Thursday, December 31, 2009

BWAY: FINIAN'S RAINBOW Axed

by Trish Causey

On the heels of the sudden and unexpected closing of RAGTIME, Playbill.com announces the closing of FINIAN'S RAINBOW on January 17, 2010. Some thought FINIAN'S would only last as long as RAGTIME did, but no one expected a January end so soon after Fall openings---especially after both shows made it on TIME'S Top 10 List.

This is a worrisome trend for big musicals that employ large casts and real orchestras. Perhaps it was the historical plot-points or political satire that made them less appealing to vacationing audiences seeking solely entertainment sans enlightenment?

Investors should know better than to put so much money into a show and wimp out just a couple months into it. They should be there for the long haul. When WICKED was mounted, the producers knew it could be a year before they saw a return in their investment. Even with mixed reviews, they stuck it out, and now WICKED keeps breaking records.

Broadway should remain an avenue for all types of shows, both the traditional book musical and the experimental modern music revue. We need it all. Only musical theatre makes such diversity possible, and it all needs to be supported and nurtured.

Wednesday, December 30, 2009

BWAY: RAGTIME Extended (Slightly)

by Trish Causey


RAGTIME, the show that was all abuzz with cancellation due to Internet rumours, has been given life support for one more week. According to the show's website, RAGTIME will do another eight performances and close January 10, 2010.

The show has been turning people away at the door since the official word came that RAGTIME really was canceled after weeks of Internet rumours saying the show had been closing or already closed. As one of the RAGTIME stars tweeted yesterday, "Where were all these people BEFORE we were closing?"

This extension also allows the Talk Back, hosted by Kennedy Center's Michael Kaiser, to go on as scheduled on Tuesday, January 5th, at 7 p.m.

If we keep this up, maybe RAGTIME will extend another week, then another, and then another, ad infinitum. Use the power of the Internet for good not evil!

Source:

http://www.ragtimebroadway.com/

Tuesday, December 29, 2009

BLOG: Internet Kills RAGTIME

by Trish Causey

The "information highway" took a small bump in the road and transformed it into a massive pile-up---all due to unfounded rumours, and now a wonderful Broadway show is paying the price.

Rumours started online that RAGTIME was closing even though the producers denied the rumours and were actually starting another marketing campaign for the first of the year. In fact, cast members reported that when signing autographs after performances, the fans would opine, "Sorry the show's closing," even though it was not.

The revival launched on Broadway November 15, 2009, after a wildly successful run in Washington, D.C., that extended several times. Though WICKED was breaking its own box office records, the holidays could not lift RAGTIME up to the same par. The Internet buzz caught like wildfire, and poof! Ticket sales were down because people thought it was already gone.

The New York Times reported the official word that, yes, Virginia, RAGTIME will indeed close on January 3, 2010---all because of the Internet.


Source:
http://www.nytimes.com/2009/12/29/theater/29ragtime.html

Monday, December 28, 2009

REVIEW: "The Princess and the Frog"

by Trish Causey

Disney's new animated feature film, "The Princess and the Frog," is a lush, beautiful homage to the quality animated films they made years ago. Forget what any naysayers may say, and go see this film!

If you have tired of the proliferation of CGI (computer generated imaging) films that have populated the film and television industry, "The Princess and the Frog" is a welcome respite from characters suffering from the plastic-y look and writing that is predominantly sarcastic to downright rude.

Disney altered the traditional storyline from the medieval princess who must kiss a frog to find her princes to a waitress working three jobs to save money for the down payment to start her own restaurant. (So where is the "princess"? You'll have to watch the movie to find out.)

Randy Newman's musical numbers are trademark, quality musical theatre fare and are all expertly performed by the vocal cast. Whether scoring a jazzed up party number or a wistful ballad, Newman's musical characterizations hit every note perfectly. (And it is still a travesty that his emotionally gripping song from Toy Story 2, "If Somebody Loved Me," lost the Oscar for Best Song to Phil Collins' one-note Tarzan tune.)

The settings are superb, from the little house Tiana (the Princess) shares with her family, to the exquisite renderings of the swampland lit by fireflies. My heart skipped a beat seeing Tiana's restaurant/night club in her "dream sequence." The Art Deco architecture and stylings surrounded elegant men and flapper-esque women, and I wanted to jump into the movie and be right there. Tiana's transformation from waitress to entrepreneur was inspiring.

