Originality is always prized, but is it always good box office?
Back by popular acclaim
On Broadway, the revival is generally a vehicle that’s had tried-and-true success. The public likes the play or its author, and adding a marquee name will probably bring them in again. An eager new cast and crew doing the hard bits is probably a formula that will minimize a producer’s risk.
There are no guarantees, of course, in the theater. The audiences can be fickle. Is O’Neill still a draw? Will Arthur Miller appeal? Do they want to see Neil Simon, or Ibsen? Is Chekhov a lock for their full attention?
Setting the stage
Les Miz and Miss Saigon (currently in a revival at The Broadway Theatre) cycle through periodically, generally with good success. Cats is bringing back “Memory” at the Neil Simon Theatre at the moment. Sondheim gets out quite a bit too– from revivals of Follies to Sweeney Todd to Gypsy, to mention a few, and of course the current revival of Sunday in the Park with George starring Jake Gyllenhaal and Annaleigh Ashford at the refurbished Hudson Theatre.
Bette Midler is expected to be a very effective matchmaker in Hello Dolly! Given her fanbase, she should attract a loyal audience to the Shubert Theatre, running through January 7, 2018, and in fact, the website’s performance calendar is already offering tips on availability.
On the dramatic side, Tennessee Williams gets his share of the Broadway air. His works are often produced, and not just at the not-for-profit subscription houses. So many roles tempt actresses to climb the mountains of his beautiful poetic prose that The Glass Menagerie has seen a number of recent renditions. In 2014, Cherry Jones tackled the part of Amanda Wingfield; in 2010 it was Blythe Danner. Currently, it’s Sally Fields taking on the mother of all roles (sorry Mama Rose) in the Broadway run of The Glass Menagerie
through July 2nd.
Broadway transfers create a very different equation for the money behind productions. The show did well in, say, a 300-seat house. How will it fare in one with 500+?
We caught In Transit in its off-Broadway run at 59E59 in a Primary Stages production, and the move to Broadway for this gritty a cappella musical should be interesting to watch. It’s at Circle in the Square through June 25th.
Often, Broadway’s bookmakers like the odds. They’ve taken The Humans, for instance, out of Roundabout’s Laura Pels and plucked it onto the Helen Hayes where it has flourished. Stephen Karam’s domestic drama won the 2016 Tony® as Best Play. Significant Other, another Roundabout vehicle is heading over to Broadway’s Booth Theatre, through July 2nd.
Dear Evan Hansen is doing very well, thank you, since moving around the corner from 43rd Street’s 2nd Stage to the Music Box in an open run. A dramusical with lots of heart and the off-Broadway cred of its creative group, Steve Levenson (book) and Benj Pasek and Justin Paul (music and lyrics.) It’s attracting Broadway audiences. Its lead, Ben Platt, who like Significant Other‘s Gideon Glick , has star quality; both transferred with the pvehicles they lead.
Avenue Q took a circuitous route, after transferring from off Broadway’s Vineyard Theatre, it landed off a well-received Broadway run (it won 3 Tony®s in 2004) at New World Stages for seven years.
The most famous name in Broadway transfers came from the Public Theater to win 11 Tony Awards®. It is, of course, Hamilton, a story onto itself. Another recent Public Theater production, Sweat, opens at Studio 54 on March 26th; Lynn Nottage’s timely drama about the dystopia of working class America should do well on a bigger stage.
For my money…
If you were putting up money for a Broadway produciton, would you opt for a revival or take a fly on brining a production uptown? Tough call. And a big thanks to all the folks who do put their money in and bring theater to us.