Broadway history is littered with ups and downs. There’s little to match the high of an opening night, and not much to meet the low of a show’s final performance. But what about when both of those come on the same day?
Since Oklahoma! re-defined the modern musical in 1943, there have been 22 musicals that have closed on opening night, and we’re taking a look back at each one.
Flip through photos of the 22 shows below:
22 Broadway Musicals That Closed on Opening Night
22 Broadway Musicals That Closed on Opening Night
All of these shows only played one official performance on Broadway.
38 PHOTOS
Glory Days
Andrew C. Call, Jesse JP Johnson, Adam Halpin, and Steven Booth in Glory DaysScott Suchman
Take Me Along
Kurt Knudson and Beth Fowler
Dance a Little Closer
Len Cariou with Diane Pennington, Cheryl Howard, and Alyson Reed in Dance a Little Closer
Cleavage
Daniel David, Tom Elias, and Mark File in Cleavage
Play Me a Country Song
Kenneth Ames, Reed Jones, René Clemente, and Louisa Flaningam in Play Me a Country Song
War Paint, the new Broadway musical starring Patti LuPone and Christine Ebersole as rival cosmetics giants Helena Rubinstein and Elizabeth Arden, respectively, ends its run November 5 at the Nederlander Theatre (208 West 41st Street).
The musical was originally scheduled to close December 30; the earlier date allows two-time Tony winner LuPone to have necessary and immediate hip replacement surgery. Upon closing, the musical will have played 33 previews 236 regular performances at the Nederlander.
“It is with great sadness that I must leave War Paint to undergo hip replacement surgery. For several months I have been performing in a great deal of pain. My producers David Stone and Marc Platt have provided an incredible team who, through physical therapy, chiropractic and acupuncture, have enabled me to continue on stage,” said LuPone in an earlier statement. “But the pain has now become too intense and I have no other choice but to leave Christine, John, Doug, and this wonderfully supportive company of actors, who I’ve had the great privilege to work with for over a year. I will miss them more than I can express.“
“We had all hoped—no-one more than Patti—that we would be able to continue until our scheduled final performance on December 30,” added producers David Stone and Marc Platt. “We all know Patti is strong, and she has proven to have even more strength than we imagined. At this point, however, she needs to have hip replacement surgery sooner rather than later. Therefore, we have to move up our final performance to November 5. On behalf of Christine and the entire company and crew, we wish her a speedy recovery.”
LuPone is slated to star as Joanne in the upcoming London production of Company. She’ll reprise her performance after taking on the role in the New York Philharmonic’s 2011 staging.
War Paint officially opened on Broadway April 6 after previews began March 7. Prior to Broadway, War Paint had a sold-out run at the Goodman Theatre in Chicago in summer 2016.
Patti LuPone and Christine Ebersole Joseph Marzullo/WENN
Both LuPone and Ebersole received Tony nominations for their performances. The production also received nods for Best Costume and Best Scenic Design.
The new musical reunites Scott Frankel and Michael Korie—the songwriting team of Grey Gardens and Far From Heaven—with Tony Award- and Pulitzer Prize-winning playwright Doug Wright (Grey Gardens, I Am My Own Wife, The Little Mermaid) and director Michael Greif (Grey Gardens, Next to Normal). Choreography is by Tony Award winner Christopher Gattelli. The show is inspired by Lindy Woodhead’s book War Paint and the documentary film The Powder & the Glory by Ann Carol Grossman and Arnie Reisman.
Douglas Sills, who created the role of Harry Fleming (Helena Rubinstein’s clubby confidante and faithful ally), departed the production last month and was succeeded by ensemble member and understudy Chris Hoch. His Broadway credits include Amazing Grace, Matilda, Shrek, La Cage aux Folles, and Beauty and the Beast.
The Broadway company also features Tony nominee John Dossett as Tommy Lewis, Arden’s husband and chief marketing officer.
The ensemble comprises Barbara Jo Bednarczuk, Patti Cohenour, Mary Ernster, Tom Galantich, David Girolmo, Joanna Glushak, Mary Claire King, Steffanie Leigh, Erik Liberman, Barbara Marineau, Donna Migliaccio, Stephanie Jae Park, Jennifer Rias, Angel Reda, Tally Sessions, and Bart Shatto.
The musical was produced on Broadway by Stone, Platt, James L. Nederlander, Barbara Whitman, Patrick Catullo, Marcia Goldberg, Universal Stage Productions, Independent Presenters Network, and the Goodman Theatre.