Tiana is voiced by Tony Award-winner, Anika Noni Rose, who also played Lorrell in the 2006 film version of "Dreamgirls", alongside Beyonce` and Jennifer Hudson. John Goodman plays Big Daddy La Beouf, and Oprah Winfrey voices Tiana's mother, Eudora. Outside of these three, there are no readily familiar "stars" on the cast list, just many actors who *should* be household names. This fact alone shows Disney was going for substance not just star power.

Disney set this film in the 1920's South, specifically New Orleans. As a Southerner, specifically Mississippian, any time I hear a big studio wants to make a film about the South, I cringe. Stereotypes and misperceptions of the South and Southerners tend to win out over the truth of what we are like. (Not to belabor the point, but yes, we can read, wear shoes, and get along with most folks.)

This "getting along" has had some critics complaining that this film does not accurately portray African-Americans and their plight. However, this film is set in the 1920's not the 1850's, and it is not about social justice issues but finding true love, looking beyond the exterior to see the heart that resides within. It is important to note, though, "The Princess and the Frog" is the first Disney film to feature a black princess, and not just because the African or African-American characters are usually four-legged.

Critics also want to make an issue out of the fact that there are no race issues in the film. Even though this film takes place in the 20th century, the Civil Rights movement did not see real success until 1964. So in the timeframe of the 1920's, segregation still existed. However, the people of New Orleans are not just black or white. Many pride themselves on being Creole, a blend of ethnicities ranging from American Indian, Italian, French, Spanish, African, even Portuguese. Does it make sense that white Big Daddy would sit in a restaurant amongst the Creole or African-Americans, maybe not elsewhere, but in New Orleans, I could see it.

The not-so-New-Orleanian accents were much more subtle than the sidekick caricatures themselves. The aptly-named larger-than-life Big Daddy evoked a hybrid of KFC's Colonel Sanders and Looney Tunes' Colonel Shuffle, and at any moment, I expected to see ol' Beauregarde laying on a front porch eating a bucket of fried chicken. The little rich girl, Charlotte, is initially presented as someone you just want to hate (rich, blonde, spoiled, only wears pink), but later proves that while her head is stuffed with cotton, her heart is filled with sincere care for her friend, Tiana.

Critics first raised their disapproving voices in 2006 when Disney released production stills. Prince Naveen, the human form of the frog with whom Tiana falls in love, appears to be a white guy while the conjurer of misdeeds, Dr. Facilier, is African-American. The almost toothless Cajun firefly, Ray, also set off rants of discrimination. The portrayal of the toothless, blind, cackling, ancient Voo-Doo Priestess, Mama Odie, came under fire, which just goes to show they have never met a real Voo-Doo Priestess. (Real Voo-Doo Priestesses come in all personalities, from fun to frightening. Never tick them off.) Even with the melodramatic characterizations, this menagerie of dancing frogs, Cajun bugs, and a trumpet-playing alligator easily passes through the "suspension of belief" required for any musical theatre production.

This brings me to the overall production value of "The Princess and the Frog." Disney has bottomless pockets, and they could have done anything for any amount of money. Instead they spent their money on the laborious, time- and money-consuming art of handmade animation. (Did they use computers to help a little? Who cares!) What they achieved with "The Princess and the Frog" is not only another shining example in their catalogue of animated greats, but they have given cause to the need to preserve the handmade arts.

I feel like a fuddy-duddy at times with my insistence of building basic skills as an artist and not relying on technology, but in this case, I feel justified. Whether it is a music composition, a painting, a novel, or a sculpture, handmade art takes time and patience, something young whipper-snappers of today just don't want to wait for.

"The Princess and the Frog" is a film that is perfect for everyone in the family, and you will not be sorry you made the journey with the wacky cast of characters. With all the hoopla surrounding Disney's first black princess, the end result is a gorgeous film embued with perfectly scored music and a strength of heart that takes your breath away one frame at a time.

Sunday, December 27, 2009

REVIEW: "The Sing-Off"

by Trish Causey

If you don't have cable TV (like me) or got so busy with the holiday frenzy you weren't paying attention to the TV, then you just may have missed NBC's miniscule reality show, "The Sing-Off." If you did, there's still a chance to see this wonderful, legitimate vocal competition online and let the network know you want MORE of this show!

