THE MUSIC MAN 🎵

[jo]

On a BWW board discussion of where ALWebber's new musical (CINDERELLA) will be hosted on Broadway -- here's a bit of a confusing post, which may give us a clue on where THE MUSIC MAN may land --

phan24
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#18

Posted: 7/16/19 at 5:03pm
To get back to the matter at hand, thought I'd share some insider knowledge At the moment the plan is to open this new Cinderella at the Shubert in 2020, and TKAM will stay open but move to a smaller house. The plan was also to open The Music Man at the Shubert in late 2020, but unsure if that's still the plan (Rudin loves the Shubert).

*If this is the sequence of events - does it mean that CINDERELLA (presumably to open in early 2020, if ready, to catch the 2020 TONYs) but will only stay open at the SHUBERT until THE MUSIC MAN starts previews in September 2020?  But TO KILL A MOCKINGBIRD is booking up to April 2020, which complicates matters?


*There seems to be a delay in the booking of group sales for MusicMan ( supposedly to have started in June 2019, but the unit handling that -BroadwayInbound- says on their site that the booking of group sales has not started as of now. Is the issue that of which theatre for THE MUSIC MAN to reside in?


*Andrew Lloyd Webber's more recent works ( Love Never Dies/ the Stephen Ward musical) have not fared too well in recent years. Two musicals (NeverDies/SWard) did not even make it to Broadway. But School of Rock was received quite well although that has closed.  

First, is it a given that Rudin will also produce CINDERELLA ( this is a retelling of the age-old tale and some fans may be in for some rude awakening - supposedly involving a very feisty Cinderella who falls for a character named Sebastian AND a Prince who is gay and has a romantic attachment to a Duke) ? Would he rather get that into the Shubert instead of the Hugh Jackman-starring musical revival of THE MUSIC MAN?


*There was an earlier buzz-on-the-street that The Music Man may take the WINTER GARDEN ( which surprisingly hosted ALW's CATS and SCHOOL OF ROCK), as told by Michael Riedel.


*I wonder if the Shubert Organization will have any say on this issue?  I wonder if Hugh's opinion will also be sought?


I guess when September comes around when The Music Man is supposed to start booking single ticket sales that we may know which Shubert Theatre will get TMM?


Jo

[carouselkathy]

OK, Jo. This theater confusion has just given me a ****ing headache! Haha! I just want to know when single handicapped (and helper) accessible seats go on sale.

[jo]

It looks like more people are confirming that THE MUSIC MAN will reside at THE WINTER GARDEN Theatre ( literally, on Broadway -- 1634 Broadway )

From BWW Message Board --

Robbie2
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Hugh Jackman in The Music Man
#377

Posted: 7/17/19 at 8:42pm
at the WInter Garden next season

[jo]

The Winter Garden has not been officially confirmed by producer Scott Rudin or The Shubert Organization, but this is an interesting clip on its history. It has housed WEST SIDE STORY, MAME, FUNNY GIRL, FOLLIES, 42ND STREET, CATS, MAMMA MIA!, and SCHOOL OF ROCK.







Wikipedia notes --

en.wikipedia.org/wiki/Winter_Garden_Theatre

[jo]

It looks like there are 2 theatres that seem to be the object of speculation among Broadway fans that might house THE MUSIC MAN. But more recently, the word on the street, according to Michael Riedel, is that The Music Man will be hosted by The Winter Garden.


The Winter Garden ( on 1634 Broadway, between 50th and 51st Street)


shubert.nyc/theatres/winter-garden/

Past Productions :

The Winter Garden has traditionally been home to revues and musicals.The Passing Show (the Shubert answer to Ziegfeld’s Follies) and almost every Al Jolson musical played here. After Ziegfeld’s death, editions of his Follies played the theatre in 1934, 1936, 1943 and 1947 and featured artists such as Fanny Brice, Bobby Clark, Bob Hope, Eve Arden, Gypsy Rose Lee, Josephine Baker, and Willie Howard.

Mary Martin starred in Peter Pan (1954), followed by the premier of West Side Story (1957) with Chita Rivera, Carol Lawrence, and a creative team that included Leonard Bernstein, Stephen Sondheim, Arthur Laurents, and Jerome Robbins. The 1960s also witnessed a number of hits. Leading the list were The Unsinkable Molly Brown (1960); Funny Girl (1964), which made Barbra Streisand a major star; and Mame (1966) with Angela Lansbury.

In the 1970s, both popular and cutting-edge productions played at the Winter Garden. Stephen Sondheim and James Goldman’s Follies (1971) harkened back to the theatre’s early history as home to a follies-type revue. Gypsy (1974) was revived with Angela Lansbury, Stephen Sondheim and John Weidman offered Pacific Overtures (1976), and Gilda Radner came to Broadway in Gilda Radner — Live from New York (1979). 42nd Street (1980) opened at the playhouse before moving to the Majestic. In 1982 Andrew Lloyd Webber’s Cats premiered and ran until September 2000, the second longest-running show in Broadway history. Mamma Mia!, based on the songs of ABBA, debuted in 2001 and remained here until 2013 before moving to the Broadhurst Theatre. More recently the Winter Garden was home to Rocky the Musical (2014), Wolf Hall (2015) and Andrew Lloyd Webber's School of Rock (2015).

