Film: “The Sound of Music” turns 45

Remember 2005? There was a lot of hullabaloo over the 75th birthday of Stephen Sondheim, Spamalot somehow bested three superior shows for Best Musical at the Tonys. Meanwhile, the film versions of Rodgers and Hammerstein’s State Fair, Oklahoma! and the iconic The Sound of Music were celebrating their 60th, 50th and 40th anniversaries, respectively. Special 2 disc editions of the films with never-before-seen features and footage were released and there requisite press appearances by the various cast members who are still with us. It’s hard to believe five years have passed and like any good American institution, it’s time to celebrate another landmark anniversary with style.

Now as The Sound of Music hits its 45th year, 20th Century Fox and the Rodgers and Hammerstein Organization have taken it up themselves to celebrate with the latest in digital video technology: Blu-ray. A brand-spanking new edition of the film, newly restored and remastered for high definition is being rolled out in early November. There have been some glimpses into the process and the film looks better than ever. The film is more than just a blockbuster; it is a cultural phenomenon. While it was a big hit in its 1959 stage incarnation, the movie took off into the stratosphere upon the release in 1965. The Sound of Music won five Oscars including Best Picture and made a mountain of money – in terms of grosses adjusted for inflation, it ranks third behind Gone with the Wind and Star Wars on the all-time list. The movie ran for several years in its first release and continues to grow in popularity. And like many others around the world, I hold a special place for the film.

Ever since I can remember, there was an annual airing of the film around Easter. The first time I was introduced to it, I was genuinely surprised to see Mary Poppins dressed down as a blonde tomboy twirling in the Austrian alps. (I was about four years old).  As a very young child, I wasn’t allowed to stay up for the whole thing (it was a Sunday airing and there was school the next day). In fact, it wasn’t until I was almost ten I even knew the Captain and Maria even got married! But every year, I got to see a little more and a little more of the film until I eventually saw it all. I was even given a souvenir program from the initial engagement. When I was in 8th grade, there was a big to-do over a new VHS edition remastered by George Lucas’ THX which placed the 175 minute musical epic on one video cassette for the first time. I still have that copy. The first DVD I ever bought was – surprise, surprise – The Sound of Music. I have the soundtrack on LP as well as three CD editions. I even upgraded to that 40th anniversary DVD edition. I’ve kept them all.

Part of the reason is my father. He’s not someone that’s really into the movies or theatre, but he loves The Sound of Music. He saw it when it first came out and for some reason it just clicked with him. In fact, his first date with my mother was to the 1973 theatrical reissue, the last time the film was given a nationwide release. Twenty-three years later, we went to Salzburg, Austria to look at real locations from the Trapp family’s life, as well as those locations used in the film. We were inside the Nonnberg Abbey, visited the Mirabell Gardens (where the “Do-Re-Mi” finale was shot), plus two of the three houses used as exteriors as well as the actual Trapp villa (which is lovely). But I was also struck with the extraordinary beauty of the city; it is a place I really want to revisit again sooner rather than later.

To coincide with this celebratory DVD/Blu-Ray release, R&H and Fox have planned a series of events, including an entire episode of Oprah dedicated to the film, which will air on October 29 (check local listings!) My father asked when that was happening; I’m not even sure he knows who Oprah is. And I’m not being facetious but that’s the sort of pull this film has with him. However, the event that has me most excited is the upcoming theatrical re-release of the film. On October 19 & 26 (which are both Tuesdays) the film will be shown at 6:30PM. Click here to purchase tickets and to find the location nearest you.  It’s not very often that a classic film buff like myself gets the opportunity to see one of his favorites on the big screen. Just that itself is enough reason to rejoice. Ultimately the restored and remastered film will be released in both a Blu-Ray/DVD combo and a limited collector’s edition box set, as well a new reissue of the soundtrack on November 2.

“Broadway Musicals: The Biggest Hit & The Biggest Flop”

In Broadway Musicals: The Biggest Hit & The Biggest Flop of the Season, critic/columnist/author Peter Filichia took it upon himself to examine the Broadway musicals of the last half century, putting together his personal list for the biggest hit and flop of each year. Now, that’s not to say his list is a best and worst sort of deal; he’s more interested in which show was the biggest success or the biggest fall from grace.  He offers analysis of the shows, plus some unique perspectives on the material. On some of the biggest hits of all time, he offers some suggestions that might have made the show better. There are a couple of hits that he clearly has little love for, as well. With financial success as the most critical factor, it’s much easier to pinpoint the break-out hits of the season than failures. In dealing with the flops, he also takes into consideration critical response, award recognition, and most importantly, expectations.