While the history of the reality show abounds with fame-seekers, adrenaline junkies, and the utterly depraved, a few have managed to capture the competition spirit of genuinely talented and expertly trained individuals. However, most reality contest shows devote half their air time to perpetuating (or fabricating) conflicts between contestants (or Judges) and generally beating a dead horse to death, throwing it down a few rings toward the bottom circle of Hell, lighting fire to it, blogging about it, and bringing it back as a Wild Card to cause further chaos in an already screwed up competition premise. These types of shows, along with the increasing negativity of prime time TV, was the main reason I left TV behind and now watch my preferred shows online.

Amidst this competitive conundrum, a new show has been glimpsed on the horizon, and I can only hope that "The Sing-Off" is a sign of things to come. A singing competition of a cappella vocal groups, "The Sing-Off" is an amazing breath of fresh air among the reality shows that sensationalize egomaniacs and skewer the proverbial fish out of water.

The eight groups chosen to participate in the televised show crossed every boundary any other studio producer might have enforced. Not just for the 18 to 25 demographic, "The Sing-Off" vocal groups included a high-energy all-male college group, the Beelzebubs; an over-40, all-female Barbershop quartet with incredibly tight harmonics and a big sound, Maxx Factor; and an all-male group from Puerto Rico who infused their songs with Latin rhythms, Nota. Singers of many ethnicities furthered the diversity of the a cappella group stereotype.

The competition as a whole spanned every singing style and age-group possible. The groups' song choices and the Judges' requests produced a unique experience as familiar favorites were re-arranged and re-imagined musically. Some final products were better than others, but I would gladly watch "The Sing-Off" any time, any day of the week, to promote real singing by real singers on network television.

Former 98 Degrees singer, Nick Lachey, hosted the show and frequently repeated the annoyingly incorrect statement that the singers were singing "with no instruments, just their voices." The human voice IS an instrument; it is the most amazing, most versatile instrument that exists. Nothing compares to it, and only the piano and cello come close, but still fall second to the voice. Others must have complained as well because by the night of the Finals, he sang a different tune saying, "their only instrument is their voice."

Boys II Men alum, Shawn Stockman, and award-winning a cappella impresario, Ben Folds, were spot-on in their duties as Judges, offering advice on improving the performances or arrangements and giving cautions of pitch problems. The third Judge, Pussycat Dolls' singer, Nicole Scherzinger, took up space as eye candy. Featurettes showed the vocal groups on their home terf and their journey to the Quarterfinals, as well as visiting Los Angeles charities to give back to the community. All three Judges plus special guests, Smokey Robinson and Bobby McFerrin, performed with the groups that made it to the Finals.

The three consecutive nights of competition with the Finale the following week (instead of once a week leading up to the Finale) might be a sign NBC feared initial interest would fade---as if "rubbernecking" an a cappella show might have lost its appeal during the holiday season. Their hesitation was unfounded as each show was full of energetic performances, ear-catching harmonies, and unheard of a cappella stage theatrics: choreography. Divulging any other details will spoil the surprise, so just trust me, and watch the whole eight hours.

As "GLEE" re-energizes television with the music zeal once enjoyed by former marvel, "American Idol" (see above comments of sensationalized inner conflicts), "The Sing-Off" better be back on the schedule for the Spring. Television, as well as the country itself, needs programming that promotes the arts, highlights hard work not the easy way out, and honors community service not grabbing whatever you can and hoarding it. And unlike most reality shows, every one of the contestants was good enough to be there.

Go to NBC's website and catch the replay. Long live "The Sing-Off!"

BLOG: ELF THE MUSICAL is not just a joke anymore

by Trish Causey

Even though you might be over the holiday madness for 2009, that's no reason not to look forward to a holiday-themed Broadway show for winter 2010.

In 2003, Will Ferrell starred in the move, Elf, in which a 6-foot tall elf raised at the North Pole by Santa's elfen compadres, is sent to New York to be reunited with his real family. While Elf the Musical may sound like a joke title, it is an actual script with songs and a workshop cast that presented a well-received reading just last week.

The larger than usual elf, "Buddy," was played by Christian Anderson with George Wendt as "Santa Claus," Mark Jacoby as Buddy's father, and Beth Leavel playing Buddy's mother. Produced by Warner Brothers, the presentation was more than the average reading and included blocking and props. Directed by Spamalot choreographer, Casey Nicholow, the book was written by Thomas Meehan (The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone) and features better than expected songs by The Wedding Singer tuneful team, Matthew Sklar and Shad Beguelin.