Theatre specs --

shubert.nyc/theatres/winter-garden/

Seating Capacity


Orchestra
1045

Mezzanine
486

Boxes
36

Standing
33

Total

1600



Included in Numbers Above:


Orchestra Pit
32

Wheelchair
20

Aisle Transfer Arm
16



Theatre Dimensions

Proscenium Opening:
44' 10"

Height of Proscenium:
24' 4"

Depth to proscenium:
40' 0"

Depth to front of stage:
44' 2"

Stage Type:
Proscenium


SEATING CHART (See link)

************************************************************************
************************************************************************





The Shubert Theatre ( on 225 West 44th St, right by Shubert Alley and the Booth Theatre).


shubert.nyc/theatres/shubert/


Past Productions --

The prestigious British actor Johnston Forbes-Robertson opened the theatre with his repertory company, presenting productions in 1913 of Hamlet, The Merchant of Venice, Othello and others.

In its early years, the Shubert played home to both plays and musicals. Some of the more significant plays to appear were The Copperhead (1918) starring Lionel Barrymore, The Blue Flame (1920), Dodsworth (1934), Love on the Dole (1936), The Philadelphia Story (1939) featuring Katharine Hepburn and Shirley Booth, Othello (1943), Mae West’s Catherine Was Great (1944), Anne of the Thousand Days (1948) with Rex Harrison, Checkhov’s Ivanov (1966) starring John Gielgud and Vivien Leigh, and The Constant Wife (1975) featuring Ingrid Bergman.

As for musicals, a truly impresssive roster has called the Shubert home. Five Sigmund Romberg shows premiered here, including Maytime (1917), one of the Shubert brothers’ most successful operettas, as well as The Magic Melody (1919), Marjorie (1924), My Princess (1927), and My Romance (1948). The playhouse showcased many revues like the popular Greenwich Village Follies (1921, 1922, 1924, and 1926), and Artists and Models (1923).

Five Rodgers and Hart musicals debuted here as well, including Babes in Arms (1937) which introduced the standards “My Funny Valentine” and “The Lady is a Tramp”, and Pal Joey (1941), which featured Gene Kelly and the premiere of “Bewitched, Bothered, and Bewildered.” Rodgers returned with his new collaborator, Hammerstein, to present Pipe Dream (1955). Cole Porter had two hits at the Shubert: Kiss Me Kate (1948), and Can-Can (1952) starring Gwen Verdon, while Comden and Green collaborated with Jule Styne to create Judy Holliday’s star vehicle Bells Are Ringing (1956).

The 1960s and 1970s offered quintessential musicals of this era. Barbra Streisand marked her Broadway debut in I Can Get It for You Wholesale (1962). Anthony Newley had two successes: Stop the World, I Want to Get Off (1962) and The Roar of the Greasepaint, the Smell of the Crowd (1965). Neil Simon and Burt Bacharach’s Promises, Promises opened in 1968, and Stephen Sondheim’s A Little Night Music (1973) gave the world “Send in the Clowns.” Then, on October 19, 1975, A Chorus Line, the Off-Broadway hit from the Public Theatre, opened uptown at the Shubert. This “singular sensation” would remain for a record-breaking fifteen years (6,137 performances), before closing on April 28, 1990.

Following A Chorus Line's legendary run were the “new” Gershwin musical Crazy for You (1992), and a revival of Kander and Ebb’s Chicago (1996). After Chicago transferred to the Ambassador, Bernadette Peters starred in a revival of the backstage classic Gypsy (2003). More recently, the Shubert was the home to the Tony award-winning Best Musical Spamalot (2005), a revival of Blithe Spirit (2009) with Angela Lansbury, Best Musical Memphis (2009), Matilda the Musical (2013) and the Tony Award-winning revival of Hello, Dolly! (2017) starring Bette Midler.

Theatre specs --

shubert.nyc/theatres/shubert/

Seating Capacity


Orchestra
700
Mezzanine
410
Balcony
350
Boxes
16
Standing
26

Total

1502



Included in Totals Above:


Orchestra Pit
28
Wheelchair
7
Aisle Transfer Arm
16



Theatre Dimensions

Proscenium Opening:
39' 9"

Height of Proscenium:
28' 6"

Depth to proscenium:
33' 10"

Depth to front of stage:
36' 0"'

Stage Type:
Proscenium


SEATING CHART ( see link)

There is no info on the height of the stage.

It looks like, based on the theatre specs and dimensions, that the Winter Garden is the better choice to stage a large-scale musical! Bigger&wider stage and larger seating capacity favor it. There are only 2 seat levels for WinterGarden ( Orchestra/Mezz) while there are 3 seat levels for the Shubert ( Orch/Mezz/Balcony).

Location-wise, the Shubert is in the heart of theatreland -- also neighbor to the Broadhurst (BackOnBroadway) and not too far from the Imperial ( TBFO) and the Schoenfeld (Steady Rain) ...even if The Winter Garden is located literally-speaking on the street called Broadway (and close Circle in the Square, home of The River)!

