By now, is Daniel Radcliffe REALLY "stunt casting?" He's worked EXTREMELY HARD, Thank God he got out of the "Harry Potter" trap, he's proven himself to be a "team player" who. (is not egocentric and).. CAN ACT!! And he now has a Tony Award. I would say Radcliffe is"legitimate actor" casting.
I think he might actually be a better stage actor than film actor, too! I think he, Hugh Jackman, Sara Bareilles, Josh Groban, and people like that are more crossover than stunt casting. I agree with you
I saw Merrily We Roll Along and Daniel Radcliffe absolutely earned that Tony. Franklin Shepherd Inc. Was honestly the highlight of the show. It was clear how hard he worked on that role and just how much energy he put into that song particularly every performance.
@@liteflightify you had to completely change the meaning of the original comment. It was clear how hard he worked because he delivered a great and layered performance, not because he looks like he's struggling. And he didn't deliver a decent performance, but a great one.
I saw Merrily... last February, and that central trio of Jonathan Groff, Lindsay Mendez and Daniel Radcliffe were perfectly cast and perfectly matched. Together and individually they were terrific, and gave a genuine human center to a show that needs one if it is to work at all. The cast album and the video clips here on TH-cam give some idea, though nothing can match the electricity on stage and in the audience in the theater. Radcliffe has earned his place on Broadway through talent and hard work. The distance he has traveled as a stage actor since Equus (which I saw) is huge.
As a musician who played in a few local productions in my 20's I was not in love with Broadway and went in a Pop, Jazz and Rock direction for most of my life. Then I became a fan of Sutton Foster by seeing her in the re-boot of Gilmore Girls and then Bunheads, did a little digging and found out she was a Broadway icon, and now I listen to On Broadway on XM, travel to NYC to see shows and, well, annoy all my friends telling them to see something on Broadway when they travel to NYC. Sutton was my way into this and I've found so much more, I wish there where more live stage performances available for everyone to see, it is not as powerful as seeing it live but maybe it would send a few more folks into the theaters.
If it sells tickets and they can back it up with their talent, why not? I do worry a bit that it puts more pressure on them if the show doesnt sell. Also, that when their contract is up, whoever is stepping into that roll then has extra pressure to deliver and the constant comparisons that always happens. People that acknowledge their situation and dont take it for granted goes a long way in every situation.
FYI Kit Connor has been acting in The West End in London since he was 10 years Old. In fact he was a stage actor before he was a TV and film actor. Maybe you should check your facts.
This is a slippery slope, and I have a lot of thoughts. First off, at what point does an actor become a stunt cast? Jason Alexander and JK Simmons started on Broadway. They are now famous in TV and movies, if they return to Broadway is it stunt casting? People will often accuse famous actors of taking Broadway jobs, but they are actors, at some point that argument becomes gatekeeping. Many actors trained on the stage before they got a break in TV and movies, and once they have a chance they want to return to the stage, but its hard to step back into that world, people refuse to let them show their skills. It's not their fault they got a big break on a sit com, they are still actors and theater kids at heart. There are some actors who bounce back and forth Cate Blanchete, Tom Hiddleston, Judy Dench to name a few. If they do a show, attendance goes up, but is it stunt casting? Really it boils down to the right people for the job. If RDJ has the chops to pull of that world weary character 8 shows a week, then he deserves it. Yes hes famous, but he is also a damn fine actor. I know Chicago has gotten a lot of mileage out of casting people who may or may not have been right for the part, but by all accounts, they improve as the show goes on, and producers and directors really try to keep the quality up, which is hard at the best of times with a long running show like that. Ill end with this observation, Moulin Rouge has gone through a lot of Satines. Recently they cast Jojo, who is known as a pop star. And by all accounts she is killing it in the role. Stunt casting? Maybe, Is she right for the part? Yes. Is she getting better and contributing to the show? Yes. So its a non issue for me, as long as they are the right person for the job.
So intrigued to hear what else you found out by talking to people on the tkts steps! Would love a video on this if it’s not already in the pipeline! :)
Broadway used to be able to create its own stars who would be known nationwide even beyond the theatre crowd. I would be interested to see your take on why that doesn’t seem to be the case anymore. You would think with social media it would be easier to do this, not harder.
Simply put, people aren't interested in theatre. Social media isn't going to change that. If people aren't interested in it, it means that people aren't going to be known outside it. It's a hard truth to swallow but a necessary one to acknowledge if theatre is going to survive. And this is just talking about what the general public wants to see, apart from Broadway's (and theatre in general) outdated business and financial model. There's a reason that shows are closing left and right.
I'm okay with stunt casting if the actor ACTUALLY has the talent and does the work. I do think its gotten out of hand, though. Boy George is freaking HORRIBLE and is about to come back 🫤. There are dedicated theatre actors who deserve these parts more, IMO.
@@wendydarling5790 not really. The definition of stunt casting is getting a famous face who's orgins do not originate from the stage. If they are really good and actually are putting in the effort then it's a good stunt cast, still could be a stunt cast though
@Mr.Murasakino Eh, disagree. I've never seen an Official Definition of this term but my interpretation is that "stunt" is pejorative and cynical. Implies inadequacy. If actors are famous in another medium and do well onstage too, feels unfair to put a negative label on it. But if they were only cast for their name, to sell tickets, without regard to whether they suck, I'm happy to call that a stunt. 😂
This is not just happening on Broadway, but it's also happening in regional theater markets as well. Especially in Washington, DC. While I know it's helping bringing people to theaters, especially if it's the very first time, it's also harmful for leaving many local talent out of work, even if they've been a part of the development process in readings and workshops. Many theaters in the DC area are hiring big names, even well-known talent from NYC, to help make their shows successful. As a local actor who is trying to get into the major DC area theatre companies but is getting overlooked by the bigger names/stunt casting, it can be frustrating. Local actors need to work just as much as the bigger names and stars, and some haven't worked in years! It's honestly a love-hate relationship with stunt casting, especially if the understudies for the big name stars are being viewed as not as good as the big name stars, which can be harmful at times. Thanks for sharing this with all of us!