Shows that have a limited focus do not usually have a long run on Broadway, and Elf the Musical may not endure as a year-round B'way staple. However, if it is a good show, it may be mounted in limited runs each holiday season. Or it could be alternated with recent winter wonderland productions of White Christmas and The Grinch.

Regardless, it will become a welcome entre` into the limited "holiday show" catalogue in secondary licensing. Elf the Musical could become a holiday classic for companies around the country, and a nice musical divertissement from the holiday perennial, It's a Wonderful Life.

Source:
http://www.nypost.com/p/entertainment/theater/no_lack_of_elf_esteem_Wyy4C1Zov8KiYBfmX2BcUK

Thursday, December 17, 2009

GUESTS: "Modern Music" & "The American Theatre Wing"

"Musical Theatre Talk with Trish Causey" is wrapping up 2009 with a big bow of fabulousness this week when I talk with Broadway veterans and afficiados extreme!

Friday, Dec. 18, at 5 pm EST/ 4 pm CST, Broadway veteran and Musical Director to 4 Presidents of the United States, Chapman Roberts, joins me as does the Musical Director for the Broadway smash, "Memphis," Kenny J. Seymour. "Modern Music in Musical Theatre" is the topic, so set aside your notions of what Musical Theatre means because the "sound of music" on Broadway is Modern!

Sunday, Dec. 20, at 5 pm EST/ 4 pm CST, we explore the programs and services of the invaluable, "American Theatre Wing," when I'm joined by Executive Director, Howard Sherman, and Board Member and veteran performer, Lucie Arnaz. As you'll hear, the ATW does more than just pass out Tonys (but those are really cool, too!).

Stay tuned for more shows and guests to be announced for January 2010, starting with the Jan. 10th show, "Ear-Nose-Throat issues for Singers," and "Breathing Support Techniques" on Jan. 24!




Saturday, December 12, 2009

BLOG: BAND GEEKS is Glee for Band Nerds

by Trish Causey

Thanks to the head's up by "Musical Theatre Talk" guest, Kathy Evans, we can keep our eyes peeled for info about a new show still in the workshop process but already making headlines. And if you love GLEE, you'll probably adore the new musical, Band Geeks.

Two-time Tony Award-winning Goodspeed Musicals announced that Band Geeks, the misfit hit of its 2009 Festival of New Artists, will get a second helping of nerd love next Spring at the Hartt School, part of the University of Hartford.

According to the Goodspeed Musicals' website:

"Enrollment is down, the budget is tight, and a cool new kid threatens tradition in the Cuyahoga High School Beavers Marching Band. Elliott, the husky tuba-playing band captain, must find a way to overcome his pride, unite this band of misfits, and help them win back their respect at the Festival of Champions!"

http://www.goodspeed.org/news.aspx?id=1426&year=2008

Band Geeks is scheduled to run at the Norma Terris Theatre from May 13 to June 6, 2010.


Sources:

http://hartford.broadwayworld.com/article/Goodspeed_Musicals_Presents_BAND_GEEKS_51263_20091125

http://www.goodspeed.org/news.aspx?id=1426&year=2008

BWAY: A LITTLE NIGHT MUSIC Opens Tomorrow

by Trish Causey

The very first Broadway revival of Stephen Sondheim's masterpiece, A Little Night Music, opens tomorrow, December 13, 2009 at the Walter Kerr Theatre.

Broadway legend and five-time Tony Award®–winner Angela Lansbury stars as Madame Armfeldt with Academy Award®–winner Catherine Zeta-Jones making her Broadway debut. Olivier Award-nominee Alexander Hanson portrays Fredrik Egerman as he did in the U.K. performances. Tony Award®-winner Trevor Nunn directed this revival in London before the move across the pond to Broadway.

The musical is based on the Ingmar Bergman film, Smiles of a Summer Night. Set at a weekend country home in late 19th century Sweden, themes of romance, suppressed desires, and revelations are brilliantly woven together by composer and lyricist, Stephen Sondheim, with a book by Hugh Wheeler.