We await the announcement

[jo]

Getting exited!!

Is this the graphic design for the show...or only the cover photo for the Page? Is it only Hugh's name which is above the title? Or was it more artistically symmetrical to place the two names in this way?

www.facebook.com/MusicManBway/


If you expand the photo - there are many interesting info relating to the book and score of The Music Man contained in the image. Do check it out from the above link


Jo

[jo]

[jo]

Comparing the early artwork, since these 2 productions will likely be marketed to general audiences!

[jo]

Someone on Reddit may have hit on the reason why no announcements have been made re the start of ticket sales. Group sales were supposed to have started in June, but according to BroadwayInbound, there are no announced dates for group ticket sales yet. But beyond the speculation as to the theatre for THE MUSIC MAN ( Winter Garden or Shubert or any other Shubert theatre), there is the problem of the current shows of those theatres not yet announcing any moveouts or closure notices. E.g., BEETLEJUICE has not announced any closing notice, so if Music Man is bound for The Winter Garden, that cannot be announced yet?


Here is the box office stats for BEETLEJUICE --

www.broadwayworld.com/grosses/BEETLEJUICE

And negative speculations on its longevity --

www.broadwayworld.com/board/readmessage.php?thread=1117350




And for the hit TO KILL A MOCKINGBIRD ( which is also a Rudin production) --

www.broadwayworld.com/grosses/TO-KILL-A-MOCKINGBIRD


Jo

[jo]

On BWW - complaints that Sutton's name is not also above the title


Someone piped in about the mini-controversy

schubox
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#390

Posted: 7/20/19 at 7:23pm
kade.ivy said: "I’m on mobile so I can’t upload the photo, but the banner on their Twitter account has their names on opposite horizontal sides, same height and size, font as large asthe title.



twitter.com/musicmanbway"

And their picture says “Hugh Sutton”. People get riled up over the weirdest things on here

[jo]

Let's meet Sutton!


A recent interview -- she does sound like the very well-grounded person she's been known around, even if she is one of Broadway's most celebrated musical theatre stars!


www.roseandivyjournal.com/blog/2019/7/1/mornings-with-sutton-foster?fbclid=IwAR3cV05n663pLKna0yEqGqr1nvK6BAnkR4RwA4OmGx80NXdLyoICxmNnZcY

Mornings With Sutton Foster


In the series ‘Mornings With’ we begin a new day with inspiring talent in film and television, in an equally inspiring place. ROSE & IVY founding editor, Alison Engstrom sits down and chats about morning routines, exciting projects, New York and what inspires them and drives them to be their very best.

I had the wonderful opportunity to spend a morning with Sutton Foster, the two-time Tony Award winner and star of this hit series Younger at the newly opened Queensyard in Hudson Yards. We chatted about her morning routine, the importance of always trusting your gut, the evolution of her character Liza in season six and when she feels most in the flow.


Would you say you are a morning person?

No, but I think that’s primarily coming from the theater world and working in it for over 20 years—I’d be more of a night person. Although, now that I have a two and a half-year-old daughter, my mornings are different because I have to get up earlier. I’m lucky because she sleeps and doesn’t get up until 7:30 or eight. But when filming Younger, I’ll have 5:30 a.m. call times, so those are tricky.



What’s the first thing you do when you wake up in the morning?

I usually make coffee first, then I feed the dogs—I have two rescues, one’s a Yorkie-Dachshund mix and the other is a Westie-Poodle mix—then I have my coffee, pour my daughter her milk and then wake her up.



Do you wake up with coffee or tea?

Coffee. Always coffee. My dad just bought me this new coffeemaker from Cuisinart; it has the large pot on one side and the single cup on the other. It’s an amazing coffeemaker.



How do you prepare it?

I like to brew a big pot and then I’ll drink maybe one and a half cups in the morning with cream. I’ll save the rest of it and have an iced coffee later in the afternoon.



Do you have a motivating morning mantra to help frame your day?

I consider myself a pretty mindful person. I used to wake-up in my 20s and 30s and be like ugh—there was just a level of drama. Now in my forties, I get up and there’s just no drama. My life is so hectic and full that I literally just take it hour by hour because if I look at the whole day or the whole week ahead, I get really overwhelmed. I try to be present, but it’s a constant struggle and there are days where I’m like ‘I don’t know what’s going on.’ I’m doing a lot right now and I’m eager for things to sort of settle a bit, but I actually function better when I’m busy. Sometimes when I’m idle, I’m actually a little more untethered.

My daughter is very grounding too. I really want to be present-minded for her. I’m like go-go-go-go, but she has her own time, so I have to slow down. She might take five minutes to drink her milk or she might take 45 minutes to drink it. When I’m hanging with her and just playing with blocks, there’s no agenda, we can just be together. Having a kid explodes your life. It changes the way you look at everything. You notice every playground and you learn how to play again, because I’m such a workaholic, I had forgotten how to play.




I’d love to know since you are a woman of many talents what came first for you—singing, acting or dancing?

