Newspaper article Pittsburgh Post-Gazette (Pittsburgh, PA)

Broadway Gives Thanks for a Big Week

Newspaper article Pittsburgh Post-Gazette (Pittsburgh, PA)

Broadway Gives Thanks for a Big Week

Article excerpt

SHARON EBERSON ON THEATER

Broadway shows had a lot to be thankful for over the Thanksgiving week, when the Tony-winning "Harry Potter and the Cursed Child, Parts 1 and 2" became the highest-grossing play in Broadway history. The plays took in more than $2,338,000, the most ever in a single week for a play.

Despite savage reviews, the new musical "King Kong" had its best week since it opened last month, while Tony-nominated musicals "Mean Girls" and "Frozen" broke records at the August Wilson and St. James theaters, respectively.

To put the newcomers into perspective, though, the top three Broadway shows, by gross, for the week ending Nov. 25 were "Hamilton," "The Lion King" and "Wicked," followed by "HP and the Cursed Child" and "Frozen."

At the bottom of the list is the Go-Go's musical "Head Over Heels," which is closing Jan. 6, leading to speculation about what will be next at the Hudson Theatre. Broadway insider Seth Rudetsky speculated it might be the gender-switch "Company" starring Patti LuPone, now in London.

Going by capacity, top shows are "The Book of Mormon," "Come From Away," "Hamilton" and "Dear Evan Hansen" - all coming here this season as part of the PNC Broadway in Pittsburgh series. Newcomer "To Kill a Mockingbird," adapted by Aaron Sorkin and starring Jeff Daniels, is next in the list of five shows over 100 percent capacity.

JEREMY REYNOLDS ON CLASSICAL MUSIC

The idea of greatness in classical music has come under significant scrutiny lately, especially as the canon expands, however grudgingly and glacially.

The greatest worry in categorizing some music as capital G "Great" and some as not great comes from justified distrust of the qualifications of the gatekeepers. Who determines what is Great - for anyone besides him or herself - and what are the metrics for Greatness?

Historically, these metrics excluded a significant amount of music from the canon for reasons that had little to do with greatness and more to do with cultural power dynamics, i. …

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