Broadway panders to the mainstream- vol. 2

Back in April, I blogged about the Glee phenomenon, and how a show that's supposed to make Broadway cool is actually doing more for the current pop artists that it pays tribute to. You can read that post by clicking below

http://http//broadwaysnark.blogspot.com/2010/04/glee-phenomenon-is-broadway-going.html

Now along those same lines, Michael Riedel reported today that the opening medley at this year's Tony Awards is "Pop Songs You Didn't Know Were on Broadway". Yes, the Broadway league is practically begging America to think that theater is cool by showcasing the well known songs that you can see performed on the stage. Million Dollar Quartet will break out it's rock jukebox catalog, Kristin Chenowith will perform "I Say A Little Prayer", Twyla Tharp's crew will do their "So You Think You Can dance to Sinatra" show, Catherine Zeta Jones will perform "Send In The Clowns" , and Green Day will finish with songs from American Idiot.

Hey, you know who ISN'T being mentioned?? The cast of Memphis, which is the only original musical of the season to be nominated, and considered by many to be the front runner to win Best Musical.

Isn't it a shame when the show that might be the best show of the season ends up getting buried because it's not a star driven jukebox??

But it isn't just the musical category that is guilty of this. The Tony Awards have reportedly decided to showcase the most successful plays of the season, featuring appearances from Denzel Washington, Viola Davis, Scarlett Johannson, and Christopher Walken. Interesting that nobody was doing that for a couple of years ago, isn't it? Then again, the show didn't have a Hollywood A-lister headlining it.

I get it. The Tony telecast is a chance to reach out to millions of potential tourists (although given the usual ratings for the Tonys, you still aren't reaching as many people as a new Family Guy episode) and get them to attend live theater. It's an important audience and we need it. But it seems hypocritical to say Chenowith's performance was not as worthy of an award as Montego Glover's, only to pimp Kristen on the telecast since casual fans know her from Glee, while Montego will be buried in between technical awards in the middle of the show.

Maybe Montego's agent can get her on Grey's Anatomy between now and her next Tony nomination. Then she'll be important enough to be on the show.

The biggest losers on Tony nomination day....

The Tony committee giveth...and they also taketh away. By now, you have already read about the big winners (Fela, Memphis, etc), but let us take a moment to see who lost the most based on this morning's nominations.

1. Enron- On paper, this seemed like it was going to be a no brainer. The show was enormously successful in the UK, where the West End production is still running. The American cast was strong, the production was slick and stylized, and in the end, it didn't matter. Enron, which was not well received by critics, was playing to about 65 percent capacity at an average ticket price of $35. While it was nominated for 4 awards this morning, it was not included in the all important "Best Play" category, and the closing notice was posted just hours later, a mere 12 days after opening

2- The Addams Family- As I discussed in yesterday's prediction blog, the show has been the target of largely unjustified hatred by theater insiders. Ken Davenport may be the only person I know of to come out and say the show deserved a "Best Musical" nomination. While I figured the backlash would keep TAF of that category, there were enough strong performances by Nathan Lane, Kevin Chamberlain, and Carolee Carmello to merit multiple acting nods. I also figured that such a visually impressive show would be acknowledged in the technical categories. At the end of the day, it was only nominated twice, an acting nod for Chamberlain, and a surprising best score nomination for the heavily panned music from Andrew Lippa. The good news for Addams Family?? It's consistent seven figure weekly gross should keep it going strong for the time being, avoiding the fate that 9 to 5 suffered after last year's Tony snub.

3. Broadway stars- This year, many beloved Broadway performers were passed over in place of their Hollywood counterparts. Noticeably absent from the acting categories this year were Kristen Chenowith, Nathan Lane, and Bebe Neuwirth. In their place were Denzel Washington, Sean Hayes, Scarlett Johannson, and others. The only one of those omissions that I personally have a problem with is the extraordinary Lane, who single-handedly carries Addams on his back 8 shows a week. Broadway fans shouldn't be too upset about this trend as the Denzels and Scarlett's of the world do bring new fans to the theater, and legitimize Broadway to people who might not otherwise care.

The winners will be announced June 13th at Radio City Music Hall.

How to Lose Money on Broadway Without Really Trying

It seemed like in the 1990's, the best way to have a sure-fire hit in New York was to stage a revival. Shows like "Cabaret", "Annie Get Your Gun", and "A Funny Thing Happened on the Way to the Forum" all did big business. In fact, the "Chicago" revival is still running at the Ambassador theater 15 years after it opened, even spawning an Oscar nominated film version in the process.

Conversely, over the last decade, there is an equally long list of revivals that did not recoup their investment. Some of them, including the 2002 version of "Into The Woods" and the 2005 version of "La Cage Aux Folles" won tony awards. Others, like last year's "Ragtime" and "Finian's Rainbow", garnered rave reviews from critics, none of which translated into money at the box office.



It amazes me how some Broadway producers don't learn from past mistakes. For instance, does anyone believe that Kelsey Grammar is still a big enough star to guarantee huge houses for this season's "La Cage", when the show just failed 5 years ago? How about the revival of "Promises, Promises"? There is no bigger female star on Broadway than Chenowith, but there was also no bigger star than Bernadette Peters in the 90's, when she was paired with a fading TV star, and a Neil Simon script. "The Goodbye Girl" turned out to be one of the ten biggest flops of the last 20 years. Now, fast forward to 2010, replace Martin Short with Sean Hayes, throw in dated Neil Simon material from 40 years ago, and we could have another recipe for failure.


What are the two reasons to do a revival?? Most theater people will tell you this:


A) Because you are stunt casting with an A-list star (Angela Landsbury and Catherine Zeta Jones are proving to be a formidable combination right now in "A Little Night Music")

B) The source material is totally relevant to today's theater audience (The Diane Paulus revival of "Hair")


With all these things being said, there was an official announcement today that Daniel Radcliffe will return to Broadway next year in a revival of "How To Succeed in Business Without Really Trying". Don't get me wrong, the theater nerd part of me is intrigued. The businessman part of me??? Eh... not so sure.


The show was last seen in New York in the mid 90's, when Des McAnuff staged it as a star vehicle for Matthew Broderick (and John Stamos after him). The show received generally positive reviews, but closed after a 15 month run, just missing out on recouping it's investment. So what has changed in 2010? The star of the world's biggest film franchise, Daniel Radcliffe, will be on the marquee.

Radcliffe's name was also on the marquee of last season's "Equus", a show that got great reviews and didn't recoup. Of course, one could argue that younger Potter fans weren't going to get mom and dad to spring $125 a pop to take them to see full frontal Harry (not hairy) nudity onstage. But are we sure that they are going to want to pay that amount to see a story about a young man trying to scheme his way up the corporate ladder? Furthermore, is there any evidence that Daniel Radcliffe is even a draw away from the Potter movies? It's not like he's done any commercial films other than that.

Naturally, we have to wait and see how this all plays out. Maybe director Rob Ashford has a concept that will totally reinvent the show and it will be the greatest piece of art of all time. History has shown us though, even if this is an artistic success, it may not be a financial one.