It's economics over recognition of local talent. A producer's primary goal is not the elevation of the artform, but selling enough tickets to pay to launch the show and keep it running thereafter. Sometimes, there are opportunities to do both. However, in a struggling economy, where even the wealthy are tightening their belts, those who front the money to bring shows to Broadway are likely to want a "known" in the industry as the lead. It is less of a risk. You can gauge the health of the economy at any time based on how many revivals are being brought to Broadway, as compared to new material.
@@jenniferliggett6385 Here it is. The hard truth, or rather one one many. It's not so such new material but WHAT that material is. Sure, revival after revival is crazy, but did anyone expect Tammy Faye to last long?
@@jenniferliggett6385 Very valid points. I think Katherine said in previous videos on the economics of Broadway and theatre in general is outdated and needs to change with the times, especially in the struggling economy. Like focusing on the ensemble cast as opposed to the stars, or streaming shows on digital platforms and/or having the option to livestream performances. I guess it's just hard for many producers to adjust or think outside of the box in this case, which is frustrating. And it's also frustrating where producers are relying on "known" stars as a crutch in order to guarantee a show's success, which makes it harder for actors trying to break into these spaces or even get overlooked by the "known" stars when it's not just about the stars, but the whole ensemble who makes a play or musical a success. (Between you and me, I get excited when I see ensemble members at the stage door because they work their butts off alongside the "known" stars.) I will also add that I'm thinking primarily from an acting standpoint and not a producing standpoint, but I appreciate what you added to the conversation. Thank you!
It is indeed VERY nuanced. But for me it comes down to; acting on stage in either a Play or a Musical requires a VERY specific skill set. One that absolutely not all television & film actors possess. More often than not you can readily tell those that do and have a theatre background. Of the notable celebrities that you mentioned, Rachel Zegler, Kit Connor, and Daniel Radcliffe (Who particularly wanted and has worked exceptionally hard for years to have a respected Stage Career) have all had early Stage experience, if not training. And it definitely shows. So combined with their natural talents… I have absolutely no problem with it. They can all do the job. So with them it’s like any other audition where the person who is the right fit for a Production hopefully wins out… and all is good! And you get the added bonus of their celebrity to get butts into seats! When you get into primarily television or movie “Stars” is where you run into problems. I don’t think Brad Pitt, George Clooney, or Robert Downey Jr. have ever uttered a word on a stage other than at an awards ceremony. That is not to say they can’t or shouldn’t be given “a chance.” People think of Denzel Washington as the absolute Movie Star that he is. But he is also BRILLIANT on Stage! So I guess it depends on the property and production. And if the “Star” clearly cannot cut it; and a Producer presses for them to continue. Then the show opens and bombs because “Emmy/Oscar Winner X” can’t act/sing/dance. And you lose your investment of $20mil… you only have yourself to blame! 🤷🏽♂️🤷🏽♂️🤷🏽♂️
I’m surprised you didn’t mention CHICAGO the musical which has been known to stunt cast every few months the past 2 decades! I always thought of stunt casting as when producers hire a celeb to star in their struggling show to help boost its life longer. I thought of Kit Conor/Robert Downey Jr/George Clooney/Hugh Jackman more as star casting (not stunt casting) since they’re starring in a new production. I’m personally ok with it but have noticed they tend to star cast in revivals or new shows with well known IP but rarely ever in completely new shows (with unknown IP.) I applaud RDJ for starring in a new play and hope other stars would do the same.
I had the opportunity to see Cabaret with Eddie Redmayne but had no interest in it. But when Adam Lambert was announced as his replacement, I bought tickets right away. :-) Was so impressed with him (and he does have a theatre background - Wicked, Hair, the Ten Commandment, all before Idol)
Reminds me of that Forbidden Broadway sketch. (Thick NY accent) "Are you a has-bin star of yesteryear? Then come on down the Chicago the Musical, a Weissler production! We're slashing the score! We're slashing the script!" You too can be a Broadway Star!" :)
If we are talking about stunt casting, I think Little Shop has been running for 5 yrs BECAUSE of stunt casting. 🤣 So many stars have graced that stage…some Broadway only…some tv/film. If I lived in NY, this show would have brought me back over and over.
I think specifically re: criticism of Jeremy and Eva in THE GREAT GATSBY’s marketing, folx tend to forget that they themselves were not always “Jeremy and Eva.” They came up through the industry and became those names. It’s a mixed bag for me re: stunt casting. Sometimes it feels that industry folx who overcriticize it are often projecting their frustration about not getting a job (which is SO real and SO valid, I know.) If it boosts the Broadway economy and gets people to see Adam Lambert in Cabaret BUT also go see a show like Maybe Happy Ending because they saw someone carrying the playbill in their hotel lobby and have time for one more show on their trip - yes!
