Zummi Gummi
Pioneering the Universe Within!
When I was in Vegas, I learned that the key to a show success depends on the tour. A show like The Lion King would not work because it's touring all over North America. Beauty and the Beast however is not. It would be a better fit because it is not longer in New York or touring(under the specific Disney Theatrical name).
Beauty and the Beast is currently touring, and the production actually stops at the Bob Carr Center in Orlando this December. It's the non-equity production.
When you cite the cost, are you referring to the tour or fixed production? Most of the cost of a touring show is in the travel...10-20 semis, RVs, plus local and touring load in/out crews.
If a show setup camp on WDW property somewhere, it wouldn't cost any more than a run of La Nouba.
The Broadway production of The Lion King costs over $700,00 a week to run. Having the show set up camp on WDW property WOULD cost significantly more than La Nouba for a few reasons, the main ones being the cost to pay the Equity performers and the orchestra. The Lion King (and Mary Poppins) is a significantly more expensive show to produce on a weekly basis than any of the Cirque shows.
Before people go bonkers here on me. Let me explain my thinking here.
First, I know a lot of people who work on that show. I was there for about 3 years working on a couple of the Vegas rides. They love working the show. They also know the start up was extremely expensive. I think it cost $9 million. They made back the money I believe. Still, thats a lot of money and some very impressive sets to let sit around.
Second, Phantom producer Cameron Mac does have a really strong relationship with Disney Theatrical. There's a new revamped touring production of Mary Poppins that's in the works right now. So the relationship is there.
Mackintosh and Disney are co-producers on all of the worldwide productions (including Broadway) of Mary Poppins, not just the tour. Incidentally, the tour isn't "in the works" right now, it's already on the road (and has been for years). The relationship was born out of necessity more than a desire to work together. Mackintosh owned the rights to a stage version of the P.L. Travers stories, while Disney of course had the rights to the songs everyone knew. I know the relationship between the two has been very good, and I would be curious to see if they'd ever work together again on a non-Poppins project.
And thirdly, it's not a Disney show. I think part of the attraction to Cirque that it isn't Disney. It's the kinda show you can't find in the parks. Even with the touring shows, none of the shows are the same. It's one of those things where you go oh wow look at this.
Phantom is a Warner Brothers property. What's Disney's relationship with them like? Genuine question...I honestly don't know the answer off the top of my head. I just wonder if Warner Brothers would ever license the characters to a rival company, even for use in a stage show.
I think the show combined with Cirque would be an amazing 1-2 punch. I mean how do you top that?
You top it by staging that little musical that stars a certain green witch that sells out imemdiately in EVERY venue it's ever played. Granted, that will NEVER, EVER happen on WDW property, given it's a Universal-produced show. However, that's how you top Phantom.
I don't know what the chances are of it happening. Maybe none. But all I know is this. There's sets already built, a cast and crew that still wanna do it, it's made more money then anything else in entertainment, and it's really only closing in Vegas because the Casino doesn't want it anymore. Better then empty buildings I say.
Unfortunately, those sets were specially built for it to fit into that particular theater. It's not simply a matter of dropping them in to a new location. Phantom of the Opera: The Vegas Spectacular was very different from the Broadway or touring productions of the musical. It was a specially designed production for that particular venue.
He's refering to Broadway shows in NYC. They can cost a lot. Especially on start up. But you bring up a great point. Touring shows can be more expensive then the actual resident versions for the main reason you mention. Take Phantom for example. I think that show had 20 tractor trailers just to move the show. They then had to pay for travel for cast and crew, as well as renting out the theater space. So touring get's very expensive. That's usually why you see a very watered down version of a broadway show. Or why tours don't last long traditionally.
Most national tours aren't watered down at all. With the exceptio of small scenic elements you can't replicate on the road because of the different setups of touring houses, the experience is designed to be identical, especially when it's a full-scale Equity tour. For example, Pride Rock in The Lion King tour doesn't rise up from the bottom of the stage, it slides in from the wings on tour. In Wicked, Elphaba makes her entrance from stage left for No Good Deed, not from the bottom of the stage.