Tryout (theatre)

A tryout is the staging of performances of a theatrical production (a play or musical) at an out-of-town venue for evaluation and possible revision before the production premieres on Broadway or in the West End.[1][2][3] A tryout serves a similar function as a workshop production: it gives a production a chance to work out its problems before facing the scrutiny of New York or London audiences and critics. A tryout is typically far more developed than a workshop, however; by the time a show goes out of town it is usually fully cast and staged, with orchestra and sets close to what audiences will eventually see on Broadway.[3]

The practice grew out of the "road" system of American commercial theatre in the early 20th century, when producers routinely sent new productions on tour before a New York opening. By the mid-20th century, a smaller group of cities, particularly New Haven, Boston, Philadelphia, and Detroit, had come to dominate the pre-Broadway circuit. Since the late 20th century, many tryouts have instead been financed through "enhancement" deals with nonprofit regional theatres, and since the 2010s a growing number of productions have skipped an out-of-town tryout altogether and opened "cold" on Broadway after only a New York preview period, largely for reasons of cost and theatre availability.

Tryouts have reshaped some of Broadway's best-known musicals, sometimes for the better and sometimes not: songs have been cut, rewritten, or reassigned under pressure of an out-of-town run, directors and choreographers have been replaced mid-tour, and a handful of productions have closed on the road without ever reaching Broadway at all. A strong tryout is no guarantee of success in New York, either, and several productions have thrived out of town only to falter once they reached Broadway. British commercial theatre has a related but distinct practice, distinguishing a pre-London tour, which serves a similar evaluative function, from a transfer, which simply moves an already-opened production into the West End.

History

The out-of-town tryout grew out of the "road" system of American commercial theatre in the early 20th century. Producers routinely sent new productions on tour before a New York opening, and sometimes instead of one. Atlantic City, New Jersey, was a regular pre-Broadway tryout stop through most of the 1920s, though the practice there had largely faded out by 1935.[4]

Some 1920s tryouts worked as intended, letting a show's creators gauge audience reaction and keep revising in response before risking a Broadway opening. Show Boat toured Washington, D.C., Pittsburgh, Cleveland, and Philadelphia in November and December 1927; although producer Florenz Ziegfeld worried its serious tone would not appeal to audiences and the show still ran too long, tryout audiences responded well from the start, and continued rewrites carried that momentum into a triumphant Broadway opening.[5]

Other tryouts told a harder story. The 1921 musical Shuffle Along toured New Jersey and Pennsylvania on a shoestring budget, with too little money to reliably pay the cast, and arrived in New York $18,000 in debt;[6][7] it nonetheless became a surprise hit credited with helping to launch the Harlem Renaissance.[7] No, No, Nanette had a similarly rough path: its 1924 tryout tour stumbled badly enough that the production brought in new stars and largely rewrote the script and score before it finally opened on Broadway in 1925 to success.[8]

Over the following decades, a smaller group of cities came to dominate the pre-Broadway circuit, especially New Haven, Boston, Philadelphia, and Detroit. Ownership was part of the reason: the Shubert Organization, which controlled a large share of Broadway's own theatres, also owned Shubert Theatres in New Haven, Boston, and Philadelphia, making the route from one of its out-of-town houses to one of its Broadway houses a straightforward business proposition.[9] New Haven's Shubert Theatre, in particular, hosted nine eventual Best Musical winners between the 1940s and 1960s, more than any other theatre in the Big Three; according to theatre historian Jennifer Ashley Tepper, this was partly because Philadelphia and Boston each split their bookings between two competing tryout houses while New Haven's Shubert had the market to itself.[9] Detroit's rise followed similar logic under a different operator: the Nederlander family, who had managed the city's Fisher Theatre since 1961, began acquiring Broadway theatres of their own in 1964 and went on to become the second-largest Broadway theatre owner after the Shuberts.[10] The Fisher hosted the first tryout performances of Hello, Dolly! in November 1963; after a poor reception there, the production moved to Washington, D.C.'s National Theatre for extensive further rewrites before opening on Broadway in January 1964.[11]