Nick Jonas in Les Mis 25th anniversary is how I got into liking musicals & then they had a concert pro shot so me being an 18 year old big Jonas brothers fan in Australia got to see it & start liking musicals. Sure sometimes it's not great & they aren't the best (in my opinion Nick wasn't the best choice for the role but hey they got people to see the musical & some probably became new fans aka like me. He seemed way better in How to Succeed & Hairspray) sometimes they're great choices & it helps a show run a little longer or even with Rachel & Kit having young ones go see Shakespeare. Like I'm thinking of flying to New York just to see Nick on broadway in the last five years bc id love to see him on broadway once in my life & he doesn't do musicals that much & being a big musical fan now I can also go see a few shows I've heard about & get to check out as Australia is so behind in musicals we sometimes have to wait 5-8 years for "new" musicals
Harry Potter put on the best performance Ive ever seen on a broadway stage in Merrily. He had a 5 minute standing ovation in the middle of the show after his number when I saw it... he won the freaking tony. Maybe famous actors are famous actors for a reason
when i came to new york last year i've seen 5 shows. while seeing josh groban in sweeney todd definitely was absolutely a highlight, i loved meeting matt doyle at the little shop of horrors stage door. my teenage gossip girl loving self was absolutely over the moon 😍🤩 fingers crossed for such amazing encounters for my nyc trip next year 🥰
Also forgot to ask- how do you think the show will do when Jeremy leaves? I love Jeremy to death but I also love the show and hope the grosses don’t drop without him.
Thank you for continuing to tackle these tough conversations. I agree it's complex and I don't have much to add. I similarly feel that if the stunt casting makes sense and is paired with great material, using the name recognition as a tool to help the show succeed is just smart. But I absolutely feel for Broadway actors who will be passed over for celebrities, maybe after years of playing the role in development, bc I can't think of a show where a TV and film star was attached that early. And some may say that the Broadway actors can always replace if the show is good enough to outlast its celebrity star, but that also removes those Broadway stars from award contention and unfortunately that's a big way Broadway stars get to dstinguish themselves and gain name recogntion beyond the community. And it's not like TV and film are reciprocating by trying to offer Broadway stars a platform. I guess my main worry outside of the harm to Broadway performers is that it becomes another way for creatives to cut creative corners and think small (flash over substance, casting anyone who's having a moment even if they don't have the skills for the role, or rushing to put out something half-baked to meet a celebrity's schedule or a pop culture moment). So far Hollywood is much more guilty of that than Broadway, but still. Ultimately I agree that it can be a win-win when done appropriately and sparingly but I absolutely do not want this to become the go-to strategy.
I did have another thought. Is it true that celebrity stunt casting is more common in a play vs a musical? Especially in a lead role, the demands for singing and dancing may just represent too much of a learning curve for someone who doesn't already have that background. That may change my math a little knowing that plays already don't do as well or last as long as musicals do.
i mean if broadway actors can break into mainstream entertainment industry, i dont see the problem vise versa. However, they have to put on the work and be on the same level of talents with broadways singer/actors like rachel zegler or ariana grande
Daniel Radcliffe is a legit actor. I saw him in Lifespan of a Fact where he held his own with Bobby Cannavale and Cherry Jones. Famous does not = stunt casting.
So many thoughts! First, thank you for this channel! Love your content. I am, like others, of mixed feelings. I am of a certain age - one that can afford Broadway😂. I remember the disastrous The Sound of Music with Richard Chamberlain. I was disappointed in A Streetcar Named Desire with Alec Baldwin and Jessica Lange. I sat in the center of the first row of the balcony and wanted to scream “Stella! Look up!” I never saw her face. I saw The Great Gatsby in May specifically because Jeremy Jordan was in it, because my son is obsessed with his voice😂. Would I have seen it otherwise? Probably not. Would I love to see Audra in Gypsy? Yes! However, it is not my top ticket, because I am not sure I wouldn’t be disappointed…. And she is a legit Broadway star! I am actually more interested in Joy Woods, because, while I did not see The Notebook, I have loved hearing her sing My Days on every social media platform that I am on😂. I do not know Kit Connor and Rachel Zegler, so will not rush to see Romeo and Juliet. I was leery of Daniel Radcliffe in How to Succeed…, but like others, feel he has earned his stripes. I would have liked to have seen Robert Downey Jr. in McNeal…. I would be interested in your take on the “Broadway” theaters like Lincoln Center, The Roundabout, Circle in the Square, etc… It seems like a limited run at the Vivian Beaumont is not “stunt casting “ but an opportunity for an actor to spread their wings, grow and learn while generating ticket sales for a new play… As for Chicago- if you Google it, it will tell you that it is a “1975 musical that satirizes celebrity culture and the justice system.”
To me, I wouldn’t consider most of these stunt casting. I feel like stunt casting needs to have a second element where that person is there but not really qualified. I’m thinking something like Rue McClanahan in Wicked. She brought almost nothing to the role, and the show was selling out every performance anyway, so there was no reason to do that. I think a lot of these others those people have the skill set to do really well, and I don’t have a problem at all with them being cast. That’s a very different situation to me.
