found the play resonant today despite being written 27 years ago. He praised Elisabeth Moss, calling her “superb” and remarking on her ability to portray innocence at the same time as cunning. Robert Kahn of NBC New York also loved the show, commenting that it did not seem dated as the issues at the heart of the play are definitely still important today, and the answers are just as uncomfortable, as our culture as a whole has not fully figured out the dilemma of women’s place in society. Furthermore, Linda Winer of Newsday was overwhelmed with sentiment following this revival, not only because it is the first major production of Wendy Wasserstein’s work following her death, but also because the play definitely stands up to its legacy. Adam Feldman of Time Out New York was less sold on the production, finding the heartbeat of the play to be less resounding than it was when first performed, although acknowledging that the play has always been historical in its perspective. In addition, David Rooney of the Hollywood Reporter found the best thing about the play to be Ms. Moss’ performance, but he did not fully enjoy the construction of the narrative.

A Difficult Sell at the Box Office

Elisabeth Moss may be a hot name in Hollywood due to her fame from “Mad Men,” but perhaps she has not yet reached the heights of a star who can sell a Broadway show from her name alone. Furthermore, the play and the playwright have a serious pedigree among theatre circles, but in the wider community, and especially the tourist market, they may have little resonance. Therefore, the box office figures have not been outstanding thus far in the run, and even following the mostly positive reviews, the numbers have budged just barely upward. In the most recent week of reported box office, the week ending March 29, 2015, The Heidi Chronicles brought in $335,976, which represents 37.7% of its gross potential. In the five weeks of the run thus far, the show has been on a steady incline, although very slight. For instance, this past week it only went up by $6,974 from the week before, when it had increased by $7,025 from the week before that. Therefore, it may be difficult for this show to come close to breaking even, unless something dramatically different happens in these financial patterns.

“Gigi” Begins Performances on Broadway

Vanessa Hudgens Makes Her Broadway Debut

gigi vanessa hudgensOn March 19, 2015, a new revival of the musical Gigi began previews at the Neil Simon Theatre. This musical with book and lyrics by Alan Jay Lerner, and music by Frederick Loewe, first premiered on Broadway in 1973, when it won the Tony Award for Best Original Score, and was nominated for three other Tony Awards including Best Actor, Best Scenic Design, and Best Costume Design. However, that production was disappointingly short lived, running for only 103 performances. Nevertheless, the play premiered in the West End in 1985, where it ran for seven months. This revival is a new adaptation of the musical, written by the British screenwriter and playwright Heidi Thomas. Directed by Eric Schaeffer (Follies, Million Dollar Quartet), and choreographed by Joshua Bergasse (On the Town), this production of Gigi premiered at Washington, D.C.’s Kennedy Center prior to arriving on Broadway. The role of Gigi is played by Vanessa Hudgens, the High School Musical star who is making her Broadway debut. Additional roles are played by Victoria Clark (Sister Act, Rodgers + Hammerstein’s Cinderella), Corey Cott (Newsies), Dee Hoty (Bye Bye Birdie, Mamma Mia!, Footloose), Steffanie Leigh (Mary Poppins), and Howard McGillin (Sunday in the Park with George, She Loves Me).

A Rookie Producer Gets Creative

Gigi is produced by Jenna Segal, who formerly worked in television at MTV and Nickelodeon, but who has gigi vanessa hudgensnever been involved in the production of a Broadway show before. However, she has known this story since she was a little girl, and it was her passion for the material that drove her to secure the rights and develop this revival. She faced certain challenges in adapting this show to the modern age. The story is about a young courtesan who decides to leave her training to marry for love. The original tale involved lovers with a wide age difference, 15 and 33, so this revival tightens that gap, making Gigi 18, and her beloved only a bit older. Furthermore, one of the most famous songs, “Thank Heaven for Little Girls,” was sung by an older uncle, which could leave a strange impression on contemporary audiences. To respond to this issue, the rewrites reattributed this song to a different pair of singers, the grandmother and aunt played by Victoria Clark and Dee Hoty. Furthermore, Segal took an inventive approach in partnering with luxury brands to make the show more glamorous and appeal to a range of audiences in the wealthy Broadway demographic. For instance, Swarovski provided over 250,000 crystals for the production, and Veuve Cliquot is a sponsor of the show, which includes such songs as “The Night They Invented Champagne.”

A Dream Come True for Vanessa Hudgens

At age 26, Vanessa Hudgens has had a fair share of success. She has ventured into high profile television, film, and pop music endeavors, but this is her first time shining on the Broadway stage. She told The New York Times that this experience has really changed her work ethic and perspective on her career goals. Returning to the stage for the first time since she was a little girl, this opportunity allows her to feel stardom in the visceral live reality that only theatre can offer. In terms of the role of Gigi, Hudgens has had a lot of experience with both wholesome and racy roles, and Gigi can be considered both of these. Her first breakout role was a supporting part in the film Thirteen, but then she was restored to honesty with a much less morally troubling part in “High School Musical.” On the flipside, her part in the Harmony Korine film Spring Breakers involved a scandalous sex scene with James Franco. In any case, Hudgens can leverage this experience to bring a well-rounded sense of character to Gigi, and her 6.7 million Instagram followers will eagerly await the reviews.