Washington, D.C.'s National Theatre built a similar reputation over the same period, hosting pre-Broadway engagements for musicals including Show Boat in 1927 and West Side Story in 1957, in addition to Hello, Dolly!.[12][13] The theatre has kept that role into the 21st century, hosting tryouts for shows such as Mean Girls and Beetlejuice.[12][13] By Tepper's count, the National has also hosted pre-Broadway tryouts for more shows that would go on to win the Tony Award for Best Musical than any other commercial rental theatre, six between the 1950s and 1990s.[9]

Financing and the modern tryout landscape

Enhancement deals

Starting in the late 20th century, many pre-Broadway tryouts began to be financed through "enhancement" deals. Under this arrangement, a nonprofit regional theatre supplies a subsidized production budget and a venue, and commercial Broadway producers add further funding in return for an option to move the show to Broadway and a cut of future profits.[14]

Well before the term "enhancement deal" came into use, a well-received tryout could already pay off in a more direct way. Director Harold Prince recalled that A Little Night Music "returned a substantial part of capitalization" during its 1973 run at Boston's Colonial Theatre, a level of financial cushion he contrasted with the costlier and riskier tryout landscape of later decades.[15]

An unusually generous example of a regional theatre benefiting financially from a Broadway transfer is Annie, which premiered at Goodspeed Opera House in Connecticut in August 1976, underwent extensive rewrites and multiple cast changes there and during a subsequent tryout at the Kennedy Center in Washington, D.C., and opened on Broadway in April 1977.[16][17] The royalty arrangement Goodspeed negotiated for developing the show became known in the industry as the "Annie" contract: rather than the fixed, limited-term royalties typical today, Goodspeed secured a share of the show's earnings in perpetuity across stage, touring, and screen productions, which Hartford Stage's managing director Cynthia Rider has contrasted with the roughly five-year terms now standard for such deals.[18] Those continuing royalties helped build a multimillion-dollar endowment that has supported Goodspeed's operations for decades.[18] Goodspeed's pipeline to Broadway actually began over a decade earlier: Man of La Mancha became the first of what would eventually be nineteen Goodspeed productions to reach Broadway when it transferred from the Connecticut theatre in 1965, going on to win that year's Tony Award for Best Musical.[19]

A recent example of an out-of-town enhancement deal is The Outsiders: after its March 2023 world premiere at La Jolla Playhouse, the production transferred to Broadway in April 2024 with La Jolla Playhouse retained as a credited co-producer, and its $22 million capitalization had been fully recouped by December 2025, a rare feat for a new Broadway musical.[20]

Chicago as a modern hub

Chicago in particular has grown into a major modern tryout hub. Since The Producers tried out there in 2001, more than two dozen Broadway-bound musicals have premiered in the city, drawn by theatres built to Broadway specifications, an audience demographically similar to Broadway's own, Illinois tax incentives for out-of-town productions, and the influence of Chicago Tribune chief theatre critic Chris Jones, a former Variety tryout reviewer whose notices can shape a show's reception before it reaches New York.[21][22] Director Jerry Mitchell, who staged several Chicago tryouts including Kinky Boots and On Your Feet!, put the cost of a run there at $1.5 million to $2.5 million, an expense built into a show's overall Broadway capitalization.[21] Not every Chicago tryout succeeds: Big Fish premiered at Chicago's Oriental Theatre in 2013 but closed after a brief Broadway run the same year.[21]

Opening cold

Opening directly on Broadway without any pre-Broadway tryout was already common from the late 1970s to the early 1990s, a period when tight budgets left many producers unable to afford one.[23] Some of those productions became hits: both Sweeney Todd (1979) and City of Angels (1989) won the Tony Award for Best Musical after opening cold.[23] Many more struggled. Merlin, a 1983 vehicle for Chita Rivera, needed so much on-the-fly fixing that its producers extended its Broadway preview period to 69 performances, far beyond the typical 20 to 30.[23] Nick & Nora, a 1991 musical by Arthur Laurents and Charles Strouse, similarly relied on 71 previews in place of a tryout and still opened to reviews calling it bland; it became one of the era's most notorious Broadway bombs.[23] Merrily We Roll Along took the same approach in 1981, largely for budgetary reasons; director Harold Prince later said the earlier success of opening Sweeney Todd cold had emboldened him and composer Stephen Sondheim to try it again.[23] Without an out-of-town run to surface problems early, they went unnoticed until previews began in New York; the show extended previews to 52 performances, then closed after only 16 regular performances.[24][23] "Opening that show cold was one of the biggest regrets of my career," Prince said in 2010.[23]

