Broadway Journal

CHEAP ‘SIX’ COULD MAKE INVESTORS WHOLE IN RECORD TIME

by

EXCLUSIVE: Six, the sizzling pop musical in which British Royals meet #MeToo, may be able to repay investors within 11 weeks of its first preview. That’s according to a projection distributed to investors, and assuming the production can sustain the momentum it’s built up through four stops in the U.S. and Canada, more than a year on the West End and ongoing tours in the U.K., Australia and at sea via the Norwegian Cruise Line.

Capitalized on Broadway at $5 million to $6.5 million, according to a filing with the Securities and Exchange Commission, Six  could potentially make its backers whole faster than Hamilton. Lin-Manuel Miranda’s blockbuster took seven months after previews began on Broadway, in July 2015, to recoup its $12.5 million and make its first profit distribution. Should Six  become another New York money machine, credit a witty and contemporary score about the divorced, beheaded and otherwise beleaguered wives of King Henry VIII. And its relatively tiny budget.Continue Reading

‘HAMILTON’ PITCHES GROUP SALES AS BOX OFFICE SOFTENS

by

EXCLUSIVE: For the first time in more than three years, Broadway’s biggest blockbuster is opening its doors to bus tours, schools from out of town and other groups.

Beginning on Monday, Hamilton  offers group sales for performances from Jan. 7 to June 4, 2020, according to a memo the production sent to group sales agents that was obtained by Broadway Journal.

Continue Reading

RIDING HIGH WITH ‘HAMILTON’ PROFITS, THEATER PLANS ‘PUBLIC STUDIOS’

by

EXCLUSIVE: The Public Theater has earned tens of millions of dollars for its role developing Hamilton — and is spending as little of it as possible on two ambitious projects.

The venerable nonprofit is fundraising for a new rehearsal and audition space — dubbed Public Studios — that’s scheduled to open early next year across the street from its Astor Place headquarters. It’s also renovating the Delacorte Theater in Central Park, to be completed around 2022.Continue Reading

TOOTSIE’S INSIDER ADVANTAGE AT THE TONY AWARDS

by

Santino Fontana & Andy Grotelueschen

EXCLUSIVE: In competitive Tony Awards contests, can producers who vote for their own shows have an outsized impact? Apparently.

I obtained a list of voters in the 2017-18 season — which I’m told is largely current — and cross-referenced it with names above the title of this year’s Best Musical nominees.

I counted 17 Tootsie  producers and co-producers who were eligible to vote, 16 on Ain’t Too Proud,  12 on Hadestown  and nine on The Prom.  With just 831 voters, those margins aren’t negligible. Continue Reading

SUSAN SARANDON, R&H MIX AWKWARDLY IN JESSE EISENBERG’S ‘HAPPY TALK’: REVIEW

by

Marin Ireland & Susan Sarandon/Monique Carboni

“I always thought that my lot in life was to help people en masse,” pontificates Susan Sarandon as an unbearable community theater diva in Jesse Eisenberg’s half-baked new play, Happy Talk.

“Through my work. People see me on stage. They see the human condition — it filters through me — and maybe they learn a little something about themselves,” Sarandon’s character, Lorraine, says.Continue Reading

A NERD’S GUIDE TO THE 2019 TONY NOMINATIONS

by

Santino Fontana & Lilli Cooper/Matthew Murphy

It’s been a few years since an old-fashioned mainstream comedy won best musical at the Tony Awards. Tootsie  could change that.

Its primary challenger appears to be the acclaimed New Orleans-infused folk opera Hadestown. But don’t count out the thriving Temptations musical, Ain’t Too Proud,  or the inclusive comedy The Prom.Continue Reading

DAZZLING PERFORMANCES, FAMILIAR STORY: ‘AIN’T TOO PROUD’ REVIEW

by

photo: Matthew Murphy

Ain’t Too Proud  isn’t too original, but it should appeal to fans of the Temptations, the most successful African-American recording group in history.

The musical’s five leads gorgeously harmonize on such hits as “Just My Imagination (Running Away With Me),” “My Girl” and “I Can’t Get Next to You.” Sergio Trujillo’s kinetic homage to the group’s original choreography includes dazzling splits, slides and spins. Continue Reading

ACTORS’ EQUITY ENDS STRIKE AGAINST BROADWAY LEAGUE

by

After 33 days, Actors’ Equity has ended its limited strike against the Broadway League over how its members are compensated for developing new work.

Actors had sought profit share and a raise from the current $1,000 weekly salary when participating in a developmental lab, which are multi-week workshops to create new plays and musicals.Continue Reading

Copyright © 2019 Broadway Journal.