From 1959-2009, he gives us glimpses not only into the good and bad, but also into the shifts in sensibilities and styles over the years. Also, Filichia spices up his conversation by following the traditional definition of a Broadway season June 1 to May 31 – not the Tony season, which means that some Best Musical winners end up in a face-off.

A couple quick examples: I found myself nodding in agreement with Peter’s assessment of 1776, for which he makes an incredible valid argument that it has the greatest libretto of all time (and gives his reasons why it trumps Gypsy in his estimation, too). On the other hand, I wasn’t as enthralled with 1969-70’s greatest hit, Applause, which he listed certain attributes to defend it in comparison to the film. (Not saying he prefers the show, but just pointing out certain strengths). But I think we can both agree it’s not an especially revivable property (After that Encores! concert, I wouldn’t mind if I never saw it again). It’s his opinion, for sure, but his statements are valid and he is able to back them all up.

He goes into the some greater detail with the flops, running the gamut from The Pink Jungle, a camp mess starring Ginger Rogers and Agnes Moorehead that folded out of town to 9 to 5. Frankly, it is usually more interesting reading how it all went wrong than right, which is part of the appeal for flop enthusiasts like myself. There are even a couple of shows listed here that I knew nothing about, particularly one that closed before rehearsals even started. More shows fail than succeed, and therefore there are some years where he weighs several different options before settling on his final choice. There are also some interesting correlations as creative staffs find themselves with the biggest hit one season..then the biggest failure some time later. (There are also three musical sequels on the list). Stephen Sondheim isn’t represented in the biggest hits column, but has three shows in the failure column. As a consolation, Peter allows the composer/lyricist the final word. And, yes, 1600 Pennsylvania Avenue makes the cut, and not without the requisite praise for Patricia Routledge’s “Duet for One.”

The book makes for a rather quick, engaging read, each show receives similar treatment to the flops in Ken Mandelbaum’s Not Since Carrie, a compilation of essays. It’s well-researched, but I know for fact that Peter has seen many of the shows he talks about himself. His recall is impressive and can pretty much remember every single show he has seen. There are a couple of small errors here and there but nothing extraordinary (if Applause Books wants to hire me to proofread, I’m available). If you read the book, I also encourage you dropping Peter an email; not only is he incredibly gracious but he gladly welcomes the conversation (We’ve been in contact for over eight years now, starting when I was a freshman in college!).

And finally, whether or not he chose Prettybelle or Lolita My Love as the biggest flop of 1970-71, well, I don’t want to spoil everything…

Octogenarians on Broadway

It’s nice to know that retirement isn’t the only option. There is great evidence of this in the entertainment industry, with Betty White and Cloris Leachman arguably the most visible examples. At 88, White has had another spike in popularity thanks to randy appearances on various TV shows, films as well a successful campaign for her to host SNL, which earned the TV legend her umpteenth Emmy. Leachman has followed suit. When Mel Brooks work-shopped Young Frankenstein he had Leachman reprise her iconic role as Frau Blucher to hilarious effect. However, when it came time for the Broadway run, he decided to go a different route and cast the estimable – and much younger – Andrea Martin in the same role, citing that “they didn’t want to kill her.”

Leachman was apparently quite disappointed she wasn’t going to get the chance to return to Broadway, but she’s the one who had the last laugh. Within a year, Young Frankenstein was bleeding money and Leachman was the toast of TV with outrageous, fearless appearances on the uber popular Dancing with the Stars. That was around the time when Brooks approached her to take over the role she had been denied, and she graciously accepted.  However, the show announced its closing before it could come to fruition. I still would have loved seeing her play Violet Weston in August: Osage County. Though she hasn’t come back to Broadway (yet), Leachman, 84, is touring a new one-woman show and currently appearing in the new sitcom Raising Hope.

The trend has been just as visible on Broadway. There are many great actors of a certain age continuing to work while many of their peers are enjoying quiet retirement. Film and TV work is tough, but it has nothing on the rigors of the 8 performance schedule and these ladies and gentlemen continue to astonish audiences with their talent and seemingly boundless energy.