A further wave of cold openings began in the 2010s, more often driven by cost and by skepticism that a tryout was worth the risk of early online buzz than by an inability to finance one at all.[23] The Book of Mormon opened this way in 2011.[25] Motown: The Musical followed suit in 2013,[26] as did Something Rotten! and School of Rock, both in 2015.[25]

Producers and industry commentators point to a few reasons for this shift. Broadway producer Ken Davenport has written that enhancement deals now often run into the millions of dollars and can require a percentage of future profits to be paid to the host regional theatre, a trend also reported elsewhere in the trade press, with some deals said to exceed $5 million by the mid-2020s.[27][28] Competition for the fixed number of Broadway theatres has also intensified, so producers can no longer count on securing a house once a tryout concludes.[27] Some producers have also grown skeptical that a tryout can pay for itself at all: Disney Theatrical's Thomas Schumacher told Variety in 2007 that "there's no version of out-of-town anymore that can pay for itself," estimating that a tryout might recoup, at best, about 30 percent of its cost.[29] Still, the tryout has not disappeared: by Tepper's count, only eight Tony Award-winning Best Musicals have opened on Broadway without any pre-Broadway tryout since Sweeney Todd did so in 1979, with The Book of Mormon the most recent to date.[9]

Spider-Man: Turn Off the Dark shows what can go wrong when a show skips a tryout altogether. It opened cold in 2010–11 largely because its roughly $60 million budget made testing the production anywhere but Broadway itself impractical.[23] Without an out-of-town run to work out its problems in private, the show instead became a public spectacle: its opening night was delayed six times, several performers were injured during aerial stunts, and critics who grew tired of waiting reviewed the still-unfinished production in previews, panning it as one of the worst musicals ever staged on Broadway.[30]

Notable tryouts

Pre-Broadway tryout cities

Some regional theaters have been particularly successful in sending shows, including eventual Tony Award winners, to Broadway.[9] Among them, La Jolla Playhouse has hosted pre-Broadway tryouts for the most eventual Best Musical winners, five between the 1980s and 2020s.[9] A related but distinct pipeline runs through Off-Broadway: rather than an out-of-town tryout, a show opens to New York audiences and press downtown, and if successful enough, transfers uptown to a Broadway theatre, as Hamilton did from the Public Theater.[9] U.S. cities where tryouts led to Broadway productions include:

CityNotable tryout productions
New Haven, ConnecticutOklahoma!,[31] The King and I,[32] My Fair Lady,[32] 1776[9]
PhiladelphiaStreet Scene,[33] Kiss Me, Kate,[34] A Raisin in the Sun[35]
BostonPorgy and Bess,[36] Follies,[36] La Cage aux Folles,[36] High Fidelity,[37] Moulin Rouge![36]
DetroitHello, Dolly!,[11] Sweet Charity,[38] Seesaw[38]
Washington, D.C.Show Boat,[12] West Side Story,[12] 42nd Street[39]
San DiegoRumors,[40] Thoroughly Modern Millie,[41] Jersey Boys[41]
Los AngelesPeter Pan,[42] The Happy Time,[43] Brighton Beach Memoirs[44]
SeattleHairspray,[45] The Light in the Piazza,[46] Catch Me If You Can[23]
AtlantaThe Color Purple[47], Bring It On: The Musical,[48] Tuck Everlasting,[48] The Prom[49]
San FranciscoWicked,[3] Legally Blonde,[50] Beautiful: The Carole King Musical[51]
ChicagoThe Producers[52], Spamalot[53], Kinky Boots[54], On Your Feet![21]

Successful revisions

Oklahoma!, originally titled Away We Go!, tried out at New Haven's Shubert Theatre in March 1943. Producer Mike Todd is said to have walked out at intermission, remarking, "No legs, no jokes, no chance."[31] Only a few changes followed, chiefly a new staging of the title song that gave the show its new name; it went on to become one of the defining hits of Broadway's mid-century "golden age."[31]

Fiddler on the Roof tried out at Detroit's Fisher Theatre in summer 1964 before moving to Washington's National Theatre. During the Detroit run, the song "When Messiah Comes" was cut, and "Now I Have Everything" was reassigned from Motel to Perchik.[55] The show opened on Broadway that September and in 1972 received a special Tony Award for becoming, at the time, the longest-running musical in Broadway history.[55]