Broadway Show Ticket Sales Analysis w/e 3/29/2015

This week’s notable movements on Broadway are:

“Something Rotten!” and “Doctor Zhivago” Begin Previews

In the week ending March 29, 2015, Something Rotten! was one of four new shows that began previews. Over the course of seven performances at the St. James Theatre, the new musical directed and choreographed by Casey Nicholaw (The Book of Mormon) brought in $363,874, which represents 68.51% of its gross capacity. That is not bad for a new show without previous brand name recognition. Furthermore, it has Broadway stars but not Hollywood stars, including Christian Borle, Brian D’Arcy James, Brooks Ashmanskas, and Peter Bartlett. With a top ticket price of $197.00, the average paid ticket was only $35.30. Therefore, though the average audience capacity was 99.1%, the ticket buyers mostly paid highly discounted rates. This is a good tactic for a new show to gain popularity through word of mouth in its early days. Furthermore, Doctor Zhivago began previews at the Broadway Theatre on March 27, 2015, playing three performances over this first week. With a weekly gross of $291,270, the show brought in 60.39% of its gross potential, with an average paid admission of $74.02.

“Fun Home” and “The Visit” Also Join the Broadway Ranks

After a wildly successful run at the Public Theatre, Fun Home began previews on March 27, 2015, playing 4 performances in this first week. The show brought in a weekly gross of $218,509, representing 58.56% of its gross potential. With a top ticket price of $200.00, the average paid admission was $77.43, representing a moderate amount of discounting to reach the audience capacity of 100.5%. This is another new musical that hopes to spread word of mouth through early discounting in the run, but will hope to maintain full audiences at higher priced tickets after opening. Finally, The Visit began previews on March 26, 2015 at the Lyceum Theatre. Starring Chita Rivera and Roger Rees, this musical has a book by Terrence McNally, and a score by John Kander and Fred Ebb. Over its first five performances, the show only brought in $167,410 despite its high pedigree of cast and creative team. This represents 35.12% of the show’s gross potential. With a top ticket price of $225.00, the average paid admission was $46.74, reaching an average audience capacity of 79.5%.

The following are the Broadway ticket sales numbers for the week ending March 29, 2015:Broadway-Show-Ticket-Analysis-3-29-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $642,467 6,469 89.15% $99.31
ALADDIN $1,569,812 13,785 100.01% $113.88
AN AMERICAN IN PARIS $859,762 10,620 92.45% $80.96
BEAUTIFUL $979,932 7,279 88.68% $134.62
CABARET $935,989 7,042 98.57% $132.92
CHICAGO $694,655 8,032 92.96% $86.49
DOCTOR ZHIVAGO $291,270 3,935 88.75% $74.02
FINDING NEVERLAND $1,046,994 11,211 94.75% $93.39
FISH IN THE DARK $1,200,038 8,720 101.58% $137.62
FUN HOME $218,509 2,822 100.50% $77.43
GIGI $483,908 7,407 78.03% $65.33
HAND TO GOD $235,413 5,379 85.98% $43.77
HEDWIG AND THE ANGRY INCH $506,395 5,908 83.81% $85.71
HONEYMOON IN VEGAS $371,576 5,020 54.57% $74.02
IT SHOULDA BEEN YOU $335,706 6,144 78.53% $54.64
IT’S ONLY A PLAY $612,583 6,130 71.15% $99.93
JERSEY BOYS $738,877 8,053 81.97% $91.75
KINKY BOOTS $1,004,700 9,875 86.68% $101.74
LES MISÉRABLES $800,286 9,568 84.88% $83.64
MAMMA MIA! $699,086 8,483 90.94% $82.41
MATILDA $1,137,135 11,486 100.26% $99.00
ON THE TOWN $573,548 9,032 60.25% $63.50
ON THE TWENTIETH CENTURY $486,398 5,664 98.06% $85.88
SKYLIGHT $618,692 6,215 96.87% $99.55
SOMETHING ROTTEN! $363,874 10,307 99.11% $35.30
THE AUDIENCE $1,164,962 7,584 101.35% $153.61
THE BOOK OF MORMON $1,529,584 8,751 102.61% $174.79
THE HEIDI CHRONICLES $335,976 4,981 62.20% $67.45
THE KING AND I $776,946 8,377 100.01% $92.75
THE LION KING $2,064,202 13,494 99.22% $152.97
THE PHANTOM OF THE OPERA $964,013 11,422 88.96% $84.40
THE VISIT $167,410 3,582 79.51% $46.74
WICKED $1,872,149 14,604 94.78% $128.19
WOLF HALL PARTS ONE & TWO $886,920 8,877 80.23% $99.91
Totals $27,962,546 284,016 88.65% $94.28

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2015 nytix.com