I started dancing. My mom put me in ballet class when I was four and it all sort of happened from there. I grew up in a small town in Georgia, and there was a local community theater doing a production of Annie when I was 10. They needed dancers for the orphan roles so they called our dance studio and my mom was like, ‘you should audition,’ but I wasn’t very interested in it. She kind of pushed me to do it and I had to sing, dance—I had a natural singing voice. This was the first time I’d even sang in public; they ended up casting me as Annie at the Augusta Community Theater.



How did you end up landing the part as Liza on Younger?

At the time, I was doing Anything Goes on Broadway and I met Amy-Sherman Palladino. She was talking about this new show Bunheads she was creating, so I did that for a year. I was waiting to see if it was going to get picked up again and they ended up canceling us six months after we had wrapped—I was devastated. Then the Younger script came and my agent’s like, it’s Darren Star, I think you might be able to pull off this one. I was in this weird place in my career where I was reading young but also older. I read it and thought, oh, maybe I can do this. Whenever I read scripts, or look at any material, I always look at who’s involved, this instance was Darren Star. I thought, oh my gosh, that would be so cool. I could hear myself saying the lines and it felt like a natural fit.





How do you deal with the rejection that you just talked about that is so common in the industry?

Rejection is just part of it. I’ve had way more nos than I’ve had yeses. I don’t know how I’ve never let the nos beat me, but I’ve always let it be fuel. I think, okay, what can I learn? I look at the situation and go, how can I apply that to the next thing and how can I be better? Is there an opportunity within the rejection to be better? I think that’s served me really well. I feel like every rejection has made me better. Sometimes I look back at things I didn’t get, and there’s disappointment, but then I go, I wouldn’t be here. I also think that you have to trust your gut.



I’ll talk to you about that in a minute. One thing I love about the show is that you film in recognizable places in Manhattan and Brooklyn. Does that making filming a lot more fun?

It’s so fun. We film a ton in Brooklyn and all over the city. It’s great for me, because I’m a bit of a homebody, so often I ask, ‘where are we?’ It’s been really eye-opening for me. I love the way that Darren really showcases the city. Younger makes New York seem very cool and everyone in it has such fabulous clothes.

“One hundred percent of my identity was wrapped up in this job and who I was on stage. I needed to find balance and that’s when I knew, I needed to do something else that gave me purpose.”



Where can we expect Liza’s character to evolve in season six?

In this season, Liza has grown-up in many ways. She’s really owning her power, her responsibilities and she has a lot more of them at work. Almost everyone knows her secret, there are still a couple of people who don’t know. She’s definitely in a relationship with Charles, but Liza still kind of wants it all. I feel like Liza’s always trying to do the right thing and her heart is very big. She has rewritten her story and she’s still writing it. I think she has chosen Charles, but I think she still has uncertainties. It’s funny, we make the show and we release it to the world—but we live in this bubble. Our fans are amazing, but they are vocal and have a lot of opinions about a lot of things. I’ll be really curious at how this season plays out.





The cast seems to have such great chemistry. What do you love about working with them?

The only person I knew was the actor who plays my daughter, Tessa—we did Shrek together on Broadway. Chemistry is a funny and elusive thing; you can’t manufacture it. We all are so different, but we genuinely love and respect one another. Our work environment is incredibly positive, inspiring and calm—there’s no drama. If there’s any drama, we’re like, nope! We’re all grateful to have a good job and it’s so nice to go to work and be in a show that’s about good things.



Even though I have long graduated from college, I love getting inspired by commencement speeches. You recently delivered a poignant one at Boston Conservatory’s Class of 2019.

You said, “Trust your gut even if others don’t agree because in the end no matter what happens or how it all turns out, it will have been your choices so own your choices because even if you fail your gut gets smarter but if you follow someone else’s gut and you fail all you learn is to trust your own gut.” You say trusting your instincts led you to eventually land as the star in Thoroughly Modern Milly. I love that. What advice to you give to those who struggle with that idea?


You have to take responsibility for your choices because, in the end, they’re yours. No matter what happens, you get nowhere by blaming other people and you won’t grow. You’ll spend your whole life pointing fingers and it doesn’t help anybody. I’ve always taken the weird road. People will be like, ‘what, why?’ There’s something that happened recently, and I was so angry at myself because I knew better and I didn’t trust my gut. I ended up getting stuck in an airport for 24-hours. I listened to someone else and I was beating myself up over it!




“I think, I’m enough and that I don’t have to be any more than I am right now. I can allow this moment to be good and be all in. There’s something about that which feels very in the flow and in the moment, like it’s exactly where I’m supposed to be. ”




You also talk about the importance of having a hobby. I completely agree, I have a ton of them. What are yours?