Sondheim and Wheeler both won Tonys for the original 1973 Broadway production of A Little Night Music. Every song is written in waltz (3/4) time, and the score features one of Sondheim's most well-known songs, "Send In the Clowns."

Ticket prices range from $52 to $137 and will be sold at least through June 2010. The show is 2 hours, 40 minutes with a 15 minute intermission. Parental Guidance is suggested for children ages 4 to 8, but children 3 and under are not permitted in the theatre.

Source: http://www.nightmusiconbroadway.com/

Friday, December 11, 2009

BWAY: GODSPELL Set for Fall 2010

by Trish Causey

Word has it, Godspell is indeed making a return to Broadway. Stephen Schwartz's 1971 hit based on the Gospel of Matthew was supposed to open in 2008, starring Tony nominee Gavin Creel and American Idol finalist Diana DeGarmo. However, the recession took its toll on one investor, and the production was put in limbo.

Now, with solid backing but no cast confirmed, producers have announced a Fall 2010 opening for the Broadway revival of Godspell.

Stephen Schwartz is the composer of Wicked and Pippin, among other works for stage and film.

Creative Team (so far):

  • Director: Daniel Goldstein
  • Producer: Ken Davenport

Source: http://www.playbill.com/news/article/135220-_Godspell_Revival_Aiming_for_2010_11_Broadway_Season

MTT: "New Musicals: NAMT & NYMF"

by Trish Causey

This morning, I interviewed Kathy Evans, Executive Director of the National Alliance for Musical Theatre, and Isaac Hurwitz, Executive Director of the New York Musical Theatre Festival.

We talked about the services their companies provide as well as the process of getting a show presented at NAMT & NYMF. Kathy and Isaac spoke to the emerging trends they see in the new musicals that participate in their festivals. The shows that play at NAMT & NYMF are great indicators for the shows that will be on Broadway in the next three to five years.

To hear this interview, go to: http://musicaltheatretalk.com/

You can still hear the amazing show I did with guests, Joanna Cazden and Starr Cookman, on the topic of "Vocal Health & Disorders."

Coming up December 20, 2009, I'll talk with Howard Sherman and Lucie Arnaz with The American Theatre Wing. And in January 2010, I will be doing shows on "Breathing Support Techniques" and "Ear-Nose-Throat Issues for Singers." For more information, replays of previous shows, and see the brand new VOICE page, go to: http://www.musicaltheatretalk.com/

And be sure to follow this blog by clicking the blue box to the right!

Thursday, December 10, 2009

BWAY: Valerie Harper Plays Tallulah Bankhead

by Trish Causey

Valerie Harper, most known for her television role as Rhoda on “The Mary Tyler Moore Show” and "Rhoda," returns to the Great White Way as Golden Age movie diva, Tallulah Bankhead, in March 2010. (Though it isn't a musical, it's a comedy, and that's close enough for me to mention it here.)

Matthew Lombardo's comedy, Looped, tells the 1965 tale of Ms. Bankhead's attempt to re-dub, or “loop,” one line for her last film. Her whiskey-voiced speaking style and shoot-from-the-hip personality inflame an already tense situation after she arrives to the recording session slightly drunk, much to the dismay of the proper prig of a sound engineer, Danny Miller.

The producers of Looped promise that what ensues is a Broadway gem sure to delight movie fans and everyone else who adores the spot-on comedic talents of four-time Emmy winner and stage veteran, Valerie Harper, in her portrayal of Old Hollywood icon, Tallulah Bankhead.

Performing at the Lyceum Theatre, Previews begin February 19, 2010, with the official Opening on March 14, 2010.


Creative Team:

  • Director: Rob Ruggiero

  • Set Design: Adrian W. Jones

  • Costume Design: William Ivey Long

  • Wig Design: Charles LaPointe

  • Lighting Design: Ken Billington

  • Sound Design: Michael Hooker & Peter Fitzgerald

Wednesday, December 9, 2009

BWAY: SONDHEIM ON SONDHEIM Cast Set

by Trish Causey

Stephen Sondheim is coming back to Broadway in a unique interpretation of his work with Sondheim on Sondheim. Conceived and directed by longtime Sondheim collaborator, James Lapine, the stellar cast includes legendary singer Barbara Cook, Vanessa Williams, and Tom Wopat.