The creative team included scenic designer David Korins, costume designer Catherine Zuber, lighting designer Kenneth Posner, sound designer Brian Ronan, orchestrator Bruce Coughlin, and music director Lawrence Yurman. Casting was by Telsey + Co.
(Tickets sold for performances after November 5 can be refunded at their point of purchase.)
Grammy Award winner Jason Mraz took his first Broadway bow November 3 as he steps into Waitress.
The singer-songwriter takes on the role of Dr. Pomatter, the new-to-town gynecologist who offers local diner employee and baker Jenna Hunterson (currently played by Betsy Wolfe) an escape from her abusive marriage.
Also beginning a limited stint in the musical November 3 is David Josefsberg (An Act of God, Honeymoon in Vegas), who fills in for Christopher Fitzgerald in the role of Ogie through November 19.
Joining the two in their first curtain call was composer Sara Bareilles (who also previously starred in the show).
Flip through photos of their first bows below:
See Jason Mraz Take His First Broadway Bow in Waitress
See Jason Mraz Take His First Broadway Bow in Waitress
The Grammy winner, who appeared on composer Sara Bareilles’ concept album for the musical, took on the role of Dr. Pomatter November 3.
18 PHOTOS
John Cullum Joseph Marzullo/WENN
Jason Mraz Joseph Marzullo/WENN
Jason Mraz Joseph Marzullo/WENN
Betsy Wolfe Joseph Marzullo/WENN
Maia Nkenge Wilson, Betsy Wolfe, Victoria Collett, Caitlin Houlahan, David Josefsberg, Jason Mraz, and Eric Anderson Joseph Marzullo/WENN
Will Swenson, Maia Nkenge Wilson, Betsy Wolfe, Victoria Collett, Caitlin Houlahan, David Josefsberg, Jason Mraz, Eric Anderson, and cast Joseph Marzullo/WENN
Victoria Collett, Caitlin Houlahan, David Josefsberg, and Jason Mraz Joseph Marzullo/WENN
Victoria Collett, Caitlin Houlahan, David Josefsberg, Jason Mraz, and Eric Anderson Joseph Marzullo/WENN
Maia Nkenge Wilson, Betsy Wolfe, Victoria Collett, Caitlin Houlahan, David Josefsberg, Jason Mraz, Eric Anderson, Anastacia McCleskey, and cast Joseph Marzullo/WENN
Caitlin Houlahan, David Josefsberg, and Jason Mraz Joseph Marzullo/WENN
Mraz succeeds original cast member Drew Gehling, who recently stepped in for a return engagement. He is set to play a ten-week limited engagement.
Aladdin Running time: 150 minutes, including intermission Opened March 20, 2014 Click here to read the reviews! To purchase tickets, click here. New Amsterdam Theatre: 214 W 42nd St, New York, NY 10036
Anastasia Running time: 150 minutes, including intermission Opened April 24, 2017 Click here to read reviews. To purchase tickets, click here. Broadhurst Theatre: 235 W 44th St, New York, NY 10036
A Bronx Tale Running time: 2 hours, including intermission Opened December 1, 2016 Click here to read the reviews! To purchase tickets, click here. For discount tickets on select performances, click here! Longacre Theatre: 220 W 48th St, New York, NY 10036
Chicago Running time: 150 minutes, including intermission Opened November 14, 1996 To purchase tickets, click here. For discount tickets on select performances, click here! Ambassador Theatre: 219 W 49th St, New York, NY 10019
Frozen In previews Opens March 22, 2018 To buy tickets, click here. St. James Theatre: 246 W 44th St, New York, NY 10036
Hamilton Running time: 175 minutes, including intermission Opened August 6, 2015 Click here to read the reviews! To purchase tickets, click here. Richard Rodgers Theatre: 226 W 46th St, New York, NY 10036
Hello, Dolly! Running time: 160 minutes, including intermission Opened April 20, 2017 Click here to read the reviews! To purchase tickets, click here. Shubert Theatre: 225 W 44th St, New York, NY 10036
Kinky Boots Running time: 2 hours and 20 minutes, including intermission Opened April 4, 2013 To purchase tickets, click here. For discount tickets on select performances, click here! Al Hirschfeld Theatre: 302 W 45th St, New York, NY 10036
The Lion King Running time: 2 hours and 30 minutes, including intermission Opened November 13, 1997 To purchase tickets, click here. Minskoff Theatre: 200 W 45th St, New York, NY 10036
The Phantom of the Opera Running time: 2 hours, 30 minutes, including intermission Opened January 26, 1988 To purchase tickets, click here. For discount tickets on select performances, click here! Majestic Theatre: 245 W 44th St, New York, NY 10036
School of Rock Running time: 135 minutes, including intermission Opened December 6, 2015 Click here to read the reviews! To purchase tickets, click here. Winter Garden Theatre: 1634 Broadway (between 50th and 51st St), New York, NY 10019
SpongeBob SquarePants, The Broadway Musical Opened December 4, 2017 Click here to read reviews. To purchase tickets, click here. Palace Theatre: 1564 7th Ave (between W 46th & W 47th Streets), New York, NY 10036
