A Risky Road

WONDERLAND

THE BOOK OF MORMON

Several weeks ago, WONDERLAND closed on Broadway after a brief run. In an earlier post, I predicted that this show may have some troubles on the Great White Way. That said, many smart, seasoned people were involved with the production of WONDERLAND on both the business and creative sides, and so a lot of experience and care was likely put into how they proceeded. While there is always risk in theatre, I suspect that they felt the title and familiar, accessible subject matter were less risky than most and would have a mainstream appeal in New York, and eventually on The Road. With the Broadway production ending so abruptly, though, a life on The Road for WONDERLAND is uncertain, especially given all the competition from other shows jockeying for position in the 2012-2013 touring season. I did not ever get to see WONDERLAND, but, clearly, something did not come together here.

At the same time, on the other end of the spectrum, there’s THE BOOK OF MORMON, a strong risk with its potential to offend, and so presenters who see it and love it are in a quandary. How will audiences mostly used to tame blockbusters and revivals respond? Is there a risk of offending and losing subscribers?

In my mind, THE BOOK OF MORMON presents a perfect opportunity to shake up, invigorate and, dare I say, “save” The Road with its potential to expand the audience base and prove that quality, original musicals that have something to say CAN work and are worth the risk.

Below are a couple of articles, one out of Kansas City and the other out of Pittsburgh that discuss THE BOOK OF MORMON and the dilemma facing local presenters.

KANSAS CITY STAR

Risky, satisfying shows make their way to Broadway

PITTSBURGH POST-GAZZETTE

Stage reviews:  ‘Book of Mormon’ is best news of Broadway season