Finian's Rainbow

When I received the Twitter update on my phone that Finian’s Rainbow received its closing notice for January 17, I let out a tremendous, “Nooooooo!” I was at a loud bar in Morningside Heights at the time, so luckily, my exclamation went unnoticed. I rushed Finian’s Rainbow in November and knew that my review of the show would be heavily influenced by the fact that it was closing. I’ve been avoiding writing this ever since. But since Finian’s is three days away from its final performance, this is my last chance to support the show. So I give you…

5 Reasons To Rush Finian’s Rainbow This Weekend

The rush is $27 and box seats might be available. The situation might be different this weekend, as rushers might be getting in their last chance to see Finian’s before it closes, but when I rushed, I was at the St. James Theatre at 8:55 a.m. and was the first and only person on line until a half hour before the box office opened. It’s a student rush, with up to two tickets per ID. At my performance, I got box seats, which gave me a great view of the beautiful St. James Theatre and great, close-up views of the actors. Unfortunately, the box seats are an extreme side view, so I don’t feel I saw enough of John Lee Beatty’s set design to properly review it. Many characters’ entrances were blocked, as well.

Christopher Fitzgerald’s pants. Playing the loveable leprechaun Og who has traveled to Missitucky, USA from Ireland in search of his stolen pot o’ gold, Fitzgerald cements himself as one of Broadway’s greatest current character actors. Having played quirky and riotous characters in Wicked and Young Frankenstein before this, his performance in Finian’s is delightful. A mute performance by Fitzgerald would be equally as entertaining, because the man’s eyes and mouth work to create such animated facial expressions, he can convey almost anything and make it just as enjoyable. While he’s staying in Missitucky, away from his magical homeland, the leprechaun finds that he is growing. Costume designer Toni-Leslie James puts Fitzgerald in different sets of pants throughout the show, each new pair shorter than the last. This simple, not-fooling-anybody gimmick becomes so hysterical, and Fitzgerald wears the joke perfectly.

"Next to Normal" Ends Rush Policy, Begins Ticket Lottery

In the words of Melchior in Spring Awakening, "HHHHNNNOOOOOO!!" Next to Normal will end its excellent rush policy October 12 and begin a ticket lottery for day-of seats. Granted, this means no more cold, early mornings, but with it comes the uncertainty of seeing the show. I am greatly disappointed by this news, not only because it makes getting rush tickets for the Yorkey/Kitt musical significantly more difficult, but I've always felt the "snobby," we're-too-good-for-you shows employ ticket lottos.

Let the facts speak for themselves. Hair, In The Heights, Rock of Ages, Shrek, West Side Story, and Wicked all hold ticket lottos. With few exceptions, these are shows that generally sell at least 90 percent of their tickets every week. Shrek is an odd beast in that it hasn't consistently sold well since it's opening last December and it also has a (overly-priced) student rush policy. In The Heights was a huge seller for a year after its 2008 Tony win for Best Musical, but has recently dipped to dangerously low numbers (some suspect it might close in January). But Hair, Rock of Ages, and West Side Story are monster-sellers and crowd pleasers, not to even mention the mega-bucks earnings of Wicked, which always sells out the 1,809-seat Gershwin (aka. the largest Broadway theater).

Now in my mind, Next to Normal is the best musical currently on Broadway. But we have to think of this from a mainstream perspective: Next to Normal is no Wicked. The show has been on a massive high from its Tony wins, but attendance has slipped to the high 80s in recent weeks (still strong, but a decline nonetheless). And Broadway's prized theatergoers—families with kids—are not going to see this show. And there is nothing wrong with that. Next to Normal caters to theatergoers who aren't afraid of a dark, depressing, thought-provoking show. But this is not the show to start a ticket lottery with. As much as I'd hate to see its sales suffer, I would be surprised if it maintains its current momentum into the post-holiday winter.

Lotteries are for shows—such as Wicked and Hair—that have certain longevity. But if recent trends have taught us anything, is anything on Broadway certain?

What do you think, Stage Rushers? Are you happy about this new lotto policy for Next to Normal, or are you clenching your fists in an anguished grip?

PS: In perusing the updated show rush policies, I noticed that the new musical Memphis, currently in previews, has a rush policy "in effect only for preview performances." Memphis, I really want to see you; I do. But let's not play the we-can't-have-a-rush-policy-because-we're-going-to-be-too-popular card until we've opened, shall we?