I crochet. It started while I was doing Thoroughly Modern Millie; I found myself in this hit show where I won a Tony Award but I was miserable. One hundred percent of my identity was wrapped up in this job and who I was on stage. I needed to find balance and that’s when I knew, I needed to do something else that gave me purpose. I wanted to create something. So much of what we do as artists is waiting for someone else to tell us what to do and give us permission; or we are waiting for the phone to ring. It’s easy to think, I can’t be creative because I don’t have a job. Well, that’s bullshit because you have the power and the control to create every single day, so when I’m not working I don’t sit around idly and feel sorry for myself. I made jobs for myself—I draw, I design little sweaters, I cook, or I give myself goals. It’s been a wonderful thing. I’ve crocheted many a blanket, and then lately I’ve been doing baby blankets and now toddler sweaters and stuffed animals for my daughter.

It’s interesting because sometimes people will think, oh I’m too tired or I don’t have time. I think when you do something you love, it gives you energy.

Right now I don’t have a lot of extra time, but even if I just do one row or something, at least I’m like, ‘ah, okay.’




The word is out that you are going to be returning to Broadway after a six year absence alongside Hugh Jackman in the musical The Music Man. Very exciting! Do you move seamlessly from theater to television or is it a bit of a shift?

I just did a stint at The Carlyle, which is interesting because that’s a different type of show; it’s just me—I’m not playing a character. I’ve done theater for 20 years, so the transition from TV to the theater was very hard because I was like what is this, a camera? I’m used to being on stage and performing, but television has been a wonderful departure for me. I’ve learned so much about it—the train is moving so fast and you just have to leap into every scene and you can’t be afraid, there’s no time. I feel like that has translated to my live performances, because I’m more in the moment and ready to go, as opposed to being uncertain. Ultimately, they’re very similar because you’re playing a character, you’re telling stories. Television, I think has more subtly, which again I think has translated into my theatrical work, and my work ethic has translated really well to TV. It’s been this wonderful relationship. I’d love to be able to continue to do both for the rest of my career.

Music Man starts in a year and I have to start training now with voice lessons, dance lessons and exercise—you have to be an athlete; it’s a 24-hour job. At The Carlyle, I’m only on stage for 70 minutes, but my whole day is spent making sure those 70 minutes are awesome because I don’t ever leave the stage. I also need to take a nap during the day, because if not, I’m not going to make it (laughs). I planned out my days so that those 70 minutes were protected and that the audience got the best version of me they can get on that day.



If you could reprise any role again which would it be?

I’d love to revisit the character Reno, in Anything Goes, she was pretty awesome. It would be fun to play her, seven years later, since I have a little more life experience. I have more going on; I’m a much more interesting human, so it’d be fun to bring that to her.



Does writing or directing interest you?

Writing and directing don’t pull at me, but I’m more curious about producing and being part of creating something. I’d like to be more on the peripheral and working in collaboration with others. I don’t think I want the power or the control to be the writer or director.



Would you say that a lot of your dreams have come true?

A lot of my dreams have come true. I’m re-evaluating what my new dreams are, and I think about that a lot. I’ve always been a five steps ahead person. People talk to me a lot about ageism and getting older. I feel like when I first started, I was like ‘ what is all this’ but now at 44, I think about it and I’m starting to understand it all better.



You do a lot, I’d love to know when you feel the most in the flow and alive?

When I’m performing live. My days leading up to a performance, like my performances at The Carlyle can be insane and even the minute before I hit the stage, I say to myself, oh my gosh, I’m so tired, how am I going to do this? But as soon as I step on the stage, it just all becomes very present. I have no choice because for that performance, there were around 90 people in the room and I know I couldn’t hide. I think, I’m enough and that I don’t have to be any more than I am right now. I can allow this moment to be good and be all in. There’s something about that which feels very in the flow and in the moment, like it’s exactly where I’m supposed to be.

You can follow Sutton Foster here and be sure to tune into Younger every Wednesday at 10PM EST on TV LAND.

I've only seen Sutton perform on Broadway only once. This was in DROWSY CHAPERONE some years ago. She is quite a presence on stage!

Here she is performing SHOWOFF from the show at the TONY Awards --




Jo

[jo]

From a current interview with Sutton Foster --


www.latimes.com/entertainment-arts/story/2019-07-23/youngers-sutton-foster-on-the-infertility-struggles-she-had-in-common-with-her-into-the-woods-role


Excerpts --

But “Younger,” now in its sixth season, and Emily have kept Foster from Broadway since “Violet” in 2014. Concert appearances and short runs of a couple of shows away from Broadway have kept her connected to live performance while she awaits the beginning of rehearsals a year from now for a Broadway revival of “The Music Man” opposite Hugh Jackman...

Thinking ahead to “The Music Man” next year, Foster plans to burrow into 1910s small-town librarian Marian Paroo to root out all her complexities and contradictions. Fluttery romantic interest? No, thank you. “She’s one of the great ingénues, but she’s fiery, she’s different, she’s got a past.” Those are the qualities that interest Foster. “I can bring something different.”