A Funny Thing Happened on the Way to the Forum struggled badly during its 1962 tryout in New Haven and Washington, drawing laughter but little business. Director Jerome Robbins, brought in partway through, diagnosed the problem as the opening number, "Love Is in the Air", which failed to signal the show's tone as a bawdy farce. Stephen Sondheim wrote a replacement, "Comedy Tonight", in a single weekend, and the new number transformed the show's reception by its first New York preview.[56]

South Pacific faced a different pressure during its 1949 tryout, when theatregoers in New Haven urged author James Michener to cut "You've Got to Be Carefully Taught," the show's song about racial prejudice as a learned rather than innate trait. Oscar Hammerstein II refused, reportedly saying the song was what the show was about, and it stayed in for Broadway.[57]

The Wiz turned around during a troubled 1974 tryout when producer Ken Harper fired director Gilbert Moses in Detroit and replaced him with the show's costume designer, Geoffrey Holder. Holder went on to win the Tony Award for Best Direction as the show won Best Musical in 1975.[58][59]

Notable failures

Not every tryout leads to a successful Broadway run.[60] The examples below vary: some shows had a tryout but still closed during New York previews, some closed while still on the road and never reached Broadway at all, and others thrived out of town only to falter once they reached New York.

The grueling nature of a troubled tryout inspired one of the theatre's most quoted lines. While on the road with his first Broadway musical, The Conquering Hero (1961), librettist Larry Gelbart is said to have remarked that "if Hitler is alive, I hope he's out of town with a musical," a joke that has since been misattributed to several other writers.[61] The show itself bore out the joke, closing after only eight Broadway performances.[61]

Breakfast at Tiffany's, adapted from the Truman Capote novella, went through two out-of-town tryouts and several rounds of rewrites, including a new book by Edward Albee. Despite strong advance ticket sales, producer David Merrick closed the show during its New York preview period in December 1966 rather than let it open.[60]

Some tryouts collapse before reaching New York. The Baker's Wife toured Los Angeles, Boston, and Washington for six months in 1976 under producer David Merrick, losing its director, choreographer, and both leads along the way: Topol was replaced by Paul Sorvino, Carole Demas by Patti LuPone.[62] Merrick closed it in Washington that November without it ever reaching Broadway, though "Meadowlark" from its score later became a standard audition piece.[63] Lone Star Love met a similar fate in 2007, pulled from its Broadway transfer after a troubled Seattle tryout.[29]

A tryout's success in its host city does not guarantee success on Broadway. Cast members recalled King of Hearts as a nightly showstopper during its 1978 Boston tryout, yet it closed after only 48 Broadway performances.[15] Likewise, a 2007 trade report touted a profitable Chicago run for The Pirate Queen and a nearly sold-out Denver tryout for The Little Mermaid as proof that tryouts had become financially sound for host cities.[64] Both shows struggled in New York regardless: The Pirate Queen, capitalized at over $16 million, closed after 85 performances,[65] and Disney's Thomas Schumacher later called The Little Mermaid the company's Broadway "flop."[66]

In literature and other media

The drama of the out-of-town tryout, whether triumphant or disastrous, has become a durable subject in its own right for writers on theatre. Ken Mandelbaum's Not Since Carrie: Forty Years of Broadway Musical Flops (1991) surveys roughly 200 failed musicals staged between 1950 and 1990, many of which unraveled or were exposed during their pre-Broadway runs.[67] Steven Suskin's Second Act Trouble: Behind the Scenes at Broadway's Big Musical Bombs (2006) collects first-person accounts, several written from the road during rehearsals and tryouts, of troubled productions including Mack & Mabel, Breakfast at Tiffany's, and Nick & Nora.[68] Individual hit productions have also received book-length treatment tracing their tryout-era development: Paul R. Laird's Wicked: A Musical Biography (2011) draws on draft scripts and interviews to document how Wicked changed between its 2003 San Francisco tryout and its Broadway opening.[69]

The same material has become a staple of video essays too: YouTube channels such as Brendon Henderson's Wait in the Wings produce feature-length retrospectives on individual productions, including one tracing how Seussical was reworked during its September 2000 tryout at Boston's Colonial Theatre before a troubled Broadway opening two months later.[70][71]

