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Post by Deleted on May 29, 2017 15:05:37 GMT
I don't think The Last Ship could "come over" even if it wanted to. It looks like that production has died-- whatever chances they have, they will need to start from scratch. It seemed to me a very hard show to sell or market. If it wasn't for Sting, I couldn't have seen it taking off. True. I think it could to quite well in the fringe though, because it is a pretty good show (I saw a bootleg). It isn't brilliant, but it's certainly enjoyable in my opinion. |
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Post by zak97 on May 29, 2017 15:08:44 GMT
I just hope we don't get two more jukebox musicals. Seeing as the Phoenix is ATG, something will go in there, regardless of quality. A short run of a play wouldn't shock me. I'm hoping Nederlander will have something good lined up for the Aldwych, mainly because they will have had the benefit of foresight with respect to ticket sales to eye potential future occupiers once it was generally decided Beautiful would close.
I would like Groundhog Day but I don't think three months in the case of Aldwych, or two months for the Phoenix, is enough time to build up any substantial hype for any new musical, unless it is a touring show that is coming in. Unless, the theatres go dark.
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Post by Deleted on May 29, 2017 15:13:48 GMT
I imagine they will throw something in short term because these closing dates are so close, but then something long term to follow. So probably one will be a limited run of a play, probably a star lead one to get fast ticket sales going. And then (sorry, I know a lot don't want it) a limited run of a touring production of a musical or something to fill until a suitable long runner can come in.
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Post by zak97 on May 29, 2017 15:16:44 GMT
Realistically what touring musicals could come in, there aren't any obvious thoughts that spring to mind - apart from RENT, which I imagine could be as hard to sell as The Girls has been.
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Post by Deleted on May 29, 2017 15:25:31 GMT
Realistically what touring musicals could come in, there aren't any obvious thoughts that spring to mind - apart from RENT, which I imagine could be as hard to sell as The Girls has been. Rent would be a thought, but I don't imagine that will happen quite yet anyway.
As said before, Poppins could pop by.
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Post by zak97 on May 29, 2017 15:28:50 GMT
Realistically what touring musicals could come in, there aren't any obvious thoughts that spring to mind - apart from RENT, which I imagine could be as hard to sell as The Girls has been. Rent would be a thought, but I don't imagine that will happen quite yet anyway.
As said before, Poppins could pop by.
I'd love Poppins in the Aldwych |
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Post by mrbarnaby on May 29, 2017 16:11:41 GMT
I love how people on here have no clue about the scale of a show and how small some theatres are.
Yes let's put Poppins in the aldwych. You'll have to leave 2/3 of the cast and set outside but yes it will be brilliant!
While we're at it maybe the Lion King could go to the Criterion?
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Post by Deleted on May 29, 2017 16:14:48 GMT
I love how people on here have no clue about the scale of a show and how small some theatres are. Yes let's put Poppins in the aldwych. You'll have to leave 2/3 of the cast and set outside but yes it will be brilliant! While we're at it maybe the Lion King could go to the Criterion? There's no need to be so snarky! Just because you might know more about the technical side of theatre than some other people doesn't give you the right to lord it over them. People are entitled to wish whatever show they like comes in, because that's all anyone is saying! No wonder we get people saying they're scared to post on here for the first time in case their opinions (because that's all they are, of course) get ridiculed... |
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Post by Deleted on May 29, 2017 16:18:42 GMT
Like The Girls, Bend it Like Beckham, The Go-Between, Made in Dagenham, Mrs Henderson Presents, I Can't Sing, Stephen Ward, From Here to Eternity, Loserville..... None of these shows were profitable. Heck, none of them even ended up touring (only the Girls will tour it seems) That doesn't mean we shouldn't keep trying. It's fine to have the best Broadway shows transfer. I for example am a huge fan of Wicked. But I don't think it's okay for the West End to be swamped with Broadway transfers and become a sort of second-hand Broadway. There are currently 19 musicals on in the West End. 12 of them originated on Broadway. 2 others have announced that they'll be closing. I disagree - if Broadway has a load of interesting shows, then the sooner they come over, the better, especially if homegrown shows aren't proving popular. There simply seem to be more successful/interesting (in my opinion) ideas on the other side of the pond at the minute, so why shouldn't they come over? Not all of us can afford to make frequent trips to New York... |
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Post by Deleted on May 29, 2017 16:20:15 GMT
Maybe Carrie will finally haul ass and come from the Southwark to the West End? Though it couldn't sell a theatre of that size, it would likely go to somewhere like Charring Cross Theatre.