The most high profile is Angela Lansbury, who turns 85 later this month, who has headlined three Broadway productions since turning 80, winning a record-tying Tony in the process. And personally, I don’t think that will be the last of her Broadway career. Her replacement in A Little Night Music is Elaine Stritch, 85, who works tirelessly in theatre and cabaret (plus occasional appearances on 30 Rock). Rosemary Harris, 83, received a Tony nomination for her touching portrayal of Fanny Cavendish in MTC’s sublime revival of The Royal Family last season. Another nominee from last season was Barbara Cook, soon to be 83, making her first appearance in a Broadway musical in 40 years with Sondheim on Sondheim. Estelle Parsons, 82, played Violet Weston for two years on Broadway and on tour, running up and down those stairs like it was nobody’s business. Also touring is Carol Channing, 89, who has spent the last few years as a champion for arts in our public school system. Her show has played in various venues, but has yet to come to NY (I think Carol should come home for her 90th birthday this January).

Onto the men: John Cullum, 80, has just started Broadway previews as the Interlocutor in Kander & Ebb’s The Scottsboro Boys. Cullum is also celebrating the 50th anniversary of his Broadway debut, in Lerner and Loewe’s Camelot (he was Sir Dinadan and Richard Burton’s understudy). Behind the scenes, composer John Kander is himself 83 and working hard on preparing Scottsboro for its opening night. Meanwhile at Lincoln Center, Broadway stalwart John McMartin (80), will be headlining A Free Man of Color at the Vivian Beaumont. Back in 2005, then 80 year old Hal Holbrook brought his iconic Mark Twain Tonight back to Broadway for a limited run. He’s still working quite hard and still making appearances around the country as Mark Twain. James Earl Jones will be turning 80 during the run of Driving Miss Daisy this season. Show biz legend and Tony nominee Mickey Rooney recently celebrated his 90th birthday at Feinstein’s, with his beloved wife. Then of course on the other side of the footlights is Arthur Laurents, 93, who has directed popular revivals of his Gypsy and West Side Story in the last three years.

It seems with all our medical advances and technology, it is likely we’ll start seeing more and more actors performing longer and longer. It’s not that far-fetched for someone to forgo retirement; it’s happened many times before – Eva Le Gallienne, Estelle Winwood and Cathleen Nesbitt (to name a few) continued performing onstage into their 80s and 90s. It just seems that it’s a trend that will continue to be on the rise, and considering the legends I have seen onstage I welcome this resurgence with open arms. Age is a number. Everything else is in the state of mind.

Showstopper: “Mame”

I’ve seen other video of Angela Lansbury in the short-lived revival of Mame, but nothing with such clarity. It’s stunning to see this so clearly and with close-ups on the legend as she reacts through the number. Onna White supplied the choreography. This was apparently filmed on July 24, 1983, the revival’s opening night. I was 17 days old, happily oblivious to the joy happening onstage at the Gershwin Theatre! The title song is a thrilling moment. Mame has just won over the stubborn old South family of her beloved Beauregard Jackson Pickett Burnside by an unexpected display of horsemanship and being the first to ever bring a live fox back from a fox hunt. What follows is one of the great showstoppers in all musical theatre: the show’s title song. It starts out low-key with a striking banjo accompaniment as the company sings her praises. At first, Lansbury has her back to the audience – breaking one of the cardinal rules of stage acting – with thrilling results. As the number builds and builds, she becomes incorporated into the song as the ensemble pays her a spirited tribute. The leading lady does not sing one word of the song, but it is a celebration of her and everything that she represents to the characters onstage and the people in the audience. It’s simple, euphoric and it never failed to rouse the audience. Enjoy:

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The Hi-Fi in the Den

A couple of weeks ago as I was emptying my box o’ stuff from the Broadway Flea Market, I started shelving the LPs I had acquired. I’ve been an avid collector for years – even if I have the album on CD and tend to listen to my show music on an mp3 player these days, I will continue to bring home records. There’s something warmly nostalgic about the recording spinning and the crackle of the needle as it hits the vinyl. Stemming from this, my post on “Pure Joy” scores and a wonderful conversation with A Little Night Music’s Kevin David Thomas, I got to thinking about those first show albums – those initial recordings that created the monster writing this post today. I’m reminded of [title of show]‘s “A Way Back to Then”. I may not have danced in the backyard, drank kool-aid or wore butterfly wings, but I understand exactly what Heidi Blickenstaff was singing about.

