So I'm guessing no cast album, then?

Ouch.

Comments

[Ed]

Poor kids. I hope this doesn't discourage them permanently. Is it just me, or are way more shows attempting Broadway runs than usual lately? I think it might be connected to the buzz that the Off-Broadway business model for commercial open runs is broken; people are trying to take to Broadway what are intrinsically Off-Broadway projects.

Please God, let [Title of Show] fare better. That show's awesome.

[MBS]

The closing of GLORY DAYS is generating more buzz than the actual preview process did. The real villians here are the producers and the director for transferring a show that was TOTALLY not of a caliber for a Broadway (or Off-Broadway) size house or ticket price. Regional theaters regularly face resistence when attempting to move a well-reguarded project to the big leagues; this is not a good scenario for reptition.

I can't help wondering what kind of impact this will have on the next Signature musical THE VISIT; sure it has the KISS OF THE SPIDERWOMAN foursome (McNally/Kander&Ebb/Rivera) back together, but if that show didn't move after the run at the Goodman, what's going to happen to it in a post-GLORY DAYS environment?

TOS is in an interesting situation; unlike GLORY DAYS, the creative team has enormous goodwill and positive buzz behind them - the cast is hosting the Drama Desks! But this show is SO-insider-y and SO-musical-theater-land - I can't see the folks coming to New York for the weekend from Nebraska buying a block of tickets for it (as opposed to XANADU, which has such a name-recognition factor and really smart producers who have kept its operating costs down and marketed the show very well).
Love the new blog, Kris!

[Rob Kozlowski]

Well, this is no fun! No Schadenfreude here. Sounds like it was just some folks over their heads. What I want to see is Shrek: The Musical close the day after opening night (it'll never happen, I know...sigh).

[Kris Vire]

The producers and Eric Schaeffer certainly seem to have jumped the gun, but I'd say the Post's Peter Marks deserves a fair share of blame for this too. He wrote a glowing review of the show at Signature that practically begged for a transfer, encouraged it along the way, and then tried to take it back in his New York review.

I think this is the same thing that would have happened if the House had tried to take The Sparrow to New York. It's probably best for everyone that they didn't.

[Bilal]

I think this is the same thing that would have happened if the House had tried to take The Sparrow to New York. It's probably best for everyone that they didn't.

Kris - That's very astute, and you're probably right. Considering the fairly vocal minority of BiC subscribers who derided the Apollo Theatre run of The Sparrow ("I paid good money for THIS?!"), that would likely have only been magnified on the Great White Way.

[MBS]

We're not the mecca of commerce for nothing - people still want bang for their buck here, unless movie stars are involved!

[Ed]

I loved "The Sparrow"- I got a chance to see it in its Viaduct run and then near the end of its run at the Apollo- but I always felt like if it was going to move successfully beyond Chicago its best bet would be to adapt into a screenplay or teleplay.

[Kris Vire]

By the way, Rob, I understand your impulse regarding Shrek: The Musical, but they've actually got a pretty impressive team assembled.

Then again, so did Young Frankenstein.

[Mark Jeffries]

And lest we forget, "Shrek" has its roots in a children's book written by a New Yorker cartoonist.

Yeah, like they're going to follow *that.* Who out there can do Mike Meyers' Scottish accent or can sound exactly like Cammy Diaz, Eddie Murphy or An-TON-io?