It’s not an easy time for a new play to thrive on Broadway. The Realistic Joneses, which opened on April 6, 2014 to largely positive reviews, is still struggling to stay afloat at the box office. This is the Broadway debut for playwright Will Eno, who is known for his less accessible but equally quirky Off-Broadway works such as Thom Pain (based on nothing) and Middletown. The play premiered in May 2012 at the Yale Repertory Theatre in New Haven, Connecticut. Both the regional and Broadway productions are directed by Sam Gold, whose remarkable career rise has confirmed him as the go-to director for adventurous new plays, especially those that feature a casual, realistic writing style. Of the four actors in the cast, only one has remained for the transfer – Tracy Letts, who is the Pulitzer Prize winning playwright of August: Osage County as well as the Tony Award winning actor from last year’s revival of Who’s Afraid of Virginia Woolf?
The other three roles are played by Toni Collette, who has been on Broadway once before in The Wild Party, Michael C. Hall, who has played Broadway musical leads in both Cabaret and Chicago, and Marisa Tomei, who has previously appeared in three Broadway plays: Top Girls, Salome, and Wait Until Dark. Though all three actors are much better known for their film work, these names are by no means box office gold of the likes of Denzel Washington, Daniel Radcliffe, or James Franco, who are presently competing for audience attention on Broadway, also in straight plays. Whereas musicals can often survive on Broadway without Hollywood stars, especially if they feature a familiar title, plays rarely enter the greater national consciousness without a special boost.
Although The New York Times critic Charles Isherwood gave the play an unqualified rave, marking it as a Critics’ Pick, the box office was actually worse for this past week than the one preceding it. For the week ending in April 6, 2014, gross ticket sales were $410,334, down $51,902 from the previous week. However, it must be noted that the week leading up to a show’s opening includes numerous performances designated as “press performances,” for which complimentary tickets are offered to critics from a wide array of publications. This would partly explain the lower gross, especially in light of the fact that the average ticket price also went down that week to $67.88 from $82.62 the week before.
The play is scheduled to run until July 6, 2014. Its producers, Jeffrey Richards and Jerry Frankel, often take gambles with shows that are not guaranteed slam dunks. In this same season, they also are producing All the Way, a new play but with the box office support of its star Bryan Cranston, The Bridges of Madison County, a musical with a familiar title that is struggling to stay alive, and Lady Day at Emerson’s Bar & Grill, which features Broadway favorite Audra McDonald as the timeless favorite Billie Holiday. Though The Realistic Joneses may be this producing team’s most risky show on Broadway right now, they have made a habit of mounting shows by recognized playwrights, which may or may not have stars. In any case, it is to their credit that they manage to support new writing in a climate where few dare to take such ventures, seeking to overcome the bias against plays without megastars.
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