Smash was based on the well-known series that streamed on TV and was one of those Broadway shows about a Broadway show — this one built around a meoment in the life of Marilyn Monroe. We never saw the TV series, knew nothing about it and found the musical to be stylish, funny and irreverent.
Equally irreverent, but totally different was Dead Outlaw, the true story of Elmer McCurdy, a two-bit Oklahoma outlaw who was shot and killed by police during an attempted train robbery — or so the story goes. His dead body was never claimed and, later mummified, it turned into a sideshow attraction. Believe it or not, the country-inspired songs in this show were tuneful, haunting and wild with a rock-a-billy flavor. An unusual Broadway show that deserved a longer run, it certainly stood out among the crop.
But the real tragedy of this season was Boop, our favorite of the three. Boop (pictured above) was the happiest, most delightful, most uplifting musical we’ve seen in a long time and Jasmine Amy Rogers’ star turn as the title character (the inimitable Betty Boop of early animation) was one of the greatest Broadway debuts we’ve ever experienced. Rogers was nothing less than dazzling in a show that boasted high production values and a first-rate cast. Boop was inventive, engaging and — rarest of all! — family friendly. It should have been nominated for a Best Musical Tony and it should have been showcased on the Tony Awards program. Shame on Broadway for letting this one fold so precipitously.
Yet, such is the nature of Broadway, we suppose — the street of dreams, with a broken heart for every light on the Great White Way.
Here are some others which we saw over the years (all quite fine!) that closed too soon:
The Bridges of Madison County (2014)
Based on the bestselling novel and film, this Jason Robert Brown musical featured soaring, romantic music and deeply emotional performances by Kelli O’Hara and Steven Pasquale. Despite winning Tony Awards for Best Score and Orchestrations, it closed after only 100 performances. Its quiet, intimate story may have struggled against more flashy offerings, but in terms of vocal and emotional power, Bridges was a standout that Broadway didn’t fully embrace.
Amélie (2017)
Based on the beloved French film, Amélie had everything going for it: a popular source material, a whimsical tone, and Broadway favorite Phillipa Soo in the lead. However, despite its visual beauty and heartfelt moments, the show closed after just 56 performances. Critics were mixed, and many felt the adaptation didn’t fully capture the spirit of the original film. Still, fans appreciated its quiet charm and inventive design. With some retooling, Amélie could have found a more sustained home on Broadway.
High Fidelity (2006)
Adapted from the beloved Nick Hornby novel, this musical told the story of a record store owner revisiting his past relationships. It had a rock-heavy score and a strong creative team but only lasted 13 performances. Poor marketing and tough competition likely doomed it, despite its humor, energy, and cult appeal. Like some others of its genre, it appealed to a niche audience that Broadway didn’t fully capture.
Side Show (1997 / 2014 revival)
Both the original and the revival of Side Show closed too early. This daring musical about conjoined twins Daisy and Violet Hilton explored themes of difference, exploitation, and love. The 1997 original earned four Tony nominations but closed after just 91 performances. The 2014 revival featured reworked material and critical praise, yet it, too, failed to find a lasting audience. Its unique subject matter and powerful female leads made it unlike anything else on Broadway.
Catch Me If You Can (2011)
With music by Marc Shaiman and Scott Wittman (Hairspray), a charismatic lead in Aaron Tveit, and flashy staging, this adaptation of the Leonardo DiCaprio film seemed destined for a hit. But it lasted only 170 performances. Critics were lukewarm, but fans loved its stylish score and heart. This show remains a personal favorite of ours. With a different marketing approach or stronger critical embrace, it could have easily found firmer footing.
Big Fish (2013)
Adapted from the Tim Burton film, this fantasy-laden musical featured Norbert Leo Butz and Susan Stroman’s direction. While its emotional storytelling and imaginative staging were praised, it failed to connect with mass audiences and closed after 98 performances. Fans continue to laud its themes of legacy, fatherhood, and imagination.
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