Featuring exclusive archival footage of Sondheim over his 50 year career, audiences will glimpse a side of this genius man few have ever seen. Brought to the stage by Roundabout Theatre at Studio 54, Previews of Sondheim on Sondheim begin March 19, 2010 with the official Opening set for April 22, 2010.

Source: http://bbbblogger.wordpress.com/2009/12/09/roundabouts-sondheim-on-sondheim-announces-cast-on-broadway/

BLOG: Idina Menzel in Talks with GLEE (officially!)

by Trish Causey

Idina Menzel is in official talks with the powers-that-be over at GLEE, the television surprise hit about a less than gleeful band of misfits who solve teenage life's problems through singing. When the show began, fans immediately noticed the vocal and visage similarities between GLEE lead, Broadway's Lea Michele, and Broadway's reigning belting bonanza, Idina Menzel.

While the fan-generated buzz centered around Menzel playing Michele's mother, it seems the offer on the table has Menzel playing the teacher of a rival singing group, Vocal Adrenaline, at a national-level singing competition. With the central GLEE club (with Michele) heading toward Sectionals this week, the proposed nine-episode arc with Menzel could have them heading toward Nationals (which means we already know they'll win Sectionals -- bummer, all suspense is now suspended).

However, all is not lost in the sheer awesomeness department for Musical Theatre GLEEks everywhere. In fact, not having Menzel play the Mother would make for a more interesting dynamic between Menzel and Michele. A vocal battle between Idina and "Idina Jr." would be infinitely more entertaining (and skyrocket the ratings) as opposed to a Mother/Daughter storyline that might have been too sweet and sympatico for the two megaphone mouths. Imagine if Patti LuPone had gone toe to toe with Ethel Merman? Yes, this might be that big a deal.

Let the belting battle begin!

Source: http://www.hollywoodreporter.com/hr/content_display/television/news/e3icfa83da3026da8be35a8e74f1f89ab5f

Tuesday, December 8, 2009

BLOG: TIME's Top 10 Plays & Musicals of 2009

by Trish Causey

It's no surprise that Ragtime made it into TIME Magazine's "Top 10 Plays and Musicals" for 2009. It's no surprise that Ragtime is the highest ranking of the musicals listed on this "Top 10." However, two questions raise their bitter heads:

1) Why isn't Ragtime, a musical with 40 performers, 28 musicians, untold number of techs and staff, beloved and so relevant to the American dream and the American reality in 2009, not placed higher on this list than a one-act play with a couple of guy actors (albeit, those actors being Hugh Jackman and Daniel Craig)?

2) Why are the musicals that are listed also some of the most recently opened shows? (ADHD, anyone?)

3) Why isn't there a list just for plays and a list just for musicals? (That's like comparing apples and multi-tiered confections with piped rosettes, electric swirly-do's, and jazz-hands sprinkles---no comparison!)

4) What about all the professional companies and repertory theatres around the country? And Canada, and Britain? And Japan?

Okay. That was more than two questions, but I made my point. Yet another reason to keep going with the National Musical Theatre Week Campaign: http://www.facebook.com/pages/National-Musical-Theatre-Week-Campaign/213118461958

TIME Magazine's Top 10 Plays and Musicals for 2009:
  1. Ruined

  2. A Steady Rain

  3. The Norman Conquests

  4. The Heart Is a Lonely Hunter

  5. Ragtime

  6. Mary Stuart

  7. Finian's Rainbow

  8. Hamlet

  9. Fela!

  10. After Miss Julie

Source: http://www.time.com/time/specials/packages/article/0,28804,1945379_1943992_1944011,00.html

Thursday, December 3, 2009

BWAY: "Wicked" Breaks Record

by Trish Causey

Over Thanksgiving week 2009, the Broadway super-smash, Wicked, became the only Broadway show ever to gross more than $2 million in one week. Wicked achieved this with the addition of special holiday performances and the ever-increasing cost of Broadway tickets, around $144 each.

Wicked earned the same distinction in December 2007 when it grossed $1,839,950 in one week, holding on at the top till last week's feat. Perhaps the magic of Oz can help the show beat its own record a third time this December?

Get your tickets for Wicked at the Gershwin Theatre through Ticketmaster: www.ticketmaster.com/wicked.

Source: http://www.broadwayworld.com/article/WICKED_Breaks_Record_to_Become_the_Highest_Grossing_Production_in_Broadway_History_20091130