Waitress Running time: 2 hours 30 minutes, including intermission Opened April 24, 2016 Click here to read the reviews. To purchase tickets, click here. For discount tickets on select performances, click here! Brooks Atkinson Theatre: 256 W 47th St, New York, NY 10036
Wicked Running time: 2 hours and 30 minutes, including intermission Opened October 30, 2003 To purchase tickets, click here. Gershwin Theatre: 222 W 51st St, New York, NY 10019
Broadway Theatre: 1681 Broadway (on the corner of 56th St), New York, NY 10019 Cort Theatre: 138 W 48th St, New York, NY 10036 Hayes Theatre: 240 W 44th St, New York, NY 10036 Lunt-Fontanne Theatre: 205 W 46th St, New York, NY 10036 Lyric Theatre: 213 W 42nd St, New York, NY 10036 Nederlander Theatre: 208 W 41st St, New York, NY 10036 Samuel J. Friedman Theatre: 261 W 47th St, New York, NY 10036 Studio 54: 254 W 54th St, New York, NY 10019 Vivian Beaumont Theater: Lincoln Center for the Performing Arts, 50 Lincoln Center Plaza #1, New York, NY 10023
Deirdre Brennan has worked with the Irish Repertory Theatre for over two decades, and she and her jaw-dropping attention to detail return for the third annual production of the Rep’s immersive The Dead, 1904. The interior designer is responsible for transforming a townhouse at 991 Fifth Avenue (owned by the American Irish Historical Society) into both a stage and an early 20th-century home for the adaptation of James Joyce’s short story about a Christmas party, which returns to for the third consecutive year. Directed by Ciarán O`Reilly, the show will run through January 13, 2019. We spoke to Brennan about the show, her work, and what a theatrical interior designer does.
How did you go about transforming this Fifth Avenue townhouse for the The Dead, 1904,? DB: Step one was to walk through the townhouse with director Ciarán O’Reilly and get his vision for the show. I got a sense of what we would be able to use that was already there, and then think about how to flesh it out. One of the ways that we wanted to make people feel like they were in Dublin in 1904 once they walked through those doors, was to put up curtains, so people weren’t looking out at the Metropolitan Museum of Art. We put up these rich, dark green velvet curtains that just envelop you.
Deirdre Brennan Hannah Vine
Do you pay a lot of attention to granular details like the color and texture of the curtains? DB: Yes, absolutely. One of the things that I researched was how the Irish would have decorated for Christmas during that era. We made garlands with real holly and ivy, and used things that they would have actually used back then.
With a show like The Dead, 1904, which is immersive, do you have to be conscious of the fact that audience members can approach the set and props at such close proximity? DB: Everything that we used, we were conscious of people being able to come up close to them. The writer, Jean Hanff Korelitz, loves antiques. She spent a year collecting all the china, silverware, and glassware that are used in the show. By the time I came along, she had already amassed this huge collection of beautiful props. When you sit down at the table for dinner during the show, it’s so richly filled.
How did you become attached to The Dead, 1904? DB: I’ve worked with Irish Repertory Theatre for the last 20 years. When Ciarán [O’Reilly] asked me if I wanted to decorate the set, I jumped at the chance. It’s a favorite story of mine, and just the idea—staging it in a townhouse in New York—was so tempting. Interestingly enough, years ago when I was in Dublin, I happened to pass the original townhouse that this story was set in.
What is your background? DB: In set decorating. My first show with Irish Rep was The Importance of Being Earnest in the early 1990s and I’ve worked with them ever since.
Can you explain to me what a set decorator does? DB: Usually I work with the production designer, who draws and designs the set, and then I collaborate with the director to fill everything out—hang all the pictures, buy the fabrics, search for the furniture…etc. And you make sure it’s all coordinated and fits in the period. In addition to that, you take care of all the hand props that the actors use.
It sounds so similar to interior designing. What made you choose theatre over being an interior designer? DB: Because it’s more of a collaborative effort—you work with the directors, writers, designers, and actors. You all come together to create a mood and a feeling. And also, because of the story. These plays and stories take you other worlds.
The American Irish Historical Society is located at 991 Fifth Avenue, New York. For more information, visit IrishRep.org.
