The Greatest Showman #1075 - Industry Enlightenment

"Clap clap! Clap clap!"

The applause roared like a tsunami, crashing against the walls of the Almeida Theater. It was relentless, as though it would never cease. Like a tornado, it swept through the theater's interior, echoing with every beat. Renly, standing on the stage, had already made his third curtain call, yet the audience's enthusiasm remained unwavering, the madness of their admiration unyielding. The whole world seemed to tremble under the weight of their applause.

With arms outstretched and a deep bow, the applause continued unabated!

Such is the uniqueness of theater. Every performance may appear the same, but the audience is always different, the actors are in different states, the sparks of the play vary, and the performance itself evolves. Even in a seemingly repetitive routine, new elements emerge each day—each performance improving and building upon the last.

After the fourth curtain call, the wine-red curtain finally descended, marking the end of the night's performance.

Returning to the West End stage had brought a sense of regularity to Renly's life, but his schedule remained as packed as ever.

In the blink of an eye, three weeks had passed, and only a month remained before "Les Miserables" at the Almeida Theater wrapped up. The next challenge awaited—an exciting shift to Broadway. The entire crew would soon head to New York for their next big step.

After lengthy negotiations, the decision was made: "Les Miserables" would be staged on Broadway for three months, from August 15 to November 16. Renly would perform in the first two months, committing to at least 25 shows. The venue for these performances would be the Richard Rodgers Theatre.

This arrangement wasn't based on Renly's personal schedule but rather a calculated decision between the Almeida Theatre and the Richard Rodgers Theatre. Both sides wanted to gauge market feedback on the second and third casts, as the original leading team, including Renly, couldn't continue indefinitely. John Codd, the director, had other projects to attend to. Three months was the limit for both the market and the actors.

However, the show's unexpected success had altered the trajectory. If the second and third casts also received positive feedback, this could mean "Les Miserables" would have a long-term future at fixed theaters, much like Cameron McKay's "Kintosh" version.

This development was critical for both the Almeida Theatre and the Richard Rodgers Theatre. Renly's involvement was limited to two months, after which the cast would change to assess how the production fared with different actors.

"Les Miserables" had drawn attention and acclaim because of Renly, but also because of the daring adaptation of the play itself. This success raised a fascinating question for theater creators: could other condensed versions of shows be adapted into full productions as boldly as this?

The Richard Rodgers Theatre, a Broadway institution since 1925, was an imposing venue. It could hold 1,380 people, a size that placed it among Broadway's giants, far surpassing the Almeida Theatre's 800-seat capacity. The larger venue brought with it immense pressure; performing there was not for the faint of heart, especially in an era where Broadway was shrinking, and ticket sales were declining.

At that moment, the Richard Rodgers Theatre was hosting "Bengal Tiger at the Baghdad Zoo," but its performance had been lackluster, with a disappointing attendance rate of under 6 percent. After just a month, the production was set to close early.

Now, "Les Miserables" would step in to fill the void. This choice reflected the confidence of both the British production team and the American team. They were determined to avoid the ticket shortages that had plagued the West End in London and had handpicked the Richard Rodgers Theatre with great confidence.

The Richard Rodgers Theatre itself was also a symbol of prestige. Known for hosting numerous Tony Award-winning productions like "Chicago," "Nine," "Tarzan," and "The Lion King," the theater's most famous show was the wildly successful "Hamilton," which had run there since 2015. After winning multiple Tony Awards and a Pulitzer Prize, its popularity skyrocketed, even surpassing long-running hits like "The Phantom of the Opera" and "Cats" in revenue.

The decision to stage "Les Miserables" at the Richard Rodgers Theatre was not only a commercial one but a testament to the quality and potential of the production. It was an affirmation of Renly's and the crew's talent.

As the final month of performances at the Almeida Theatre neared, the energy was still electric. Every performance felt fresh, and the enthusiasm from the audience remained as strong as ever. The play's six-hour length had not deterred viewers, and the anticipation was growing for its arrival at Broadway.

Backstage, the atmosphere was lively, full of laughter and chatter, especially from Tom Holland and Daisy Ridley, whose voices could be heard above the rest. The energy in the hallway and old waiting rooms was palpable as the crew celebrated another successful performance, as if it were still the opening night.

Renly moved quickly through the crowd, greeted with cheers and whistles from the cast. His professional dedication was clear to everyone, particularly his consistent focus even amidst the bustling summer season. His commitment to performing with such meticulous attention at the Almeida Theatre earned him great respect, especially considering his youth.

Renly responded by raising his hands to applaud his fellow actors, acknowledging their excellence. Then, he noticed Joe Alvin, who stood near the door, looking uneasy. The two made eye contact, and Joe approached Renly.

"Renly, I'm sorry about the last scene," Joe said, his voice tinged with anxiety.

Earlier, during the scene, Joe had stumbled with his lines, disrupting the flow and emotion of the performance. Charlotte Kennedy, his scene partner, had been caught off guard. Renly, however, had expertly covered the mistake, ensuring the scene concluded smoothly.

Renly smiled warmly at Joe. "Accidents are part of the charm of live theater. For the audience, today's performance was unique, so don't worry too much. But tomorrow, let's work on it during rehearsal. If you'd like, Charlotte and I can help you out."

Renly's encouragement was not about excusing mistakes, but about ensuring growth. The stage was a constant learning process, and every actor needed to improve.

"No problem," Joe grinned, "I'll handle it. I'll get into the right groove."

Renly clapped Joe on the shoulder and, after a quick exchange, made his way to the waiting room. There, he found Emma Fielding, calmly seated at the dressing table. Renly chuckled. "Haven't seen you back here in ages. I guess another VIP made it to the backstage tonight. Give me a minute, I need some water and a moment to catch my breath."