Podcast Summary: "Why are so many shows CLOSING early? | The New York, New York and Ain't Too Proud closures explained"

Host: MickeyJoTheatre
Episode Release Date: July 26, 2023
Platform: YouTube Channel - MickeyJoTheatre

Introduction

In this episode, Mickey-Jo delves into the unexpected early closures of two prominent musicals: New York, New York on Broadway and Ain't Too Proud in London's West End. He explores the underlying reasons for these closures, the differences in theater markets between New York and London, and the broader implications for the global theater industry.

Overview of the Early Closures

Mickey-Jo begins by addressing the recent announcements:

• New York, New York is set to close on Broadway's St. James Theatre on July 30, 2023, a mere week after its announcement on July 23rd. The show will have completed 33 preview performances and 110 regular performances by its closing date.

• Ain't Too Proud, which portrays the life and times of The Temptations, will conclude its run at London's Prince Edward Theatre on September 17, 2023, after opening on April 20, 2023.

Notable Quote:
"New York, New York will be closing in just a few short days. But that's madness to me that they just made this announcement."
(00:00)

New York, New York on Broadway

Financial Challenges:

• The production had a high capitalization cost of $25 million with substantial weekly running expenses due to its extensive cast and elaborate set design.

• Despite a talented cast, including rising stars like Colton Ryan and Ana Uzeli, the absence of major box office names (e.g., Hugh Jackman, Sutton Foster) likely hindered ticket sales.

Creative Elements:

• While the choreography, direction, and design elements received praise, the show struggled with substance and character depth.

• The adaptation of the classic film focused heavily on well-known songs but failed to engage audiences with a compelling narrative.

Critical Reception:

• The musical garnered mixed to negative reviews, which impacted its ability to sustain financially.

• Despite some nominations, it failed to secure crucial awards that could have prolonged its Broadway run.

Notable Quotes:
"The show was always up against an awful lot in order to be financially successful."
(Throughout the New York, New York section)

"It had a lot missing. It lacked substance, and it was a very long show to lack that much substance."
(Mid-section)

Ain't Too Proud in the West End

Market Dynamics:

• Ain't Too Proud faced stiff competition from other jukebox musicals like Jersey Boys and Mamma Mia, which already had a strong foothold in the London market.

• The Prince Edward Theatre's size may have contributed to higher running costs, making it challenging for the show to remain profitable.

Audience Reception:

• The show's appeal was limited by lower recognition of The Temptations in the UK and the absence of a major star comparable to Beverly Knight in Drifter's Girl.

• Mickey-Jo points out a possible racial element affecting audience turnout, noting that predominantly Black casts may struggle more in the West End compared to their counterparts.

Pricing and Accessibility:

• Ain't Too Proud resorted to offering lower-priced tickets, which indicates financial pressures and affects the show's long-term viability.

Notable Quotes:
"In London right now, by and large, the shows that we are seeing succeed, especially in bigger venues, are huge commercial titles."
(West End section)

"There is a racial element to all of this as well... majority white audiences are a little bit more reluctant to buy tickets to majority black performed shows."
(Late West End section)

Industry Implications

Economic Factors:

• Both Broadway and West End are grappling with high operating costs and a saturated market of quality productions, making it harder for shows without strong commercial hooks to survive.

• The cost of living crisis further exacerbates audience reluctance to spend on theater tickets, especially for families and large groups.

Shift Towards Commercial Titles:

• There is a growing preference for shows with recognizable titles and star power, which can more reliably draw audiences willing to invest in expensive tickets.

• Original scores and innovative storytelling may become more valued as audiences seek fresh and boundary-pushing theater experiences.

Notable Quotes:
"It is still a challenging time to produce theatre."
(Industry Implications section)

"Star casting is certainly here to stay. I think that could be a lesson learned from both of these shows."
(Lessons for the Industry)

Future Prospects for Theaters

Broadway’s St. James Theatre:

• With New York, New York closing, the St. James Theatre is poised to seek a new tenant swiftly to avoid prolonged darkness.

• Potential future productions could include innovative musicals or revivals like a semi-immersive version of Guys and Dolls or the revival of Spamalot.

West End’s Prince Edward Theatre:

• The early closure of Ain't Too Proud opens a window for new shows, possibly seasonal productions during the busy Christmas period.

• Rumors suggest potential returns of popular shows like Mary Poppins or new additions such as Dear England by James Graham.

Notable Quotes:
"Ultimately, without the right Tony Awards, without the right reviews and without the right names to pull in people to the box office, the show was always going to close."
(Conclusion of New York, New York section)

"I would be loath not to tell you about the gossip that I had somewhere lingering in my head."
(Speculation on Future Shows)

Conclusion

Mickey-Jo wraps up by emphasizing the precarious state of theater productions in both New York and London. The closures of New York, New York and Ain't Too Proud serve as cautionary tales about the importance of financial planning, star power, critical acclaim, and understanding audience preferences. He encourages viewers to support shows they believe in to ensure the continued vitality of the theater community.

Final Notable Quote:
"Please remember to support the shows that you love. Take a risk on great theatre so that we don't see other fantastic productions ending up in this same unfortunate position."
(Closing Remarks)

Key Takeaways

• Financial Viability: High production costs require strong ticket sales, often driven by star power and commercial appeal.

• Audience Preferences: There is a clear trend towards favoring shows with recognizable brands and stars, especially in economically challenging times.

• Market Differences: Broadway and the West End operate under different market dynamics, influencing how and why shows succeed or fail.

• Diversity Concerns: Racial disparities in audience turnout highlight the need for more inclusive and supportive marketing strategies for predominantly Black productions.

• Future Directions: Theaters are likely to continue favoring commercially safe bets, but there remains hope for innovative and critically acclaimed shows to find their footing.

For more insightful analyses and theater reviews, subscribe to MickeyJoTheatre's YouTube channel and stay updated with the latest in the global theater scene.