TheaterMania: On Wednesday, two significant developments took place on Broadway: The Bob Dylan musical Girl From the North Country announced that it was closing on January 23 and vacating the Belasco Theatre, with the aim of reopening this spring at a different venue. An hour later, the producers of To Kill a Mockingbird announced that it would play its final performance at the Shubert Theatre this Sunday, January 16, with the intention of reopening at the Belasco on June 1.
2 comments:
It's interesting that they cite cold weather, and not just covid, as a core reason to put a hold on shows. I wonder if this will have any long-term implications, like if new shows start having spring/summer-start timelines on purpose, taking advantage of New York's cold winter as a rehearsal time. In that case, it could become harder for new shows to start up (assuming that everyone is vying for the same rehearsal spaces during the winter). Additionally, I feel like taking these big breaks would put actors in somewhat of a deadlock. It'd be hard to get another performance job on Broadway in the meantime, so they might have to either wait it out or start doing some sort of commercial work or freelance on the side.
It does surprise me, though, that the earliest reopening date for these "hibernations" is Mrs. Doubtfire, which will reopen in march. I think one potential thing the other, hibernating shows would miss out on is Spring Break travelers if they wait until May or June to reopen.
I never considered winter being a factor as to why so many shows are suspending performances, relocating, closing, etc. I just always assumed COVID had hit theater incredibly hard, and I underestimated just how much it had. Granted, the weather is awful but perhaps not as awful as those ticket sales. Regardless, I do not think much will happen to these shows. That is besides the obvious, but Broadway will stay. It is an age-old institution that has outlived many catastrophes in the past, and this just one of them. Though I may be sad to see some of these shows go, it is reassuring to hear the strategies producers are employing to help alleviate this process and the current times. Like how because Beetlejuice suddenly gained traction as its closing date was approaching it is getting a second shot on Broadway. It is easy to forget that they have things at stake too, and that they also see worthwhile doing what they can to keep their productions afloat.
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