I think Broadway and the West End are their own worst enemies, particularly Broadway. Only a TINY percentage of those who would love to see shows will EVER have the ability to go see them, even if they go on tour; most people cannot afford the tickets either way, and certainly can't afford trips to New York as well. I don't understand why, since putting up a show is so expensive, producers don't make seeing shows available to people across the country via a paid streaming service like Disney did with Hamilton. It is so damn elitist to say that theater must be seen in an actual theater to be experienced properly. Bullshit. I saw Hamilton on tour, and I have watched the original cast Hamilton at home, multiple times, and the original cast is the experience I prefer, though both were wonderful. I have acted and directed in local theaters, and I don't understand the attitude of keeping new works only available for the elite to consume; theater should be available to all! And dammit, done right, it could keep shows running longer, making more money; it could be a win-win. If I had the funds yes, I'd choose to see the original cast in NY... audiences won't be lost by making shows more available, but it might keep Broadway afloat.
I think Charli is great casting. You hit upon something. She will reach new audiences. I see current Broadway PR agencies as well as digital agencies stuck in the Broadway bubble. They seem only interested in creators that only talk about Broadway.
Hell's Kitche,n, Moulin Rouge & The Outsiders don't need stunt casting. All three selling perfectly. Wicked is a blockbuster no mat.ter what . Loved Idina Menzel since she oringated the role as Maureen Johnson in Rent.
Just curious - when Aaron Tveit keeps going back to Moulin Rouge, does that count as stunt casting ? He’s a bonafide Broadway star so I don’t want to count that as stunt casting but I saw some people count Aaron’s multiple returns to that show as stunt casting. Just curious about your opinion ?
@@TLD033yes it’s pretty gray in his case since he does do other projects but he’s mainly a theater star, but the show keeps bringing him back because he does sell tickets so it’s very gray.
Stunt casting is fine, just make it make sense!!! Like the Charlie D'Amelio thing... the initial headline filled me with dread, but reading the press release and knowing she was being placed into a dance specific role made me ok with it. Casting JoJo as Satine in Moulin Rouge was also a great choice, getting a pop singer to sing pop songs in a jukebox musical, perfect! I haven't seen him but from what I can tell Adam Lambert has been an excellent EmCee choice (I know he started in theatre but he's not as well known for it). I have seen some very poor stunt casting over the years sadly, the most recent being Cameron Dallas in Mean Girls. It was... something haha. I get where they were coming from, it's a teen oriented show and he was (is?) a pretty big social media star so logically will bring an audience in. But it was awful (we've all seen the slime tutorials, it was somehow worse in person)! He probably could have been better with more training, but that didn't happen and as far as I'm aware, he has stayed away from theatre since! I also agree with everything you're saying about the marketing and showing other cast members, not just the stars in the show or celebrities that come in. As a fellow marketer, its so frustrating knowing that there's so much you can push that's going to be quality content, but people only care about certain parts of your campaign, in this case celebrities. It's a tricky balance for sure, I love the Gatsby content you put out, I do think it's balanced well!
Tonight I saw Moulin Rouge the musical in Toronto where I live. There were no famous anybodies in the show and the vocals were amazing. When I saw it on Broadway last summer you had Jojo and Derek Klena. Derek is Broadway famous and Jojo was a hit pop start who sadly had her career stalled because of her recorder company. However, I didn't know it was her till later but the vocals were poppy and weak over all. Derek is a great singer but not as strong as other well know musical theatre guys. I knew this show would end up in Toronto and it would have stronger singers as the show was riding on it's name and that the performances would have to be strong which they were. The Broadway shows was not bad and it's production quality is way better then the touring show but I enjoyed the vocals way better in the touring show. Is Moulin Rouge the musical the new Chicago? Where it will be able to run for a long time because they keep putting "stars" in the show but the show will suffer performance and vocal quality? Sometimes a touring show will have the stronger talent as there is no Broadway pressure with the higher costs.
At this point if ghe show looks interesting i will go sse it but the actors in it somwtimes draw my attention so i guess its both. Im not mad about stunt casting if ut makes sense like Charlie being a dancer dancing in &juliet.
Thank you. As always, you gave us something to think about. Appreciate you laying out the pros and cons of stunt casting. Some I had not considered. No mention of Chicago? They seem to be doing it more and more. Do you think it will be closing soon? I definitely went to see McNeal because of RDJ since I wasn’t sure about the plot. Have tix to Othello and Good Night, and Good Luck. I would consider seeing The Importance of Being Ernest for the production, not the actor, but not likely to make it due to scheduling. More interested in seeing Just in Time which is not stink casting. That said, I definitely try to see some of the Broadway stars such as Joshua Henry and James Monroe Iglehart. I love the cast of Suffs which has incredible talent. I tried to see it at the Public, but failed. I had tix to Sh*t. Meet. Fan. before cast was announced because I subscribed to MCC so I could see Kara Young in Table 17.
By now, is Daniel Radcliffe REALLY "stunt casting?" He's worked EXTREMELY HARD, Thank God he got out of the "Harry Potter" trap, he's proven himself to be a "team player" who. (is not egocentric and).. CAN ACT!! And he now has a Tony Award. I would say Radcliffe is"legitimate actor" casting.
I think he might actually be a better stage actor than film actor, too! I think he, Hugh Jackman, Sara Bareilles, Josh Groban, and people like that are more crossover than stunt casting. I agree with you
I saw Merrily We Roll Along and Daniel Radcliffe absolutely earned that Tony. Franklin Shepherd Inc. Was honestly the highlight of the show. It was clear how hard he worked on that role and just how much energy he put into that song particularly every performance.
The problem is you can really tell just how hard he works simply to be a decent musical theater performer.
@liteflightify I think his performance in Merrily was more than just decent.
@@scribbly2983 yes definitely more than decent
@@liteflightify you had to completely change the meaning of the original comment. It was clear how hard he worked because he delivered a great and layered performance, not because he looks like he's struggling. And he didn't deliver a decent performance, but a great one.
