In the last weeks of 2022, failed Broadway shows seemed to stack up one after another.
Something was very wrong, it was declared. Something “systemic.” “KPOP” closed because of a “racist” New York Times review, it was reported. “Ain’t No Mo’” died due to poor marketing and public relations! The anemic grosses at “Top Dog/Underdog” means plays died with the pandemic! The flopping of “Almost Famous” means movie musicals are toast!
But that audience already was well-catered for this season, not least with “A Strange Loop,” the Tony Award-winning musical with a similar ideological underpinning. And since more people go to musicals than plays, “Strange Loop” did not help “Ain’t No’ Mo.” Nor did “1776,” a musical famously about American exceptionalism that was given a deconstructive, burn-it-down production that demonstrably despised the premise of its own material.
The death of the play is nonsense. Audiences like plays, they just like really good ones by mature writers, plays dealing broadly with life and death, not just the travails of the writer. They don’t want to be told what to think or made to feel bad about themselves; they never did. “Hamilton?” Still a thing. “The Lion King?” Kids couldn’t come during the pandemic and their parents got terrified they’d age out. So they’re going now.
“Some Like it Hot,” an artful endeavor from experienced craftspeople, took a movie about sexual complexity and ambivalence and was so terrified of what might happen on stage, it lingered on nothing, raised tempos to breakneck speed and killed off the very reason most people go to a show with that title. These days, it’s no sex please, we’re Broadway. Not a winning strategy.
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