Bloomberg reports that Al Pacino is receiving a minimum of $125,000 a week and also is entitled to 5% of profits for the 10-week run of David Mamet’s drama now in previews. Pacino’s profit participation is contingent …
EXCLUSIVE: Producer Charlie Lyons and director Jay Russell, who’ve teamed on The Water Horse and Ladder 49, have partnered with Homeland actor Tim Guinee to bring the famed noir short story Rear Window (It Had To Be Murder) to the Broadway stage. The trio worked for two years to land theatrical stage rights to the 1942 story by Cornell Woolrich, which most famously was turned into the classic 1954 Alfred Hitchcock thriller. James Stewart played the wheelchair-bound photographer who spies on his neighbors and believes he has witnessed a murder from his window. Although Broadway rights in this story have been repeatedly sought over the years from the Sheldon Abend Revocable Trust and its predecessors, this is the first option ever granted. The deal was negotiated on behalf of the producers by APA and their attorneys Jackoway Tyreman.
Producers of the Tony Award-winning Best Musical ONCE announced today that the production has recouped its capitalization after only 21 weeks (169 performances), faster than any new Broadway musical in more than a decade.
ONCE is produced by Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo, Brian Carmody, Michael G. Wilson, Orin Wolf, The Shubert Organization and Executive Producer Robert Cole, in association with New York Theatre Workshop.
ONCE opened on Sunday, March 18, 2012 at the Bernard B. Jacobs Theatre, and went on to win eight Tony Awards including Best Musical. The production was also named Best Musical by the New York Drama Critics Circle, Drama Desk, Drama League, Outer Critic Circle and Lucille Lortel Awards.
Now that the Broadway season has ended with the Tony Awards, it’s time to think about what’s next. Broadway has embraced movie stars who turn shows into events in limited runs; how about taking a page from Hollywood and going the brand route? Producer Dianne Fraser has acquired stage rights to Gilligan’s Island: The Musical, and she plans to launch the show on Broadway, banking on the idea that the audience for the iconic TV show will want to see the characters brought to the stage.
It’s based on the classic 1960s series with a book that was written by series creator Sherwood Schwartz and his son Lloyd, with a score by Schwartz’s daughter Hope and her husband Laurence Juber, a guitarist-composer. Schwartz, who also created The Brady Bunch, passed away last year, but not before the show was road-tested in small theaters across the country. It’s very similar to the format of the original show, with Gilligan, the Skipper, The Howells, Ginger, Maryanne and the Professor stranded on an island. They’ve added another character: an alien.
Are Broadway audiences ready for a noir story about power and betrayal in Old Hollywood? We’ll see next year: Emmy winner and Tony nominee Bobby Cannavale will star in a production of Clifford Odets’ play The Big Knife. The Roundabout Theatre Company production, directed by Tony winner Doug Hughes, will begin previews on March 22, 2013, at the American Airlines Theatre and open officially in April. The limited engagement runs through June 2. “The Big Knife is well overdue for a revival,” says Roundabout’s Artistic Director Todd Haimes. “It’s written by one of our greatest American playwrights with an array of great roles for actors to sink their teeth into.” He adds that Cannavale is “one of those modern actors who you can really imagine fitting right into the 1940s. There’s something wonderfully old-school about him.”
The Roundabout Theater Company has set Jake Gyllenhaal to make his American stage debut in the ensemble cast of If There Is I Haven’t Found It Yet, a comic drama by Nick Payne that will start previews August 24 and open September 20 at the Laura Pels Theatre on West 46th Street. Gyllenhaal made his stage debut on London’s West End in Kenneth Longergan’s revival of This Is Our Youth.
Woody Allen is adapting the original screenplay he co-wrote with Douglas McGrath for the 1994 film Bullets Over Broadway as a musical and will take it to Broadway in 2013. The New York Times reports that Julian Schlossberg and Allen’s sister …
Spider-Man Turn Off The Dark was the highest grossing show on Broadway over the holidays, shattering the record for the highest single-week gross of any show in Broadway history. It also recorded the highest single-week attendance by any show in Broadway history. Maybe Julie Taymor’s replacement director Philip William McKinley was onto something when he told Deadline last year that Broadway’s most expensive musical would eventually make its money back. Bashed in previews, the $75 million Spider-Man broke records over the New Year. Keep in mind that estimates are the show needs to gross $1.2 million a week to cover costs, so investors won’t be lighting cigars for a long time. But many felt last year this would go down as the biggest Broadway debacle ever, and so far that doesn’t seem to be the case.
New York, NY – SPIDER-MAN Turn Off The Dark, Broadway’s most popular new show, rang in the New Year as the highest grossing show on Broadway, shattering the record for the highest single-week gross of any show in Broadway history. The total gross for the record-breaking week ending Sunday, January 1 was $2,941,790.20, besting the previous record of $2,228,235 set by Wicked in 2011. Playing to 17,375 audience members (100.02% capacity of The Foxwoods Theatre), SPIDER-MAN also enjoyed the highest single-week attendance by any show in Broadway history (playing a standard 9-show holiday schedule).
Back in March, the official release outlining the retooling of the massive and plagued Broadway production Spider-Man: Turn Off The Dark touted a new direction and a new director to replace Julie Taymor. And when the revamp finally made …
Producers of the Broadway play The Motherf**ker With the Hat said today that the extended limited engagement has recouped its full capitalization. The play is written by Stephen Adly Guirgis and stars Bobby Cannavale, Chris Rock, Elizabeth Rodriguez, Annabella Sciorra and Yul Vázquez. Scott Rudin is counted among the producers. The …
Spider-Man: Turn Off the Dark finally opened on Broadway on Tuesday night. There was a star-studded crowd that included Bill Clinton, a 10-minute standing ovation, and even deposed director Julie Taymor got up to take a bow. And, thank goodness, no actors fell from the rafters. A press release from the show’s reps reports that “critics and audiences cheer[ed] the opening,” and offered a few effusive blurbs from USA Today, MTV and NY1 News. Well, first of all, they weren’t reading the reviews I saw. In The New York Times (generally the review that helps a show fly or die), Ben Brantley compared its earlier incarnation to now as an “ascent from jaw-dropping badness to mere mediocrity,” but that isn’t a rave since he likened that earlier version to “watching the Hindenburg crash and burn.” The Wall Street Journal called the book “flabby and witless” and, as for the plot, “everything that happens is utterly familiar and utterly predictable.” To sum up, the WSJ offers that “$70 million and nearly nine years of effort, all squandered on a damp squib. … Never in the history of Broadway has so much been spent to so little effect.” The other Gotham papers basically said it was better than it was when Taymor was calling the shots, but essentially that its edge (not to be confused with U2′s The Edge) had been varnished away, leaving blandness and U2 songs that aren’t the catchiest that Bono and The Edge ever came up with.