Tag: Scotty Zacher
Above: Artist rendering of reconfigured Broadway Playhouse
Coming Soon: “Traces”, “Working” and Sutton Foster
Get ready, Chicago, for Broadway in Chicago’s newest venue: the Broadway Playhouse at Water Tower Place. Previously known as Drury Lane Water Tower, the space will join BIC’s current treasure-trove of venues: Cadillac Palace Theatre, Ford Center for the Performing Arts (aka Oriental Theatre) and Bank of America Theatre (aka Shubert Theatre). BIC has signed a long-term agreement with General Growth Properties (owner/manager of Water Tower Place) that will allow for the renovation and management of the revitalized space.
“This theatre will give Broadway in Chicago the ability to attract those productions that are better suited for a more intimate theatre. We hope to be able to expand the theatrical experiences we offer with this intimate and unique venue in the heart of the Magnificent Mile,” says James L. Nederlander (president, Nederlander Organization).
Inaugural productions for the playhouse will include An Evening with Sutton Foster (music direction by Michael Rafter), Traces and a newly adapted version of Stud Terkel’s musical Working (fondly known as “the working-man’s Chorus Line”), in association Broadway-composer Stephen Schwartz.
Though not announced at today’s press event, speculative capacity is set for 550 seats, a nice-sized theatre that will still allow for a more intimate experience when compared to the super-sized venues in Chicago’s theatre-district.
In my view, there are two hurdles that the reincarnated space needs to tackle: the drawbacks of the location, as well countering the fact of high ticket-prices versus its less-than-opulent ambience.
- First of all, the location. Though there is a plus for being amidst the Magnificent Mile, there is also the fact that it’s actually more than a block walk from the main drag – and a rather cement-themed walk at that. Though this might seem trivial, a non-pedestrian-friendly designation is detrimental to any business, be it a coffeehouse, flowershop or, yes, a large theatre. Even though the product on stage is the main attraction for an audience member, another important aspect is pre-show/post-show experience. And a nondescript marquee in a cement-canyon a full block away from Michigan Avenue does not a prospective customer make. One suggestion to up-the-ante would be to build a flashy LCD banner, much like the State Street Channel 7 banner, directly on Michigan Avenue, just to the north of Water Tower Place (this technique has been effective for side-street Broadway houses). This could be a win-win for the city as it would make Michigan Ave. more exciting (as attempted with the NBC ground-level studio) as well as give instant attention to the advertised show (I suspect, however, there might be blow-back from the Water Tower Place residents…)
- Drury Lane Water Tower many times expected their shows to have much longer runs than what actually occurred. This can be partially attributed to the what I call the experience-gap: People are expecting an opulent feeling that they previously experienced at the Oriental and/or Cadillac Palace, but in fact get a more germane theatre that they might equate with many smaller cities. Let’s face it, part of the draw of wildly-successful “Wicked” was not only the show, but the ooh-factor of the lobby and the painted ceilings and Asian-themed accents. You saw this on the faces of the adults and kids when entering the space, that then surely increased the probability of a strong word-of-mouth occurrence. Obviously BIC can’t recreate the theatre to match a historic theatre-palace. Instead, care can be taken in the actual production choices – productions need to have something special about them that supersedes the lacking inner ambience. It looks like BIC has chosen just such productions, with high-def raucous shows like “Traces,” that take advantage of the intimate nature of the space to heighten the show’s energy (think “Blue Man Group”), as well as concerts that lend themselves to more intimate venues (i.e., “An Evening with Sutton Foster”). And fans will flock to see a reconceived version of rarely-produced Working – especially being that it’s based on the book written by Chicago’s beloved Studs Terkel.
In the end, I have the highest respect and expectations for Broadway in Chicago’s new venue endeavor. Through their vision and hard work they have helped elevate Chicago as a theater draw for the entire Midwest, as well as a starting point for numerous Broadway-bound shows (e.g., Spamalot, Producers, Addams Family). We at Chicago Theater Blog wish them the best of luck.
CONCOURSE (175 E. Chestnut)