I was in seventh grade and visiting a used book shop in the local mall. I’d gone to look for books ($.25 for paperbacks, $.50 for hardcovers!) but was also surprised to find a large selection of LPs on hand. I’d never really paid attention to them before, but for whatever reason I told my mother that instead of just books, I would like some of these albums, too. Unlike most people my age, I have never been without a working record player in my life. Ever. As soon as one would break, we’d find another or someone would give me one they didn’t want anymore. The playing continues to this day.

The first system was our stereophonic hi-fi in our living room. My parents used it until the cassette came into prominence, but never got rid of it. On occasion they would play LPs on it and even some 8-tracks (yep). At the time I wasn’t as familiar with the Broadway side of musical theatre. I was aware of it, but not a lot. I knew that some of the films I have seen on (old school) AMC were originally on Broadway, but I didn’t think to delve further. So my first purchases involved motion picture soundtracks including The Sound of Music, Gigi, The Music Man, The King and I. However, I also found the original cast recordings of Peter Pan and Camelot, as well as the 1952 studio recording of Oklahoma! with Nelson Eddy, Kaye Ballard and Portia Nelson. Then there was the original London cast album of My Fair Lady. Soon afterward, cassette tapes of the original London cast of The Sound of Music (in Laserlight highlights form) and Broadway cast of Bye Bye Birdie were added to the fray. (I’ve never owned a cast album on 8-track, though I know people who have them!)

If my memory is specific it’s because I would come home from school and do my homework listening to them and it’s a vivid recollection. For Oklahoma! and My Fair Lady, those two albums were my introduction to the respective scores. I admit I’ve rarely revisited the former, but I’ve grown quite fond of the latter. In fact, I had both the LP and CD of the London album before I got the original Broadway recording of MFL in any format. I still have great fondness for the London and tend to listen to that one more than any other. As for Oklahoma! my preference now lies in the 1979 revival recording, but I can still remember practically everything from that LP experience – even where it used to skip on “The Surrey with the Fringe on the Top.”

As for the soundtracks, I listened to The Sound of Music, and while I do enjoy it I find I would rather watch the movie instead. It’s London cast album introduced me to the stage version. The tempos are ridiculously slow and it features a cast of little prominence, but it was something that I had on cassette and could travel with. (You can drive a Buick through Constance Shacklock’s vibrato. But I gotta hand it to her – she played the Mother Abbess for the entire six year run). I eventually made the switch to the Broadway recording with Mary Martin, which remains my sentimental favorite.  The King and I amused me because it contains a 6 minute overture specifically created for the album! “I Whistle a Happy Tune” had a false ending with the studio chorus and there were three songs that I hadn’t heard in the film! This one got the most play out of all the soundtracks and I still enjoy Marni Nixon’s vocal performance (best dubbing job in history). Also, I was – and still am – head over heels in love with the “Shall We Dance?” grand polka and practically wore out that section.

I don’t consider any of these guilty pleasures. But I do have a certain defensive nature when it comes to these shows. The amount of amusement and pleasure they gave me in my formative years is substantial and I like to see these properties treated with respect. That was another reason that I was so affronted by the charmless revival of Bye Bye Birdie last season; it was the antithesis of everything that was so endearing about the OBCR. These recordings take me back to, well perhaps not a happier time, but a simpler time and the memories are quite warm. I’ll never part with these glorious old LPs. In fact, I plan on bringing more home as soon as possible. (I never bought another cast album on cassette). Now I’m kind of curious – what were the albums (LP or otherwise) that first got you hooked onto musical theatre?

“The Scottsboro Boy” First Preview – Some Random Thoughts…

It’s really wonderful to have a new Kander & Ebb score on Broadway. It’s their final show and what a swan-song, evoking their darker shows that made them famous like Cabaret and Chicago. Right now, we’re slated for another nine musicals most of which contain original scores (thank God). The Scottsboro Boys, which will be the second to open this season, is setting a high standard for the rest. But any day that there’s a new K & E score on Broadway is a good day in my book.

I don’t like to officially review first previews because it’s still a work in progress. The show isn’t frozen and they are continuing to tweak and revise, even though Scottsboro had successful runs at the Vineyard and Guthrie earlier this year. However, I have to say that I was incredibly impressed by the staging, score and overall conceit. This seems like a show that will have a polarizing effect on audiences. The use of minstrel techniques is brilliant, but I’m curious how other audiences will react. Even this first night preview crowd of family, friends and well-wishers seemed uncertain how to respond at times. Minstrelsy is used creatively as an ironic device; an indictment of the entertainment form and ultimately its effect is chilling (especially as the cast sings the title song).