I saw Merrily... last February, and that central trio of Jonathan Groff, Lindsay Mendez and Daniel Radcliffe were perfectly cast and perfectly matched. Together and individually they were terrific, and gave a genuine human center to a show that needs one if it is to work at all. The cast album and the video clips here on TH-cam give some idea, though nothing can match the electricity on stage and in the audience in the theater. Radcliffe has earned his place on Broadway through talent and hard work. The distance he has traveled as a stage actor since Equus (which I saw) is huge.
I ADORE seeing marketing with the ensemble, I love feeling like I know the whole cast and the community behind the show
As a musician who played in a few local productions in my 20's I was not in love with Broadway and went in a Pop, Jazz and Rock direction for most of my life. Then I became a fan of Sutton Foster by seeing her in the re-boot of Gilmore Girls and then Bunheads, did a little digging and found out she was a Broadway icon, and now I listen to On Broadway on XM, travel to NYC to see shows and, well, annoy all my friends telling them to see something on Broadway when they travel to NYC. Sutton was my way into this and I've found so much more, I wish there where more live stage performances available for everyone to see, it is not as powerful as seeing it live but maybe it would send a few more folks into the theaters.
If it sells tickets and they can back it up with their talent, why not? I do worry a bit that it puts more pressure on them if the show doesnt sell. Also, that when their contract is up, whoever is stepping into that roll then has extra pressure to deliver and the constant comparisons that always happens. People that acknowledge their situation and dont take it for granted goes a long way in every situation.
FYI Kit Connor has been acting in The West End in London since he was 10 years Old. In fact he was a stage actor before he was a TV and film actor. Maybe you should check your facts.
This is a slippery slope, and I have a lot of thoughts. First off, at what point does an actor become a stunt cast? Jason Alexander and JK Simmons started on Broadway. They are now famous in TV and movies, if they return to Broadway is it stunt casting? People will often accuse famous actors of taking Broadway jobs, but they are actors, at some point that argument becomes gatekeeping. Many actors trained on the stage before they got a break in TV and movies, and once they have a chance they want to return to the stage, but its hard to step back into that world, people refuse to let them show their skills. It's not their fault they got a big break on a sit com, they are still actors and theater kids at heart. There are some actors who bounce back and forth Cate Blanchete, Tom Hiddleston, Judy Dench to name a few. If they do a show, attendance goes up, but is it stunt casting? Really it boils down to the right people for the job. If RDJ has the chops to pull of that world weary character 8 shows a week, then he deserves it. Yes hes famous, but he is also a damn fine actor. I know Chicago has gotten a lot of mileage out of casting people who may or may not have been right for the part, but by all accounts, they improve as the show goes on, and producers and directors really try to keep the quality up, which is hard at the best of times with a long running show like that. Ill end with this observation, Moulin Rouge has gone through a lot of Satines. Recently they cast Jojo, who is known as a pop star. And by all accounts she is killing it in the role. Stunt casting? Maybe, Is she right for the part? Yes. Is she getting better and contributing to the show? Yes. So its a non issue for me, as long as they are the right person for the job.
So intrigued to hear what else you found out by talking to people on the tkts steps! Would love a video on this if it’s not already in the pipeline! :)
Broadway used to be able to create its own stars who would be known nationwide even beyond the theatre crowd. I would be interested to see your take on why that doesn’t seem to be the case anymore. You would think with social media it would be easier to do this, not harder.
Simply put, people aren't interested in theatre. Social media isn't going to change that. If people aren't interested in it, it means that people aren't going to be known outside it. It's a hard truth to swallow but a necessary one to acknowledge if theatre is going to survive. And this is just talking about what the general public wants to see, apart from Broadway's (and theatre in general) outdated business and financial model. There's a reason that shows are closing left and right.
I'm okay with stunt casting if the actor ACTUALLY has the talent and does the work. I do think its gotten out of hand, though. Boy George is freaking HORRIBLE and is about to come back 🫤. There are dedicated theatre actors who deserve these parts more, IMO.
But then it's not stunt casting, just casting.
@@wendydarling5790 not really. The definition of stunt casting is getting a famous face who's orgins do not originate from the stage. If they are really good and actually are putting in the effort then it's a good stunt cast, still could be a stunt cast though
@Mr.Murasakino Eh, disagree. I've never seen an Official Definition of this term but my interpretation is that "stunt" is pejorative and cynical. Implies inadequacy. If actors are famous in another medium and do well onstage too, feels unfair to put a negative label on it. But if they were only cast for their name, to sell tickets, without regard to whether they suck, I'm happy to call that a stunt. 😂
This is not just happening on Broadway, but it's also happening in regional theater markets as well. Especially in Washington, DC. While I know it's helping bringing people to theaters, especially if it's the very first time, it's also harmful for leaving many local talent out of work, even if they've been a part of the development process in readings and workshops. Many theaters in the DC area are hiring big names, even well-known talent from NYC, to help make their shows successful. As a local actor who is trying to get into the major DC area theatre companies but is getting overlooked by the bigger names/stunt casting, it can be frustrating. Local actors need to work just as much as the bigger names and stars, and some haven't worked in years! It's honestly a love-hate relationship with stunt casting, especially if the understudies for the big name stars are being viewed as not as good as the big name stars, which can be harmful at times. Thanks for sharing this with all of us!
