×
You will be redirected back to your article in seconds

‘Love, Loss’ recoups costs

Off B'way play earns back its $500,000 in a quick 11 weeks

Off Broadway play “Love, Loss and What I Wore” has recouped its capitalization costs in a super-quick 11 weeks, according to producer Daryl Roth.

The femme-centric show with a rotating roster of thesps, originally skedded to play a 12-week run that would have ended this month but now extended until March 28, is being considered for sit-down engagements in a handful of cities around the country, possibly to be followed by a national tour that would launch in 2011.

Recoupment of the show’s $500,000 capitalization is notable not just for its speed but also for the fact that it has happened Off Broadway, a producing landscape that has become increasingly challenging in recent years.

Based on Ilene Beckerman’s book about the ways in which a woman’s wardrobe reflects the stages of her life, “Love, Loss” is penned for the stage by Nora and Delia Ephron, taking not just the book as their source material but also the stories and memories of the Ephrons’ acquaintances.

Before it began perfs Sept. 21, “Love, Loss” reported the largest advance of any show to play the Westside Theater, formerly home to Off Broadway longrunners “The Vagina Monologues” and “I Love You, You’re Perfect, Now Change.”

Helmed by Karen Carpenter, “Love, Loss” currently stars Kristin Chenoweth, Rhea Perlman, Capathia Jenkins, Rita Wilson and Lucy DeVito. Other thesps who have signed on for four-week stints in the show have included Tyne Daly, Rosie O’Donnell and Jane Lynch, with upcoming engagements on the sked for Michele Lee, Debra Monk and Carol Kane, among others.

Roth noted that the cast’s monthlong rotations made a commitment to “Love, Loss” more attractive, helping the show to draw familiar names to the cast.

More Legit

  • Beetlejuice review

    Broadway Review: 'Beetlejuice'

    “Such a bold departure from the original source material!” wisecracks the odd-looking fellow sitting on a coffin at the start of the Broadway musical “Beetlejuice.” The weird, nasty and outrageous title character is talking about a short lament just sung by a sad teen at her mother’s gravesite, as he breaks the fourth wall (“Holy [...]

  • Playwright Mark Medoff author of "Children

    Mark Medoff, 'Children of a Lesser God' Playwright, Dies at 79

    Mark Medoff, the playwright who wrote Tony Award-winning play “Children of a Lesser God,” died Tuesday in Las Cruces, N.M. He was 79. His daughter Jessica Medoff Bunchman posted news of his death on Facebook, and the Las Cruces Sun-News attributed the cause to cancer. “Children of a Lesser God” starred John Rubinstein and Phyllis Frelich [...]

  • Ink review

    Broadway Review: 'Ink' With Jonny Lee Miller

    Garish, lurid and brash, “Ink,” the British import now on Broadway in a Manhattan Theatre Club production, is the theatrical equivalent of its subject, the UK’s Daily Sun — the newspaper that reshaped British journalism and propelled Rupert Murdoch’s ascent to media mogul. Like the tabloid, it feels unsubstantial, rushed and icky. You can’t say [...]

  • All My Sons review

    London Theater Review: 'All My Sons' With Sally Field, Bill Pullman

    If “All My Sons” is showing its age, it sure shows no signs of abating. Just days after a major revival opened on Broadway, moving Annette Bening and Tracy Letts into the Tony zone, up the play pops in London. The Old Vic has arguably secured the starrier cast, too: Bill Pullman and Sally Field [...]

  • Tootsie review

    Broadway Review: 'Tootsie'

    The new Broadway adaptation of “Tootsie” is old-fashioned and proud of it — and it’s a surefire crowd-pleaser, in this musical spin on the 1982 film comedy with Santino Fontana in the Dustin Hoffman role. Robert Horn (book) and Tony-winner David Yazbek (score) have a high old time poking fun at theatrical rituals — the [...]

  • Kelli O'Hara

    Listen: How Kelli O'Hara Brings #MeToo to 'Kiss Me, Kate'

    “Kiss Me, Kate” is one of the best-known titles in musical theater. But in this day and age, the “Taming of the Shrew”-inspired comedy’s depiction of the gender dynamic seems downright, well, problematic. Listen to this week’s podcast below: Kelli O’Hara is well aware of that, and so were her collaborators on the Roundabout Theatre [...]

More From Our Brands

Access exclusive content