I think the best guesses are Groundhog Day, which was a hit here prior to Broadway and could have success again, and Waitress, which I wouldn't be at all surprised to see come over.
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Post by Deleted on May 29, 2017 16:40:16 GMT
Maybe Carrie will finally haul ass and come from the Southwark to the West End? Though it couldn't sell a theatre of that size, it would likely go to somewhere like Charring Cross Theatre. I think the best guesses are Groundhog Day, which was a hit here prior to Broadway and could have success again, and Waitress, which I wouldn't be at all surprised to see come over. I would love to see a transfer of Carrie. I've reached that stage where I've seen everything I want to see in London at the moment, even repeat viewing-wise. The only ones I'm excited for are Follies and Hamilton (and Pinocchio when it's officially announced and available). I'm spending a lot more money on visiting the regional venues than I am the West End for the foreseeable future. I'm really keen to have a show with a darker edge, like Carrie, The Exorcist or American Psycho. |
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Post by Deleted on May 29, 2017 16:43:04 GMT
We have too many happy shows in London, we need something darker. With a lot of murder, deception, lies and existential crisis.
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Post by Deleted on May 29, 2017 16:51:06 GMT
My predictions are Tina Turner musical to open at the Aldwych in the Spring preceded by a play, Groundhog Day to go to the Piccadilly unless it does disastrously at the Tonys and they lose confidence, maybe Waitress to the Phoenix as Once did ok there and they would attract a similar audience. Possibly a touring musical maybe shoe-horned in to the Phoenix if a long term production isn't ready until the New Year. Doesn't leave anywhere for Strictly Ballroom which has been looking for a London home.
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Post by Deleted on May 29, 2017 16:55:26 GMT
My predictions are Tina Turner musical to open at the Aldwych in the Spring preceded by a play, Groundhog Day to go to the Piccadilly unless it does disastrously at the Tonys and they lose confidence, maybe Waitress to the Phoenix as Once did ok there and they would attract a similar audience. Possibly a touring musical maybe shoe-horned in to the Phoenix if a long term production isn't ready until the New Year. Doesn't leave anywhere for Strictly Ballroom which has been looking for a London home. Well the trouble there is Groundhog Day isn't going to do well at the Tonys, and I'm sure they are aware of that. Not that they don't deserve to win or that they are not good enough, but its competition is really strong. Its best bet is Andy Karl being the spoiler winner for Best Actor over Ben Platt, but that is about 90% not gonna happen. But I doubt that will make them lose confidence in bringing it back, especially as it had a successful run here before, had great reviews and won two Olivier Awards, including Best New Musical. |
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Post by stevej678 on May 29, 2017 16:59:22 GMT
Gutted that no one is mentioning the potential transfer of Exposure the Musical. Doesn't the cheeky grin of Michael Greco deserve its place on a theatre awning in the West End?!
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Post by alece10 on May 29, 2017 17:05:12 GMT
Wasn't there talk some time ago of one of those secret cinema things going into The Pheonix? Believe it was Moulin Rouge.
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Post by Deleted on May 29, 2017 17:43:43 GMT
That doesn't mean we shouldn't keep trying. It's fine to have the best Broadway shows transfer. I for example am a huge fan of Wicked. But I don't think it's okay for the West End to be swamped with Broadway transfers and become a sort of second-hand Broadway. There are currently 19 musicals on in the West End. 12 of them originated on Broadway. 2 others have announced that they'll be closing. I disagree - if Broadway has a load of interesting shows, then the sooner they come over, the better, especially if homegrown shows aren't proving popular. There simply seem to be more successful/interesting (in my opinion) ideas on the other side of the pond at the minute, so why shouldn't they come over? Not all of us can afford to make frequent trips to New York... I can't afford to make trips to New York either. I've never been. All I'm saying is new British work should continue to get a chance, because if we don't there will be less and less good British shows. And to be honest, the likes of Waitress and DEH sound pretty mediocre at best imo. I don't understand why they should come over. |
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Post by ali973 on May 29, 2017 18:01:10 GMT
I think the problem with shows by UK writers is the lack of broad appeal. They are a bit too British, and from what I remember, are really catering to an elderly audience. Mrs. Henderson Presents and The Girls come to mind.