It's economics over recognition of local talent. A producer's primary goal is not the elevation of the artform, but selling enough tickets to pay to launch the show and keep it running thereafter. Sometimes, there are opportunities to do both. However, in a struggling economy, where even the wealthy are tightening their belts, those who front the money to bring shows to Broadway are likely to want a "known" in the industry as the lead. It is less of a risk. You can gauge the health of the economy at any time based on how many revivals are being brought to Broadway, as compared to new material.
@@jenniferliggett6385 Here it is. The hard truth, or rather one one many. It's not so such new material but WHAT that material is. Sure, revival after revival is crazy, but did anyone expect Tammy Faye to last long?
@@jenniferliggett6385 Very valid points. I think Katherine said in previous videos on the economics of Broadway and theatre in general is outdated and needs to change with the times, especially in the struggling economy. Like focusing on the ensemble cast as opposed to the stars, or streaming shows on digital platforms and/or having the option to livestream performances. I guess it's just hard for many producers to adjust or think outside of the box in this case, which is frustrating. And it's also frustrating where producers are relying on "known" stars as a crutch in order to guarantee a show's success, which makes it harder for actors trying to break into these spaces or even get overlooked by the "known" stars when it's not just about the stars, but the whole ensemble who makes a play or musical a success. (Between you and me, I get excited when I see ensemble members at the stage door because they work their butts off alongside the "known" stars.)
I will also add that I'm thinking primarily from an acting standpoint and not a producing standpoint, but I appreciate what you added to the conversation. Thank you!
It is indeed VERY nuanced. But for me it comes down to; acting on stage in either a Play or a Musical requires a VERY specific skill set. One that absolutely not all television & film actors possess. More often than not you can readily tell those that do and have a theatre background. Of the notable celebrities that you mentioned, Rachel Zegler, Kit Connor, and Daniel Radcliffe (Who particularly wanted and has worked exceptionally hard for years to have a respected Stage Career) have all had early Stage experience, if not training. And it definitely shows. So combined with their natural talents… I have absolutely no problem with it. They can all do the job. So with them it’s like any other audition where the person who is the right fit for a Production hopefully wins out… and all is good! And you get the added bonus of their celebrity to get butts into seats! When you get into primarily television or movie “Stars” is where you run into problems. I don’t think Brad Pitt, George Clooney, or Robert Downey Jr. have ever uttered a word on a stage other than at an awards ceremony. That is not to say they can’t or shouldn’t be given “a chance.” People think of Denzel Washington as the absolute Movie Star that he is. But he is also BRILLIANT on Stage! So I guess it depends on the property and production. And if the “Star” clearly cannot cut it; and a Producer presses for them to continue. Then the show opens and bombs because “Emmy/Oscar Winner X” can’t act/sing/dance. And you lose your investment of $20mil… you only have yourself to blame! 🤷🏽♂️🤷🏽♂️🤷🏽♂️
@@colinbaxter4732 George Clooney makes his Broadway debut this spring! But heard :)
I’m surprised you didn’t mention CHICAGO the musical which has been known to stunt cast every few months the past 2 decades! I always thought of stunt casting as when producers hire a celeb to star in their struggling show to help boost its life longer. I thought of Kit Conor/Robert Downey Jr/George Clooney/Hugh Jackman more as star casting (not stunt casting) since they’re starring in a new production. I’m personally ok with it but have noticed they tend to star cast in revivals or new shows with well known IP but rarely ever in completely new shows (with unknown IP.) I applaud RDJ for starring in a new play and hope other stars would do the same.
Extremely good points!
I had the opportunity to see Cabaret with Eddie Redmayne but had no interest in it. But when Adam Lambert was announced as his replacement, I bought tickets right away. :-) Was so impressed with him (and he does have a theatre background - Wicked, Hair, the Ten Commandment, all before Idol)
Reminds me of that Forbidden Broadway sketch. (Thick NY accent) "Are you a has-bin star of yesteryear? Then come on down the Chicago the Musical, a Weissler production! We're slashing the score! We're slashing the script!" You too can be a Broadway Star!" :)
If we are talking about stunt casting, I think Little Shop has been running for 5 yrs BECAUSE of stunt casting. 🤣 So many stars have graced that stage…some Broadway only…some tv/film. If I lived in NY, this show would have brought me back over and over.
I think specifically re: criticism of Jeremy and Eva in THE GREAT GATSBY’s marketing, folx tend to forget that they themselves were not always “Jeremy and Eva.” They came up through the industry and became those names.
It’s a mixed bag for me re: stunt casting. Sometimes it feels that industry folx who overcriticize it are often projecting their frustration about not getting a job (which is SO real and SO valid, I know.) If it boosts the Broadway economy and gets people to see Adam Lambert in Cabaret BUT also go see a show like Maybe Happy Ending because they saw someone carrying the playbill in their hotel lobby and have time for one more show on their trip - yes!
Nick Jonas in Les Mis 25th anniversary is how I got into liking musicals & then they had a concert pro shot so me being an 18 year old big Jonas brothers fan in Australia got to see it & start liking musicals.
Sure sometimes it's not great & they aren't the best (in my opinion Nick wasn't the best choice for the role but hey they got people to see the musical & some probably became new fans aka like me. He seemed way better in How to Succeed & Hairspray) sometimes they're great choices & it helps a show run a little longer or even with Rachel & Kit having young ones go see Shakespeare.