[jo]

Here's a clip of a scene with Sutton in INTO THE WOODS -






Btw, have you ever planned to see a show more than a year before it opens

Only for Hugh


Jo

[jo]

Announcement from TELECHARGE about a new ticketing system. The sales of tickets for THE MUSIC MAN will likely go through under this new system?


www.prnewswire.com/news-releases/telecharge-assured-new-shubert-ticketing-platform-introduced-for-hamilton-on-sale-in-philadelphia-300890891.html

Telecharge ASSURED™ New Shubert Ticketing Platform Introduced For "Hamilton" On-Sale In Philadelphia
An Innovative Application Designed to Level the Playing Field Facilitating Fair Access to Individual Ticket Buyers

News provided by
Shubert Ticketing
Jul 25, 2019, 10:13 ET



NEW YORK, July 25, 2019 /PRNewswire/ -- Telecharge ASSURED™ is Shubert Ticketing's new platform designed to facilitate fair access to individual ticket-buyers when seats go on sale to the general public. The successful launch on July 9th, 2019 serviced a record number of customers purchasing tickets for the highly anticipated 12-week engagement of "HAMILTON" at the Forrest Theatre in Philadelphia (August 27 – November 17).

Telecharge ASSURED™ utilizes a secure registration and verification process which generates a single-use code assigned to each online ticket purchaser. Once the valid code is entered, the customer gains fair access to available inventory in real time.

"The highest demand events are often the hardest ticket to buy for real patrons," said Jennifer Tattenbaum, Senior Director of Interactive at Shubert Ticketing. "Countless secondary market operators try to scoop up as many tickets as possible to re-sell them to the public at inflated prices. It becomes impossible for real people to have their chance to get seats."

Telecharge ASSURED™ facilitates a smooth transaction process while ensuring no single entity can game the system and buy up a majority of the inventory.



Several core technologies contribute to the success of Telecharge ASSURED™ : Registration and Verification of buyers with strict ticket limits per patron; Single Use Codes for verified customers to access the on-sale; and an Online Virtual Queue configured to move a high volume of customers through the process efficiently.

"The real magic of Telecharge ASSURED™ is realized through combining these core elements to present a comprehensive consumer-friendly platform," said Eric Schwartz, Product Manager of Interactive at Shubert Ticketing. "As demonstrated with the "HAMILTON" on-sale, we are able to move an incredible number of tickets, while maintaining customer satisfaction throughout the process."

Shubert Ticketing will be implementing Telecharge ASSURED™ during the on-sale period of multiple attractions opening this Fall in Telecharge venues.

For more information about Shubert Ticketing, visit www.shubertticketing.com.
SOURCE Shubert Ticketing

Related Links
www.shubertticketing.com

[jo]

One of the speculations is that The Music Man is going to be housed at the Winter Garden ( based on "word on the street", according to Michael Riedel, in the recent past). There is speculation that it might house another show, a play, from spring 2020?


From ATC ( as part of the discussion of Beetlejuice vs Tootsie) --

re: Good analysis...though I wish it weren't the case
Posted by: lonlad 05:20 am EDT 08/03/19
In reply to: Good analysis...though I wish it weren't the case - Pashacar 03:02 pm EDT 08/02/19

Couldn't agree more: BJ is a hateful and hoary show whose only element of interest is how Brightman can speak/sing like that eight times a week without scarring his speech delivery and voicebox for life. I gather that THE LEHMAN TRILOGY is eyeing the Winter Garden for a Bway berth next spring and that in my view couldn't happen a moment too soon.

Based on earlier speculations, Michael Riedel did write that the successful play is considering a transfer to Broadway itself, depending on how long the main British cast are willing to come to NYC.

www.broadwayworld.com/article/Rialto-Chatter-Will-THE-LEHMAN-TRILOGY-Land-On-Broadway-This-Fall-20190418


If they open no later than in time for TONY consideration ( April), then if they stay up to end-June or early July for a 12-week engagement -- that will leave time for The Music Man to start rehearsals and production setup at The Winter Garden, as rumored. Previews for The Music Man starts on September 9, 2020 ( official opening on October 22).

The other theatre speculated for The Music Man is the Shubert ( which housed the revival of Hello,Dolly!, another Rudin project with basically the same creative team). But To Kill A Mockingbird is doing excellent business there.


I wonder when we will see an official announcement on specifics ( theatre/ major casting) for THE MUSIC MAN??



Jo

[jo]

Most likely spurious information --

that THE MUSIC MAN will play at a less-than-a-thousand-seat theatre ( only 922 seats), the Lyceum!



www.nytix.com/shows/the-music-man

Besides, information like this would be announced officially by producer Scott Rudin.

And how will the show ever make breakeven ( if there are less than a thousand seats) if it has superstars like Hugh Jackman and Sutton Foster and is expected to be a huge spectacle type of show? !! It is expected to have a fairly large operating expenses as well as some further developmental costs to make it a striking revival. Someone said on BWW that if this were true, it will take 5 years for the show to break even

Besides, it usually hosts straight plays (drama or comedy) and one-man shows.

shubert.nyc/theatres/lyceum/


Jo

[jo]

Someone on BWW offered this information --

DoTheDood
Send PM
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Leading Actor
joined:3/18/19
Hugh Jackman in The Music Man
#409

Posted: 8/8/19 at 11:55pm
LexiGirl said: "I was looking online to refresh myself on whatdate singleticket sales are supposed to start and noticed that the NYtix.com site is saying that The Music Man is the upcoming show atthe Lyceum Theatre. I haven’t seen that listed anywhere else. Anyone else heard that?

www.nytix.com/theatres/lyceum-theatre"

The thing is, I've mentioned NYTix a few times on these boards, but it's not a reliable source at all. A lot of it's information are pretty much just guesses of what random shows could go to Broadway. Example, it lists Company going into Studio 54, when Company has already confirmed to be going into a Shubert house (Studio 54 being apart of Roundabout). Or how it lists Blue as starting previews in CinS on March 1st, and a show called "Empire Records" opening also in CitS in March. Much of it, if even true, could be old information that has changed since this website got it, but it seems more like they are randomly guessing to just look more official.

