Podcast Summary: What's happened to PREVIEWS?! | Thoughts on the changing West End and Broadway theatre industry

Host: Mickey Jo (MickeyJoTheatre)
Date: October 26, 2025
Podcast: MickeyJoTheatre
Topic: The evolving nature of preview performances in West End and Broadway theatre, social media’s impact, shifting expectations, pricing, and the future of previews.

Brief Overview

In this episode, theatre critic and content creator Mickey Jo explores the declining distinctiveness and purpose of preview performances in the commercial theatre industry, especially in the West End and on Broadway. Using the chaotic events of the first preview of The Hunger Games as a case study, he discusses why previews no longer function as they once did, what’s changed (from ticket pricing to social media), and offers reflections on how the industry might revive—or, at least, better define—the preview experience, for the benefit of all involved.

Main Discussion Points & Key Insights

1. Defining Previews—What Were They For?

[03:39–09:20]

• Original Concept: Previews are a series of public performances before a show’s official opening, where the production is still developing and subject to significant change.
• Purpose: Like “soft opens” in other industries (restaurants, theme parks), previews function to test the show with actual audiences—vital for something as interactive as live theatre.
• Traditional Benefits:
  • Discounted ticket prices making theatre more accessible.
  • Opportunity for creative teams to make changes based on live feedback.
• Notable Quote:

  “I have spoken to many actors who have been rehearsing shows that went on to be huge hits, who have shared that during the rehearsal process they had no idea how it was going to go.”
  — Mickey Jo [08:22]

2. How Previews Used to Work (vs Now)

[09:20–15:50]

• Shows would regularly undergo big changes: new songs written, scenes cut, major rewrites after each preview.
• Previews were cheaper and openly marked as unfinished; audiences understood and accepted risk.
• US vs UK Differences:
  • Broadway often has longer preview periods and critics usually attend final previews, not actual opening night.
  • West End traditionally had shorter preview periods; critics attend on opening night itself.
• Quote – On Producer and Social Media Confusion:

  “We are all kind of spreading the misinformation of what opening night actually means ... when they are trying to get people excited for a show to begin performances, like they did with The Hunger Games, they will often say, ‘One week until opening night.’ Only it’s not opening night, it’s the first preview.”
  — Mickey Jo [14:50]

3. The Hunger Games Preview Debacle: A Case Study

[15:50–20:40]

• The first preview started an hour late in a brand new, untested venue with complex logistics.
• Outrage erupted on social media from audience members over delays and logistical issues.
• Mickey Jo notes this is historically normal but now faces harsher scrutiny and fewer excuses due to higher ticket prices and lack of price distinction for previews.
• Quote – On Audience Expectations:

  “If you want to be among the first people ever to get to experience something, then you have to be open to the possibility that there are going to be teething problems ... it isn’t necessarily completely justifiable to be surprised.”
  — Mickey Jo [16:50]

4. Pricing Problems and Lost Goodwill

[20:40–24:10]

• Once, reduced ticket prices justified production hiccups.
• Now, many shows charge full price—even for previews as rough or unfinished as The Hunger Games.
• Mutual Risk: Audiences taking a risk booking first previews; producers also gambling by charging full price before knowing the show’s readiness.
• Quote:

  “If producers don’t want audience members to judge a first preview, they need to charge them way less.”
  — Mickey Jo [22:55]

5. The Social Media Effect—Changing the Critical Landscape

[24:10–26:50]

• Word-of-mouth has become a tidal wave; negative or premature reviews can reach thousands instantly, not just one’s friends.
• Audience members (especially aspiring content creators) see value in attending first previews to be first to share opinions.
• Critics’ embargoes begin to seem meaningless when TikToks flood in before official reviews.
• Quote – On New Influence:

  “If a first preview was a disaster, you would go out onto the street and say, ‘Oh my God, that first preview was a disaster.’ ... but now you can tell everyone.”
  — Mickey Jo [20:04]

6. Evolution (or Lack Thereof) in the Preview Process

[26:50–29:10]

• Substantial, iterative changes are rare; major rewrites now more likely made for touring productions or in new runs.
• The culture of previews as genuine experimental spaces is fading, possibly due to the fear of instant public backlash.
• Shows are more likely to open as “finished products” or only tweak the smallest details.

7. Solutions and Ideas for the Future

[29:40–34:35]

• A call for transparent identification of previews, not just as “almost opening night.”
• Lower ticket prices essential for goodwill and to reestablish previews as accessible risk-taking opportunities.
• Celebrate the unique thrill of attending previews: emphasize the potential to witness versions that may never exist again.
• Borrow ideas from Broadway:
  • Preview-specific gifts (caps, posters, window cards) to highlight the unique event.
  • Use QR codes to collect genuine audience feedback, turning previews back into a two-way process.
• Quote – On Audience Feedback:

  “What if there were QR codes as you were leaving the auditorium so that you could give feedback ... more robust, more thorough responses?”
  — Mickey Jo [32:34]

Notable Quotes & Memorable Moments

• On Social Media’s Double-Edged Sword:

  “How much of a difference is there between critics who will create an entire review of something and the audience members who go to first preview and who are under no embargo whatsoever? And nor should they be ... But in an age when people are engaging less and less with print media, chances are they will see more of those perspectives.”
  — Mickey Jo [25:10]

• Addressing the Producers:

  “If you’re going to do that as a producer, then what you are doing is gambling. And if you are going to price your previews basically at the same price point as your regular performances, you are gambling and hoping that what you are able to present is basically a finished product.”
  — Mickey Jo [22:05]

• The Magic of Previews, When Properly Managed:

  “...I would make it clearer to audiences that they were seeing something, something that could change, and the kind of excitement and novelty of seeing a performance that could be entirely unique...”
  — Mickey Jo [31:25]

• On Producers' Reluctance & Social Media Pressure:

  “I wonder if the reluctance to make real changes or, conversely, the inclination to have as finished a product as possible on stage is a result of the social media age and the additional layers of scrutiny now being perceived by producers.”
  — Mickey Jo [28:24]

Section Timestamps

• [01:39–09:20] — Introduction, history, and definition of previews
• [09:20–15:50] — How previews worked historically and their intended function
• [15:50–20:40] — The Hunger Games first preview: case study, audience reactions, historical perspective
• [20:40–24:10] — Shifting expectations, pricing, and the breakdown of trust/goodwill
• [24:10–26:50] — Social media’s role in preview culture and criticism
• [26:50–29:10] — Are shows still evolving in previews? Examples and industry trends
• [29:40–34:35] — Solutions: transparency, pricing, celebrating the preview experience, audience feedback

Final Thoughts & Host’s Call To Action

[34:35–End]

• Mickey Jo urges the theatre community to engage in discussion: Are previews a thing of the past? Is social media “the drama”? How can the industry adapt?
• Invites listeners to share their most memorable first previews and thoughts about the future of previews.
• Reiterates the importance of reciprocal adjustment between producers (through pricing and honesty) and audience (granting shows grace during previews).

Style & Tone

Mickey Jo’s delivery is warm, candid, and analytical. He mixes personal anecdotes and behind-the-scenes awareness with pointed critiques, and uses humor and theatrical flair to make the episode both informative and accessible. He balances empathy for both audience and creatives, always advocating for transparency, fairness, and the magic of live theatre.

Summary by MickeyJoTheatre Podcast Summarizer