The tryout has also been dramatized directly in fiction. John Kander, Fred Ebb, and Rupert Holmes's musical Curtains (2007) is set entirely during a fictional 1959 tryout at Boston's real Colonial Theatre, where the cast and crew of a hapless western musical called Robbin' Hood of the Old West investigate a backstage murder while racing to fix their failing show before its planned Broadway transfer.[72]

Outside the United States

British commercial theatre draws a distinction between a tour and a transfer. A show heading for the West End is sometimes tested on the road first, and producers have traditionally favored Bath, Windsor, and Richmond for this purpose. That practice serves much the same function as an American out-of-town tryout. A transfer is different: it refers to an already-opened production moving into the West End, whether from a fringe or off-West End venue, from a subsidised house such as the National Theatre, or from one West End theatre to another, and it does not necessarily involve any further creative revision.[73] The line between the two can blur in practice. Matilda the Musical, for instance, played a sold-out twelve-week trial run at the Royal Shakespeare Company's Courtyard Theatre in Stratford-upon-Avon over the 2010 holiday season; that run itself functioned much like an American tryout, proving the show commercially viable before its largely unrevised transfer, with most of the same adult cast, to the West End's Cambridge Theatre in November 2011, still produced by the RSC.[74]

See also

References

  1. ↑ Slaton, Shannon (2012). Mixing a Musical: Broadway Theatrical Sound Mixing Techniques. Waltham: Focal Press. p. 52. ISBN 9781136111815.
  2. ↑ Barranger, Milly S. (2015). Theatre: A Way of Seeing (7th ed.). Stamford: Cengage. p. 296. ISBN 9781305147065.
  3. 1 2 3 Singer, Jenny (2024-11-23). "Before 'Wicked' was a smash, it was stumbling in San Francisco". The San Francisco Standard. Retrieved 2024-11-24.
  4. ↑ "Beauty Pageant Origins and Culture". American Experience, PBS. Retrieved 2026-07-02.
  5. ↑ "Show Boat Is the First American Musical to Emphasize Plot". Research Starters, EBSCO. Retrieved 2026-07-02.
  6. ↑ "Remembering a Milestone in Entertainment History". National Museum of African American History and Culture. Retrieved 2026-07-02.
  7. 1 2 "Shuffle Along: How a Revolutionary Musical Became a Part of African-American History". StageAgent. Retrieved 2026-07-02.
  8. ↑ Kenrick, John. "Stage 1920s I: Sally, No No Nanette". Musicals101.com. Retrieved 2026-07-02.
  9. 1 2 3 4 5 6 7 8 Tepper, Jennifer Ashley (2025-11-30). "Which Pre-Broadway Tryout Theater Boasts the Most Best Musical Tony Award Winners?". BroadwayWorld.com. Retrieved 2026-07-02.
  10. ↑ "James M. Nederlander, Sr., Producer and Patriarch of Theatre Real Estate Dynasty, Dies at 94". Playbill. 2016-07-26. Retrieved 2026-07-02.
  11. 1 2 "Remember the time when Washington saved 'Hello, Dolly!'?". The Washington Post. 2013-03-08. Retrieved 2026-07-02.
  12. 1 2 3 4 "Changing Landscapes (1948–Present) – A Brief History of the National Theatre". thenationaldchistory.org. Retrieved 2026-07-02.
  13. 1 2 "National Theatre, Washington D.C." Historic Theatre Photography. Retrieved 2026-07-02.
  14. ↑ "'Hamilton' By The Numbers: Anatomy of A Broadway Blockbuster". Deadline. 2019-09-06. Retrieved 2026-07-02.
  15. 1 2 Schneider, Robert (2016-04-14). "Hal Prince, Stephen Sondheim and More Reflect On Their Early Out-of-Town Days". Playbill. Retrieved 2026-07-02.