It seems like a secondary-market ticket selling site and speculating on where THE MUSIC MAN will reside.


Jo

[jo]

A variation of the art work --







Compared to this one --

[hughmanity]

www.broadwayworld.com/article/THE-MUSIC-MAN-Will-Hold-Open-Call-to-Find-Tommy-Djilas-20190812

[jo]

So far, some principal roles have already been cast, although understudies may or may have already been cast?

Jun 20, 2019 7:51:49 GMT -5 jo said:

Here are the Detailed Audition Notices --

THE MUSIC MAN - Broadway Theatre TBA Auditions
Posted: June 19, 2019


THE MUSIC MAN - NYC EPA
Producing Org TBD


AUDITION DATES
Wed, Jul 03, 2019
10:00 am - 6:00 pm (EDT)
Lunch 1:30 to 2:30

Mon, Jul 08, 2019
10:00 am - 6:00 pm (EDT)
Lunch 1:30 to 2:30

Tue, Jul 09, 2019
10:00 am - 6:00 pm (EDT)
Lunch 1:30 to 2:30



CONTRACT
Production (League) $2095/week current minimum

SEEKING
Equity actor/singers for various roles in the upcoming Broadway production.

Stage management availability still TBD.

PREPARATION
Please prepare a brief traditional musical theatre song showing range. Bring sheet music; a piano accompanist will be provided. Bring a photo/resume stapled together.

LOCATION
Pearl Studios NYC (519)
519 8th Ave
12th Fl
New York, NY 10018

PERSONNEL
Book, Music, and Lyrics: Meredith Willson
Based on a story by Meredith Willson and Franklin Lacey
Producer: Scott Rudin
Director: Jerry Zaks
Choreographer: Warren Carlyle
Musical Director: Patrick Vaccariello
General Manager: Joey Parnes Productions
Casting: Telsey + Company

OTHER DATES

Rehearsals: July 2020

Previews: September 9, 2020

Opening Night: October 22, 2020



OTHER
EPA Procedures are in effect for audition.
An Equity monitor will be provided.
Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.

Always bring your Equity Membership card to auditions.


BREAKDOWN

SEEKING:

[HAROLD HILL] Male, 30s—40s, any ethnicity. A dynamic and attractive leading man, with energy and charisma to burn. A compelling conman, posing as a traveling salesman, who uses his great warmth and personality to put one over on the folks of River City. Bold, confident, and a resolute bachelor until he meets his match in the town librarian. Seeking a skilled and dynamic actor with great depth and personal appeal. Must move and sing well. PRINCIPAL—ROLE IS CAST: HUGH JACKMAN; seeing understudies only

[MARIAN PAROO] Female, 20s—30s, any ethnicity. A dynamic and appealing leading lady, with great depth and vulnerability. River City’s guarded and resolute town librarian and music teacher. Artistic, deeply intelligent, and strong-willed, she possesses a hidden warmth, vulnerability, and sizable romantic streak just below the surface. Seeking an actor of great skill, with a warm and dynamic soprano voice. Must move well. PRINCIPAL—ROLE IS CAST: SUTTON FOSTER; seeking understudies only

[MARCELLUS WASHBURN] Male, 30s—40s, any ethnicity. Comedic character man, with loads of energy and appeal. Former friend and conman/colleague of Harold’s who has settled in River City. Immensely affable and well-intentioned, he gets caught up in the scam when Harold enlists his help. Very strong comedic actor who sings and moves well. PRINCIPAL—ROLE IS CAST; seeking understudies only

[MRS. PAROO] Female, 40s—50s, any ethnicity. Warm and funny character actress with Irish dialect. The warm-hearted, straight-talking, widowed mother of Marian and Winthrop. Fiercely loyal to her children, she is a good listener with a strong sense of humor and self. Character singer. PRINCIPAL—ROLE IS CAST; seeking understudies only

[MAYOR GEORGE SHINN] Male, 50s, any ethnicity. Comedic character man, with stature and personality. River City’s bombastic and somewhat hapless Mayor. Full of self-importance and bluster, he is easily distracted as he frequently clashes with newcomer Harold Hill as well as the young man pursuing his daughter. Character singer. PRINCIPAL: ROLE IS CAST; seeking understudies only

[EULALIE MACKECKNIE SHINN] Female, 40s—50s, any ethnicity. Comedic character actress with great comic chops and appeal. Mayor Shinn's wife and River City’s First Lady. Snobby, status-oriented busybody who conversely possesses an eccentric, artistic side. Travels with a pack of sycophantic gossips. Character singer. PRINCIPAL: ROLE IS CAST; seeking understudies only