Not all American shows are based in America (Comet, Anastasia, Amelie, Kinky Boots, etc etc). Heck, Kinky Boots had to be done by an American team and then it reached London. That says a lot. What was the last big hit from the UK by a UK team? Mama Mia? Mary Poppins? Billy Elliot? Matilda? Groundhog Day? They are so far apart, whereas in the US they chug them out yearly.
Also, with US shows, there seems to be a right combination of creativity and business sense. They tend to more "market focused" than the UK, in which they know who their shows are targeted for. There seems to be a lack of originality and imagination from British writers. The only thing remotely interesting is About Jamie.
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Post by Deleted on May 29, 2017 18:02:45 GMT
Are any of these theatres expecting a refurb in the near future? Because it may also be an excuse to bring forward a refurb and get it done before any show comes in?
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Post by Deleted on May 29, 2017 18:33:17 GMT
I think the problem with shows by UK writers is the lack of broad appeal. They are a bit too British, and from what I remember, are really catering to an elderly audience. Mrs. Henderson Presents and The Girls come to mind. Not all American shows are based in America (Comet, Anastasia, Amelie, Kinky Boots, etc etc). Heck, Kinky Boots had to be done by an American team and then it reached London. That says a lot. What was the last big hit from the UK by a UK team? Mama Mia? Mary Poppins? Billy Elliot? Matilda? Groundhog Day? They are so far apart, whereas in the US they chug them out yearly. Also, with US shows, there seems to be a right combination of creativity and business sense. They tend to more "market focused" than the UK, in which they know who their shows are targeted for. There seems to be a lack of originality and imagination from British writers. The only thing remotely interesting is About Jamie. I don't want to sound too arrogant here, but I'm writing a show that ticks all the right boxes. It's not set in Britain (or in any other real place for that matter), it's very imaginative and it's very business oriented, meaning it could appeal to a very broad audience. |
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Post by theatremadness on May 29, 2017 18:39:31 GMT
I think the problem with shows by UK writers is the lack of broad appeal. They are a bit too British, and from what I remember, are really catering to an elderly audience. Mrs. Henderson Presents and The Girls come to mind. Not all American shows are based in America (Comet, Anastasia, Amelie, Kinky Boots, etc etc). Heck, Kinky Boots had to be done by an American team and then it reached London. That says a lot. What was the last big hit from the UK by a UK team? Mama Mia? Mary Poppins? Billy Elliot? Matilda? Groundhog Day? They are so far apart, whereas in the US they chug them out yearly. Also, with US shows, there seems to be a right combination of creativity and business sense. They tend to more "market focused" than the UK, in which they know who their shows are targeted for. There seems to be a lack of originality and imagination from British writers. The only thing remotely interesting is About Jamie. I don't want to sound too arrogant here, but I'm writing a show that ticks all the right boxes. It's not set in Britain (or in any other real place for that matter), it's very imaginative and it's very business oriented, meaning it could appeal to a very broad audience. (and Press Night comps for all TheatreBoard members) Wow thank you how generous I can't wait!!!! |
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Post by wickedgrin on May 29, 2017 22:43:30 GMT
Oh that's easy.......TheatreBoard - The Musical. We have too many happy shows in London, we need something darker. With a lot of murder, deception, lies and existential crisis. |
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Post by showbizkid on May 29, 2017 22:43:46 GMT
The main problem I find with London is that a lot the best work is in the Fringe now - Carrie, Dogfight, Clockmakers Daughter, Xanadu, Ragtime, Titanic come to mind.. They were all the best things I saw for years (42nd Street and Dreamgirls aside)
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Post by mrcompanymanager on May 29, 2017 23:37:18 GMT
Big!
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Post by Dan213 on May 30, 2017 0:37:06 GMT
Oh that's easy.......TheatreBoard - The Musical. We have too many happy shows in London, we need something darker. With a lot of murder, deception, lies and existential crisis. To be honest you could probably make the Wicked thread on this board into a musical in its own right. There's more than enough drama to last 2 and a half hours in there |
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