Like I'm thinking of flying to New York just to see Nick on broadway in the last five years bc id love to see him on broadway once in my life & he doesn't do musicals that much & being a big musical fan now I can also go see a few shows I've heard about & get to check out as Australia is so behind in musicals we sometimes have to wait 5-8 years for "new" musicals
Harry Potter put on the best performance Ive ever seen on a broadway stage in Merrily. He had a 5 minute standing ovation in the middle of the show after his number when I saw it... he won the freaking tony. Maybe famous actors are famous actors for a reason
when i came to new york last year i've seen 5 shows. while seeing josh groban in sweeney todd definitely was absolutely a highlight, i loved meeting matt doyle at the little shop of horrors stage door. my teenage gossip girl loving self was absolutely over the moon 😍🤩 fingers crossed for such amazing encounters for my nyc trip next year 🥰
Also forgot to ask- how do you think the show will do when Jeremy leaves? I love Jeremy to death but I also love the show and hope the grosses don’t drop without him.
Ryan McCarten will be the next GATSBY. He is also WONDERFUL!!!!
@@BroadwayGuyI’m not worrying about singing ability. Jeremy is a big attraction for tickets. Not sure how ryan will fare in the box office
Thank you for continuing to tackle these tough conversations. I agree it's complex and I don't have much to add. I similarly feel that if the stunt casting makes sense and is paired with great material, using the name recognition as a tool to help the show succeed is just smart. But I absolutely feel for Broadway actors who will be passed over for celebrities, maybe after years of playing the role in development, bc I can't think of a show where a TV and film star was attached that early. And some may say that the Broadway actors can always replace if the show is good enough to outlast its celebrity star, but that also removes those Broadway stars from award contention and unfortunately that's a big way Broadway stars get to dstinguish themselves and gain name recogntion beyond the community. And it's not like TV and film are reciprocating by trying to offer Broadway stars a platform. I guess my main worry outside of the harm to Broadway performers is that it becomes another way for creatives to cut creative corners and think small (flash over substance, casting anyone who's having a moment even if they don't have the skills for the role, or rushing to put out something half-baked to meet a celebrity's schedule or a pop culture moment). So far Hollywood is much more guilty of that than Broadway, but still. Ultimately I agree that it can be a win-win when done appropriately and sparingly but I absolutely do not want this to become the go-to strategy.
I did have another thought. Is it true that celebrity stunt casting is more common in a play vs a musical? Especially in a lead role, the demands for singing and dancing may just represent too much of a learning curve for someone who doesn't already have that background. That may change my math a little knowing that plays already don't do as well or last as long as musicals do.
i mean if broadway actors can break into mainstream entertainment industry, i dont see the problem vise versa. However, they have to put on the work and be on the same level of talents with broadways singer/actors like rachel zegler or ariana grande
Social media is awful.
Daniel Radcliffe is a legit actor. I saw him in Lifespan of a Fact where he held his own with Bobby Cannavale and Cherry Jones. Famous does not = stunt casting.
10,000 voice over projects?! How? Seriously, I'm curious about that endeavor. No idea how one starts doing that.
How did you get into the theater marketing space?
$6 million just to stage a 2 hander play? 😱 No wonder they need big names with a big following to appear in their shows.
So many thoughts! First, thank you for this channel! Love your content. I am, like others, of mixed feelings. I am of a certain age - one that can afford Broadway😂. I remember the disastrous The Sound of Music with Richard Chamberlain. I was disappointed in A Streetcar Named Desire with Alec Baldwin and Jessica Lange. I sat in the center of the first row of the balcony and wanted to scream “Stella! Look up!” I never saw her face. I saw The Great Gatsby in May specifically because Jeremy Jordan was in it, because my son is obsessed with his voice😂. Would I have seen it otherwise? Probably not. Would I love to see Audra in Gypsy? Yes! However, it is not my top ticket, because I am not sure I wouldn’t be disappointed…. And she is a legit Broadway star! I am actually more interested in Joy Woods, because, while I did not see The Notebook, I have loved hearing her sing My Days on every social media platform that I am on😂. I do not know Kit Connor and Rachel Zegler, so will not rush to see Romeo and Juliet. I was leery of Daniel Radcliffe in How to Succeed…, but like others, feel he has earned his stripes. I would have liked to have seen Robert Downey Jr. in McNeal…. I would be interested in your take on the “Broadway” theaters like Lincoln Center, The Roundabout, Circle in the Square, etc… It seems like a limited run at the Vivian Beaumont is not “stunt casting “ but an opportunity for an actor to spread their wings, grow and learn while generating ticket sales for a new play… As for Chicago- if you Google it, it will tell you that it is a “1975 musical that satirizes celebrity culture and the justice system.”
What does two tickets to some of these Broadway shows cost on average? Do the shows with "stunt casting" charge higher prices?
To me, I wouldn’t consider most of these stunt casting. I feel like stunt casting needs to have a second element where that person is there but not really qualified. I’m thinking something like Rue McClanahan in Wicked. She brought almost nothing to the role, and the show was selling out every performance anyway, so there was no reason to do that. I think a lot of these others those people have the skill set to do really well, and I don’t have a problem at all with them being cast. That’s a very different situation to me.
Also... Are these videos a bit out of focus/blurry. Just noticing this recently. (Might be shot in 1080 and I'm on a 4k monitor.)
I remember back in the 90s here in Toronto Donny Osmond was the lead in Joseph. Not sure if it was a name that brought people in though.
