The Greatest Showman #1093

In July, the heat lingers; by August, it begins to wane.

The excitement of midsummer slowly dissipates, and as the heat calms, the summer spectacle draws to a close. The London Olympics have officially ended, and the frenzy of the Ice Bucket Challenge is also fading.

Some people linger by blue swimming pools, reluctantly holding on to the last remnants of summer. Others ride the surfboards, enjoying the last thrill of the clear waves before autumn arrives. Some wander the midnight streets, listening to cicadas and laughter, feeling the pulse of summer quietly slow down.

Meanwhile, there are those who can't wait to gather from all corners of North America and head toward New York, the world's capital on the East Coast.

On August 15, the much-anticipated play Les Misérables, starring Renly Hall, officially premiered at the Richard Rodgers Theatre.

This brand-new version of the play had already received unanimous praise in London, hailed as "the most unmissable play of 2012" and considered a "strong contender for next year's Olivier Award." Critics even praised it as "the best adaptation of the past decade," and it had garnered significant attention from both major media and professionals.

Now, the U.S. was gearing up for its turn. The adapted version of Les Misérables was about to land on the North American continent, with public relations efforts heating up a month in advance. Ticket presales started officially on August 1.

Mirroring the experience at Almeida Theatre, Richard Rodgers Theatre launched presales for all performances three months in advance via the official website and ticketing platforms. Notably, no on-site tickets would be reserved; all tickets would be available for advance purchase online. However, any remaining tickets on the day of the performance could still be bought at the venue.

Moreover, the theater officially announced that Renly would only perform from August 15 to October 16, with the number of performances adjusted based on actor availability each week. Afterward, a completely different cast would take over.

For Renly's dedicated fans, this was a disappointment. Theater lovers, too, lamented the varying quality that comes with different casts. Despite the acclaim, many still wanted to see Renly in the role.

Nevertheless, the ticket presale exploded with unprecedented enthusiasm. Within just 30 minutes, as audience members refreshed their browsers, they were shocked to discover that the number of available tickets for the performances they hoped to attend was almost gone. Social media platforms like Twitter and Facebook were flooded with questions and confusion.

Soon, the Richard Rodgers Theatre confirmed the unbelievable: all tickets for performances between August 15 and October 16 had sold out. Moreover, tickets for performances from October 16 to November 15 were also nearly gone. The news sent shockwaves throughout the United States.

It wasn't just any theater; this was the Richard Rodgers Theatre.

While the Almeida Theatre could seat 550 spectators, the Richard Rodgers Theatre held 1,380—more than double the capacity. Even achieving an 80% attendance rate at the Richard Rodgers Theatre was a rarity. Yet, in just 30 minutes, all 74,520 tickets (excluding VIP boxes) for the first 54 performances had been sold out.

For comparison, the Almeida Theatre's three-month run had attracted 43,000 attendees with 100% attendance. Now, the Richard Rodgers Theatre had shattered that record before the performances even began.

This was truly extraordinary.

Broadway had faced a shrinking market entering the 21st century, and its former vibrant energy seemed to be a thing of the past. Even long-running shows like The Phantom of the Opera and Cats relied heavily on tourist audiences, and their attendance rates had significantly declined.

Yet, Renly's involvement with Les Misérables had brought about a revival.

For Broadway, for a six-hour experimental show, for 100% attendance, and for a sell-out within 30 minutes, Renly Hall was the sole catalyst. This reality was undeniable—his star power had led to an incredible demand.

A few months prior, when the play was still being discussed, people wondered whether Renly's involvement would positively impact Les Misérables and the theater industry. With the results now clear, there was no need for further discussion—his presence had been a game-changer. The old perceptions of Broadway and the West End had been shattered, benefiting from Renly's fresh influence and modern appeal.

Renly had broken the ice and bridged generational divides. The older generation had to accept new technologies and social media, while younger audiences had to understand and respect traditional forms of artistic expression.

Before Renly joined social networks, it was unclear how far his influence had truly reached. While everyone knew he was a top-tier superstar, the full extent of his impact was hard to measure. Yet, his presence in everyday life—from viral moments like the Today Show frenzy to the nationwide Ice Bucket Challenge campaign, to the pre-sale ticket madness—demonstrated the depth of his cultural penetration.

Looking back at the success of Edge of Tomorrow at the North American box office, it no longer felt surprising. The signs had been there all along.

Once the Richard Rodgers Theatre announced that tickets for the first two months were sold out, it took less than an hour for the third month to also sell out. This meant that, for the entire three-month run, the theater had achieved a 100% attendance rate.

At least, for now.

The current situation was undoubtedly exceptional. On one hand, it was driven by the impact of the Ice Bucket Challenge; on the other, it was fueled by the massive success of Edge of Tomorrow at the box office, coupled with the curiosity surrounding the Les Misérables pre-sale frenzy.

Within 90 minutes, the entire run had sold out.

While some speculated that the fever might die down and ticket-holders might cancel or resell, for now, the pre-sale madness had taken New York by storm.

Local media outlets, including The New York Times, New York Post, The New Yorker, Wall Street Journal, Time, and People, all rushed to report the story, eager to join the countdown to the premiere of Les Misérables. Theater critics were sharpening their pens, preparing for their annual review battle.

Two or three days before the premiere, New York was already buzzing in anticipation.

As reporters gathered at JFK International Airport, hoping to catch glimpses of the star-studded cast, the focus shifted from the Ice Bucket Challenge to Broadway's latest triumph.

Finally, August 15 arrived.

In true Broadway style, the Richard Rodgers Theatre rolled out the red carpet. The premiere night was nothing short of extravagant, with reporters already blocking the entire path before the stars even arrived.

First to appear: Paul Walker and Ryan Gosling.