Many musicals dealing explicitly with race relations in America have come under controversy, even if written under the best of intentions. Shows like Hallelujah, Baby! and 1600 Pennsylvania Avenue (and others) were raked over the coals for being the product of white liberal guilt. Many of these shows fail to get to the heart of the matter, offering weak platitudes and stilted optimism instead of actually addressing the problems of racial injustice in America. However, this show is different from others in one respect: it’s absolutely unflinching, unsentimental and uncompromising. It is at times, uncomfortable and unsettling to witness and there are times when a number ends where you might wonder whether or not applause is appropriate. The authors aren’t afraid of taking any risks here, and neither are the superlative performers. This isn’t a toe-tapping crowd pleaser; even when the songs are at its most charming and infectious there is always the discomfiting subtext underneath.

Normally they get a lot of flack, but I’ve got to hand it to Fran & Barry Weissler. They are the lead producers on Scottsboro, and they are certainly not presenting this show for the money. I don’t know if the musical will have much of a commercial life, but regardless of whether or not audiences take to it, the fact that it’s even happening gives me reason to rejoice. I’ve not been excited by new musicals over the last couple of years – the recent trends tend to be by-the-numbers screen-to-stage adaptations and jukebox musicals. The fact that this show is so original and so daring is enough reason to rejoice.

Without delving into specifics, this was my summation on Twitter: “Scottsboro Boys: Chilling. Infuriating. Stirring. Bold. Heartbreaking.” I’m not sure if I loved it or admired it or both. I know I was greatly impacted by the story and the way it was told, and anyone who is interested in the history of the American musical will want to see this show. I would love to see this again just to further explore my opinion, also to see if any changes are made between now and its opening night. On a related note, this is my fifth show in the Lyceum and I’ve yet to be disappointed with what I see at the venue.

First Preview Tonight: “The Scottsboro Boys”

I’ll be in the audience at the Lyceum Theatre tonight for the first Broadway preview of The Scottsboro Boys, Kander and Ebb’s final musical. (Many thanks to my buddy Jesse from Stage Rush). It’s a risk for a musical: telling the story of a group of young black men falsely convicted of the rape of two white women in 1931. The show, which was produced off-Broadway at the Vineyard Theatre last season, tells this harrowing story of racial injustice with an ironic, fascinating concept: as a minstrel show. Taking this archaic, racist antedecent of burlesque, the creative team uses it to comment on our nation’s racial history. The cast is predominantly African American, with one white man (two-time Tony winner John Cullum headlines as the Interlocutor).

Word of mouth from off-Broadway and from it summer run at the Guthrie Theatre has been tremendous. Even reviews that were less than positive have fueled my interest in the show. When I read the NY Times review of the off-Broadway run, my reaction was “This show sounds incredible.” I’ve been greatly excited by the show’s audacity and compelled by the story being told. And given Kander and Ebb’s ability to tackle brave and daring ideas with Cabaret, Chicago and Kiss of the Spider Woman, a daring, cutting edge musical like Scottsboro is an outstanding swan song (though I hope someone brings The Visit to NY).

David Thompson supplied the book, Susan Stroman the direction and choreography. The cast features Joshua Henry, who is replacing Brandon Victor Dixon as Haywood Patterson (Dixon left to star in the upcoming Ray Charles musical). The original cast album comes out on Tuesday, which represents the off-Broadway version of the show. It’s one to have: the score is beautiful, bold and brilliant with memorable songs and some haunting arrangements. Plus, there’s a bonus track of the late Fred Ebb singing “Go Back Home,” the show’s standout ballad.

This is a brief clip of the cast (with David Anthony Brinkley as the Interlocutor) performing the opening number “Hey, Hey, Hey, Hey” from the summer run at the Guthrie :

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Writer and dancer Emily Frankel, who blogs at Em’s Talkery, is married to John Cullum. They get together once a week to film a small vlog for AIR Broadway casting and her site. In this particular entry, they talk about Cullum’s rehearsal process and preparation for the Broadway run:

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Finally, here is a clip of Brandon Victor Dixon on Theatre Talk singing the “Go Back Home” which has haunted me since I first heard it:

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FAQ: How can I get cheap Broadway tickets?