I think Broadway and the West End are their own worst enemies, particularly Broadway. Only a TINY percentage of those who would love to see shows will EVER have the ability to go see them, even if they go on tour; most people cannot afford the tickets either way, and certainly can't afford trips to New York as well. I don't understand why, since putting up a show is so expensive, producers don't make seeing shows available to people across the country via a paid streaming service like Disney did with Hamilton. It is so damn elitist to say that theater must be seen in an actual theater to be experienced properly. Bullshit. I saw Hamilton on tour, and I have watched the original cast Hamilton at home, multiple times, and the original cast is the experience I prefer, though both were wonderful. I have acted and directed in local theaters, and I don't understand the attitude of keeping new works only available for the elite to consume; theater should be available to all! And dammit, done right, it could keep shows running longer, making more money; it could be a win-win. If I had the funds yes, I'd choose to see the original cast in NY... audiences won't be lost by making shows more available, but it might keep Broadway afloat.
Today, I heard that someone said it would be amazing to bring back Aida with Cynthia And Ariana! Your take.
CHICAGO uses stunt casting all the time now..
I think Charli is great casting. You hit upon something. She will reach new audiences. I see current Broadway PR agencies as well as digital agencies stuck in the Broadway bubble. They seem only interested in creators that only talk about Broadway.
I saw joey beyond in rock of ages in Las vegas. We do well with stunt casting here
Hell's Kitche,n, Moulin Rouge & The Outsiders don't need stunt casting. All three selling perfectly. Wicked is a blockbuster no mat.ter what . Loved Idina Menzel since she oringated the role as Maureen Johnson in Rent.
Thank you, Disney, for reducing Broadway to this.
Just curious - when Aaron Tveit keeps going back to Moulin Rouge, does that count as stunt casting ? He’s a bonafide Broadway star so I don’t want to count that as stunt casting but I saw some people count Aaron’s multiple returns to that show as stunt casting. Just curious about your opinion ?
I think it’s a pretty grey area but I think most people wouldn’t consider Aaron Tveit a stunt cast
@@TLD033yes it’s pretty gray in his case since he does do other projects but he’s mainly a theater star, but the show keeps bringing him back because he does sell tickets so it’s very gray.
Wasn't he the original Christian, tho? So, him returning to the show is just him coming back to the role he originated.
@@orangemarissa50I’m not saying he is stunt casting but a lot of other comments online has counted him as so
Stunt casting is fine, just make it make sense!!! Like the Charlie D'Amelio thing... the initial headline filled me with dread, but reading the press release and knowing she was being placed into a dance specific role made me ok with it. Casting JoJo as Satine in Moulin Rouge was also a great choice, getting a pop singer to sing pop songs in a jukebox musical, perfect! I haven't seen him but from what I can tell Adam Lambert has been an excellent EmCee choice (I know he started in theatre but he's not as well known for it).
I have seen some very poor stunt casting over the years sadly, the most recent being Cameron Dallas in Mean Girls. It was... something haha. I get where they were coming from, it's a teen oriented show and he was (is?) a pretty big social media star so logically will bring an audience in. But it was awful (we've all seen the slime tutorials, it was somehow worse in person)! He probably could have been better with more training, but that didn't happen and as far as I'm aware, he has stayed away from theatre since!
I also agree with everything you're saying about the marketing and showing other cast members, not just the stars in the show or celebrities that come in. As a fellow marketer, its so frustrating knowing that there's so much you can push that's going to be quality content, but people only care about certain parts of your campaign, in this case celebrities. It's a tricky balance for sure, I love the Gatsby content you put out, I do think it's balanced well!
Tonight I saw Moulin Rouge the musical in Toronto where I live. There were no famous anybodies in the show and the vocals were amazing. When I saw it on Broadway last summer you had Jojo and Derek Klena. Derek is Broadway famous and Jojo was a hit pop start who sadly had her career stalled because of her recorder company. However, I didn't know it was her till later but the vocals were poppy and weak over all. Derek is a great singer but not as strong as other well know musical theatre guys. I knew this show would end up in Toronto and it would have stronger singers as the show was riding on it's name and that the performances would have to be strong which they were. The Broadway shows was not bad and it's production quality is way better then the touring show but I enjoyed the vocals way better in the touring show. Is Moulin Rouge the musical the new Chicago? Where it will be able to run for a long time because they keep putting "stars" in the show but the show will suffer performance and vocal quality? Sometimes a touring show will have the stronger talent as there is no Broadway pressure with the higher costs.
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joey fatone will be fun in & Juliet
At this point if ghe show looks interesting i will go sse it but the actors in it somwtimes draw my attention so i guess its both. Im not mad about stunt casting if ut makes sense like Charlie being a dancer dancing in &juliet.
bby gal you would have a field day with the West End. trust me - Broadway is a saint in comparison
Thank you. As always, you gave us something to think about.
Appreciate you laying out the pros and cons of stunt casting. Some I had not considered.
No mention of Chicago? They seem to be doing it more and more. Do you think it will be closing soon?
I definitely went to see McNeal because of RDJ since I wasn’t sure about the plot. Have tix to Othello and Good Night, and Good Luck. I would consider seeing The Importance of Being Ernest for the production, not the actor, but not likely to make it due to scheduling. More interested in seeing Just in Time which is not stink casting.
That said, I definitely try to see some of the Broadway stars such as Joshua Henry and James Monroe Iglehart. I love the cast of Suffs which has incredible talent. I tried to see it at the Public, but failed. I had tix to Sh*t. Meet. Fan. before cast was announced because I subscribed to MCC so I could see Kara Young in Table 17.