Flops have families too.
In the Op-Ed section of the January 1st edition of the NY Times, far from the Arts pages, was a great piece from the daughter of the Producer of one of the most infamous flops in Broadway history, Via Galactica (who went on to help put together Memphis). Not only does she tell one of my favorite stories about titles (look for the paragraph about the renaming of Via and why it had to be changed back), but she also tells tales of living room readings for investors, star casting, special effects unlike anyone had ever seen that caused huge technical snafus, and more.
And yes, if you haven’t quite figured it out, the author makes some Spidey-like comparisons, but ends with a conclusion that you probably weren’t expecting . . . she’s pulling for the Super Hero.
After all, she knows first hand how devastating a flop can be.
Read the insightful article here.
Flops are a part of the game of Producing. They’re like a strike out in baseball. And every batter strikes out every once in awhile. It’s what happens when you’re swinging for the fences.
In fact . . . if you haven’t had a flop? You aren’t producing enough.
So . . . and how many times have you heard someone say this . . . get out there and flop!
(Special thanks to Michael for the tip on this article!)
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