This is the one theatre-related question I get more often than any other from my friends. I stress to them that they don’t have to spend a fortune on theatre but they are unaware of where to find those discounts. Unless it’s the hottest show in town, there are many different ways of finding cheap theatre tickets. Producers would love it if you spent full price, and I don’t blame them – it’s a business. However, if you can’t afford those top ticket prices (to say nothing of premium seating), there are many ways that you can maintain a healthy theatre habit without requiring a second mortgage. If you’re not a fan of sitting in the nosebleed seats there are other options available. You may not sit fifth row center orchestra, but you’ll find that you can generally find decent seats at a reasonable price.

First of all, there are the popular TKTS booths. The most notable one is located in Times Square under the red steps. This one sells day-of ticket only. The other two – at South Street Seaport and in Downtown Brooklyn sells tickets on the day of, as well as the day before. The booths are great when you’re in the mood for something random. Discounts are usually 50%, though some more popular shows might be 25-35%. Availability isn’t guaranteed; it’s strictly first come, first serve. But if you’re just looking for a show, it’s hard to beat.

If you like to plan on advance, there are discount codes. Most shows offer wonderful discounts, but you’ve just got to know where to find them. You can sign up for the Playbill Club or browse Theatremania and sign up for their TM Insider Club (or if you’re like me, both) which list available discounts for Broadway, Off-Broadway and other special events in town. Both sites will email new discount opportunities as they are released. There is also BroadwayBox, which doesn’t require registration and offers discounts for theatre and other events in NY. The site is a bit rudimentary in its design, but the codes are correct. There are three ways to purchase the cheap tickets: online, over the phone or at the theatre. If you should happen to go to the box office, you should bring a print out of the discount code with you. Be aware of dates and restrictions; also be aware that producers can cancel a discount at any time. Also, there processing and handling fees when shopping online. You can also sign up for Theatre Extras or Play-by-Play, which are papering services with an annual membership fee.

I also suggest that individuals check to see if they qualify for TDF membership, which supplies affordable theatre prices in and around NYC. Those who qualify for membership include: full-time students, full-time teachers, union members, retirees, civil service employees, staff members of not-for-profit organizations, performing arts professionals, members of the armed forces or clergy. When you join, you will be asked to supply TDF with proof of your eligibility. It costs $30 a year which will pay for itself with the first show you see, the tickets are that cheap. Much to the surprise of many of my friends, I do not qualify. But for those of you that do, be sure to take advantage of the opportunity.

Most of the shows provide rush and lottery options. Roundabout has its Hiptix program, which offers $20 tickets (sometimes $10!) for people between 18 and 35. Membership is free and includes perks such as parties and events.  Lincoln Center has its own StudentTix program, which functions similarly to LCT’s regular membership. There is a wait list for admission. However, they also offer daily student rush (subject to availability; not all performances offer rush) for $20. One ticket per valid student ID. Other rush options vary. Some shows do lottery (the more popular) and others offer Student or General rush. Student rush obviously requires a valid school ID. General rush and lottery (see next paragraph) tends to require valid photo ID as well. If you’ve got sturdy feet, some shows offer standing room policies too. Sometimes the show must be sold out for that, but sometimes the box office staff is quite nice. Playbill has a concise list of the Broadway rush policies and they update it on a regular basis. (Also, if you’re in high school check your guidance office for those discount vouchers).

Now how does this apply if the show you want to see is one of the hottest tickets in town? For example. I get a lot of inquiries about Wicked. The short answer: Good luck. The longer answer: it’s the hottest show on Broadway and around the world therefore there are no discounts. The cheapest ticket for the Broadway production at the Gershwin is $56.25 in the rear mezzanine. There is one way of getting decent seats: by participating in the day of show lottery – and that itself doesn’t even guarantee entry to the show. The producers keep 25 front row seats available on the day-of for $26.50 each. Entries for the drawing are taken 2 1/2 hours before show, with a drawing half an hour later. It’s cash only with valid photo ID. And it’s a tough lottery to win.

Lottery started with Rent as a way to keep shows that become mammoth sellouts accessible and affordable, particularly to students. Generally, you show up a couple hours, put your name into the drawing (it’s better if you’ve got a friend). The drawing tends to take place thirty to sixty minutes later; and winners must be present. The more popular the show, the more popular (read: difficult) the lotto.

I’ve done TKTS, I’ve done student and general rush. I’ve even seen a couple of shows with TDF members. I’ve only done the lotto once – for the revival of Hair – and won. There are only two shows out of all the ones I’ve seen where I spent full price on an orchestra seat – Grey Gardens and The Light in the Piazza.  Those were two very personal exceptions in my long history of not paying full price.

Theatre is more accessible than most people realize and believe me, it’s worth exploring every option.