  16. ↑ "On April 21, 1977: Annie Opens on Broadway". Playbill. Retrieved 2026-07-02.
  17. ↑ "Broadway's Annies: Where are they now?". CBS News. 2017-06-11. Retrieved 2026-07-02.
  18. 1 2 "National productions put Goodspeed Musicals in spotlight as theater industry returns to business". Hartford Business Journal. 2021. Retrieved 2026-07-02.
  19. ↑ Fassler, Ron (2024-10-29). ""What! You Haven't Even Seen 'Man of La Mancha' Once?"". Theatre Yesterday and Today (Medium). Retrieved 2026-07-02.
  20. ↑ "Tony-Winning Musical The Outsiders Recoups on Broadway". TheaterMania. 2026-01-27. Retrieved 2026-07-02.
  21. 1 2 3 4 Paulson, Michael (2016-01-12). "Before Broadway, Musicals Make a Detour to Test the Waters in Chicago". The New York Times. Retrieved 2026-07-02.
  22. ↑ "Chris Jones". The Theatre School, DePaul University. Retrieved 2026-07-02.
  23. 1 2 3 4 5 6 7 8 9 10 Healy, Patrick (2010-10-12). "Musicals Born on Broadway Cause Jitters". The New York Times. Retrieved 2026-07-02.
  24. ↑ "Merrily We Roll Along". Encyclopædia Britannica. Retrieved 2026-07-02.
  25. 1 2 "Broadway Shows Skip Out-Of-Town Tryouts for the Great White Way". Variety. 2016-06-07. Retrieved 2026-07-02.
  26. ↑ ""Hail to the Beat": Motown: The Musical Opens On Broadway April 14". Playbill. Retrieved 2026-07-02.
  27. 1 2 Davenport, Ken (2015-05-15). "The problem with today's out-of-town tryout and why they can kill a show". kendavenport.com. Retrieved 2026-07-02.
  28. ↑ "Why London Can Produce Theater for So Much Less Than Broadway". kgmtheatrical (Substack). 2026-03-23. Retrieved 2026-07-02.
  29. 1 2 "Trying times for Broadway tryouts". Variety. 2007-10-05. Retrieved 2026-07-02.
  30. ↑ "'Spider-Man: Turn Off the Dark': U2's Bono Says He Agreed With Bad Reviews, But the Troubled Musical Has Revived". ABC News. 2011-05-22. Retrieved 2026-07-02.
  31. 1 2 3 "THE DVD SHELF: "Oklahoma!" and "State Fair"". Playbill. Retrieved 2026-07-02.
  32. 1 2 "AT THIS THEATRE: Shubert Theatre, New Haven, CT". Playbill. Retrieved 2026-07-02.
  33. ↑ "Street Scene: An Appreciation". Kurt Weill Foundation for Music. Retrieved 2026-07-02.
  34. ↑ "Kiss Me, Kate". Broadway: The American Musical, PBS. Retrieved 2026-07-02.
  35. ↑ "Walnut Fun Facts". Walnut Street Theatre. Retrieved 2026-07-02.
  36. 1 2 3 4 "Moulin Rouge May Delay Start of Boston Previews After Construction-Related Incident". Playbill. Retrieved 2026-07-02.
  37. ↑ "High Fidelity Musical Opens Pre-Broadway Run in Boston, Oct. 5". Playbill. Retrieved 2026-07-02.
  38. 1 2 "From Detroit to Broadway, a Top Ten Countdown: Part Two (the Final 5)". EncoreMichigan.com. 2025-10-29. Retrieved 2026-07-02.
  39. ↑ "'42nd Street': The Dazzle of Broadway". The Washington Post. 1984-01-26. Retrieved 2026-07-02.
  40. ↑ "Rumors by Neil Simon". Theatre Philadelphia. Retrieved 2026-07-02.
  41. 1 2 Paterra, Sidney (2024-03-24). "From La Jolla Playhouse to Broadway - A Brief History". BroadwayWorld.com. Retrieved 2026-07-02.
  42. ↑ "Theater Feature: PETER PAN (national tour)". Stage and Cinema. 2013-01-14. Retrieved 2026-07-02.
  43. ↑ "Robert Goulet - Other works". IMDb. Retrieved 2026-07-02.
  44. ↑ "Brighton Beach Memoirs - Play". TheatreGold. Retrieved 2026-07-02.
  45. ↑ "'Hairspray' adds sheen to Seattle". The Seattle Times. 2002-05-26. Retrieved 2026-07-02.