[CHARLIE COWELL] Male, 30s-40s, any ethnicity. A verbose, cocksure anvil salesman, hell-bent on exposing Harold Hill as a fraud. Character singer. PRINCIPAL

[TOMMY DJILAS] Male, 15—20, any ethnicity. Attractive, appealing young actor with exceptional dance skills. The irresistible and misunderstood town “bad boy” who is secretly dating Zaneeta Shinn, the Mayor’s daughter. Top-tier dancer with strong technique. Must sing well. PRINCIPAL

[ZANEETA SHINN] Female, 14—18, any ethnicity. The Mayor’s teenage daughter, harboring a crush on Tommy Djilas. Funny, pretty, appealing, and charismatic. Great dancer and singer. PRINCIPAL

[OLIN BRITT] Male, 25—45, any ethnicity. Editor of the Gazette, member of the School Board, and member of the barbershop quartet formed by Harold. Strong bass. Must be comfortable with tight harmonies. PRINCIPAL

[OLIVER HIX] Male, 25—45, any ethnicity. Banker, member of the School Board, and member of the barbershop quartet formed by Harold. Married to Alma Hix. Strong baritone. Must be comfortable with tight harmonies. PRINCIPAL

[EWART DUNLOP] Male, 30s—40s, any ethnicity. Owner of the General Store, member of the School Board, and member of the barbershop quartet formed by Harold. Married to Maude Dunlop. Strong tenor 2. Must be comfortable with tight harmonies. PRINCIPAL

[JACEY SQUIRES] Male, 25—45, any ethnicity. Owner of the livery stable, member of the School Board, and member of the barbershop quartet formed by Harold. Married to Mrs. Squires. Strong tenor 1. Must be comfortable with tight harmonies. PRINCIPAL

[WINTHROP PAROO] Male, 8—12, any ethnicity. Marian’s baby brother, shy and isolated due to his pronounced lisp. Quiet and lonely but warm, loving, and truly appealing. Strong singer. PRINCIPAL


[ETHEL TOFFELMIER] Female, 25—40, any ethnicity. A comical "Pickalittle” lady and Marcellus Washburn's girlfriend. Strong singer. PRINCIPAL

[ALMA HIX] Female, 25—45, any ethnicity. A comical "Pickalittle” lady married to Oliver Hix. Strong singer. PRINCIPAL

[MAUD DUNLOP] Female, 25—45, any ethnicity. A comical "Pickalittle” lady married to Ewart Dunlop. Strong singer. PRINCIPAL

[MRS. SQUIRES] Female, 25—45, any ethnicity. A comical "Pickalittle” lady married to Jacey Squires. Strong singer. PRINCIPAL

[AMARYLLIS] Female, 8—12, any ethnicity. A dreamer and a romantic. A piano student of Marian’s, with a schoolgirl crush on Winthrop. Awkward and charming. Must have a clear, simple soprano. PRINCIPAL
=====================


Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to audition.

[jo]

I wonder who have been cast for the roles of Mrs. Paroo and Mrs. Shinn?

Re Mrs.Paroo - do they need to cast a much older woman, given that Sutton herself is already in her mid-40's?


Or can someone like Keala fit that role, no matter that she is younger than Sutton?

Or what about Eulalie Shinn - can Keala also fit into that role?

Although the info says that both roles have already been cast.


Jo

[jo]

I expect this number ( Ya Got Trouble) to be Hugh Jackman's major showstopper ( Maybe even a rare standing ovation?) in the revival! Tyne Daly is an excellent performer but she doesn't exude the air of a lovable crook - afraid not! Hugh has so much charisma and charm that he can sell practically anything ( including sellout shows at the O2 in London, the MSG, the Hollywood Bowl, the Rod Laver Arena, even if he is not a concert stage artist at all)


Jo (Unabashed Hugh fan)

[jo]

Not sure if this is an ERROR or not, but the official website now lists Opening Date as October 15, 2020. Could this be an original plan ( and info remained not updated), although I do not recall seeing this page on the official website in the past?

Also, the Telecharge Page re Tickets has now been updated --

*Suggested Minimum age to see the show is now listed at 6 years old. No one lower than 4 years of age will be admitted.
*Other info ( Official Website/Twitter/Facebook/Instagram Pages) are also listed now.

Hopefully, there will be new word on the theatre choice and the sale of tickets. Presumably the news will go together?

[jo]

There is more updating on the Telecharge Page -- but it seems it is not yet fully operational.

There is a notation that Group Sales for 10 or more people can be arranged, via a link ( which is not yet working). But at least we know now that 10 is the minimum number for Group Sales.

No mention yet on the theatre choice. Maybe that is why the link for Group Sales is not yet operational?


EDIT: It looks like they moved the number to minimum of 20 people!

Jo

[jo]

It looks like this is confirmed - that GROUP SALES are now being entertained.

Also, it seems Opening Night might have been moved forward to October 15, 2020 ( awaiting official announcement from the producer's office?)?

Jo