Did he really just say that? And sing that?Continue Reading
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
Cementing his position as Broadway’s most prolific and arguably most powerful producer, Scott Rudin said today that he’s reviving The Music Man, starring Hugh Jackman, in October 2020.Continue Reading
EXCLUSIVE: Investors in Scott Rudin’s celebrated revival of Hello, Dolly! have earned a profit of 5 percent, according to two people familiar with the production.
In a flop-filled business, recouping is considered the benchmark for success, and investors months ago earned back their money. The musical was the talk of the 2016-17 season, won four Tony Awards, and last week was the third-bestselling musical, behind Hamilton and The Lion King. For angels seeking prestige, glamour and the satisfaction of helping to create a revival worthy of the iconic, 1964 original, Dolly delivered and made them money.
Others, however, expected more from a production that’s grossed $126 million.Continue Reading
Disney’s Frozen and Scott Rudin’s revival of Rodgers and Hammerstein’s Carousel performed promisingly in an otherwise wet and dismal week.
Frozen was a near sellout, grossing $984,000 in five previews. Its composers, Robert Lopez and Kristen Anderson-Lopez, picked up their second Academy Award last night, for best original song with Remember Me, from the Disney film Coco, which shouldn’t hurt Frozen‘s prospects when it opens at the St. James on March 22.
EXCLUSIVE: A promising Broadway courtroom drama appears to be closing out of town.
Scott Rudin and the University of the South have agreed in principle to settle the University’s lawsuit alleging that Rudin’s production company failed to pay royalties on his Glass Menagerie revival starring Joe Mantello and Sally Field. Lawyers for both sides filed papers in Federal Court in Tennessee disclosing the tentative deal yesterday, exactly a year after the play began previews at the Belasco Theatre.
Many winners at Radio City Music Hall on June 11 had their bestselling weeks to-date after being recognized for achievement and, in the case of musicals, making the most of the international platform to present songs from their shows.
ANALYSIS: The 71st annual Tony Awards opened with Kevin Spacey as Evan Hansen in a goofy polo shirt and cast around his left arm. The ceremony ended moments after an acceptance speech by Dear Evan Hansen‘s producer.
In between there was suspense aplenty at Radio City Music Hall. While Dear Evan Hansen, about a socially anxious teenager caught up in web of lies, was methodically collecting awards, including for score and book, Come From Away won for director, Christopher Ashley. That win raised the tantalizing possibility of an upset by the feel-good musical set in a remote Canadian province after 9/11. Ultimately, Evan Hansen prevailed in a historic night.
On Sunday, the Tonys — a joint venture of the American Theatre Wing and Broadway League — is seeking to end the practice of dozens of producers rushing the stage at Radio City Music Hall when their show wins. Just six producers will be permitted onstage to accept each major award — for play, musical and play and musical revival — according to an email from League President Charlotte St. Martin and Tony Award Productions that was obtained by Broadway Journal.
One of the season’s most anticipated musical revivals, the Scott Rudin-produced Hello, Dolly!, got off to a fast start in Broadway’s top-selling and best-attended week of the year.
The show grossed $1.4 million in five previews, according to the Broadway League. Both its $750 top seat and $196 average ticket were second only to Hamilton: An American Musical, which has an $849 top ticket and $267 average last week. The numbers confirm that Dolly!, with Midler singing on Broadway for the first time since Bette! Divine Madness in 1979, is on track to be the top-grossing new production of the spring. The classic last appeared on Broadway two decades ago, with Carol Channing reprising a role she played repeatedly on Broadway and on tour.