  46. ↑ ""Light in the Piazza": A hit comes home". The Seattle Times. 2007-04-15. Retrieved 2026-07-02.
  47. ↑ "The Color Purple Musical Gets World Premiere at Atlanta's Alliance Theatre". Playbill. Retrieved 2026-07-02.
  48. 1 2 "About". Alliance Theatre. Retrieved 2026-07-02.
  49. ↑ "Review Roundup: Alliance Theatre's THE PROM Starring Brooks Ashmanskas, Beth Leavel, Christopher Sieber and More!". BroadwayWorld.com. 2016-09-08. Retrieved 2026-07-02.
  50. ↑ "Omigod! Bailey Is New Star of Broadway's Legally Blonde; Three Finalists Also Land Roles". Playbill. Retrieved 2026-07-02.
  51. ↑ "Broadway-Bound Beautiful: The Carole King Musical Sells Out San Francisco Engagement". Playbill. Retrieved 2026-07-02.
  52. ↑ "Bway Producers Starting Full-Cast Rehearsals, Dec. 11". Playbill. Retrieved 2026-07-02.
  53. ↑ "Monty Python's Spamalot Launches Quest for the Holy Grail in Chicago Tryout Dec. 21". Playbill. Retrieved 2026-07-02.
  54. ↑ "Kinky Boots Musical Will Kick It Up in Chicago in October, Prior to Broadway". Playbill. Retrieved 2026-07-02.
  55. 1 2 "Celebrating a Fiddler on the Roof Milestone". Masterworks Broadway. Retrieved 2026-07-02.
  56. ↑ Pender, Rick (2023-06-20). "Misery Yesterday, Comedy Tonight". Everything Sondheim. Retrieved 2026-07-02.
  57. ↑ "Show of Tolerance". The Baltimore Sun. 2002-02-11. Retrieved 2026-07-02.
  58. ↑ "Fifty years after it opened, 'The Wiz' is returning to Baltimore". Baltimore Fishbowl. 2023-08-08. Retrieved 2026-07-02.
  59. ↑ Verini, Bob (2024-04-18). "The Wiz: Not an Oz-Picious Revival". New York Stage Review. Retrieved 2026-07-02.
  60. 1 2 "16 Broadway Shows That Closed Before Opening". Playbill. 2022-01-05. Retrieved 2026-07-02.
  61. 1 2 ""If Hitler's still alive, I hope he's out of town with a musical" (Larry Gelbart)". The Big Apple (barrypopik.com). 2009-09-12. Retrieved 2026-07-02.
  62. ↑ "ON THE RECORD: The Baker's Wife and Nanette". Playbill. 2020-01-25. Retrieved 2026-07-02.
  63. ↑ "The Long, Crumbly, and Finally Fully Proofed Rise of The Baker's Wife". TheaterMania. 2025-11-04. Retrieved 2026-07-02.
  64. ↑ "Out-of-town Broadway tryouts triumph". Variety. 2007. Retrieved 2026-07-02.
  65. ↑ "The Pirate Queen". Variety. 2007-04-06. Retrieved 2026-07-02.
  66. ↑ "New Version of Disney's THE LITTLE MERMAID to Return to North American Stage?". BroadwayWorld.com. 2014-11-21. Retrieved 2026-07-02.
  67. ↑ Mandelbaum, Ken (1991). Not Since Carrie: Forty Years of Broadway Musical Flops. New York: St. Martin's Press. ISBN 9780312064280.
  68. ↑ Suskin, Steven (2006). Second Act Trouble: Behind the Scenes at Broadway's Big Musical Bombs. New York: Applause Theatre & Cinema Books. ISBN 9781557836311.
  69. ↑ Laird, Paul R. (2011). Wicked: A Musical Biography. Lanham, Maryland: Scarecrow Press. ISBN 9780810877511.
  70. ↑ "Brendon Henderson points spotlight behind Broadway curtains with his "Wait in the Wings" YouTube channel". Headliners in Education. 2022-07-31. Retrieved 2026-07-02.
  71. ↑ Henderson, Brendon (December 2023). "The Rise and Fall of Seussical". Wait in the Wings (YouTube). Retrieved 2026-07-02.
  72. ↑ "Curtains". TheaterMania. Retrieved 2026-07-02.
  73. ↑ "London Theatre Is Playing the Transfer Game". Playbill. 2021-12-02. Retrieved 2026-07-02.
  74. ↑ "West End Transfer of RSC's Matilda — the Musical to Feature Same Adult Principals From Stratford-upon-Avon Premiere". Playbill. Retrieved 2026-07-02.
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