It’s true that the ticket you once thought was the best in the house is now only third best, but only if you look at it in an insecure way. And it’s a tad unfortunate that for $120 you could still find yourself sitting on the back row of the orchestra. That’s why you should always bring a good pair of binoculars with you just in case.
Oh, let’s not spoil things. There’s more good news about Young Frankenstein: The cost of the best seats will be reduced when it’s not a Friday or Saturday evening, or weekend matinee. Premium and Premier seats will go for $100 less during weekdays, when business is traditionally slower. What a break!
The cost of the standard $120 ticket remains constant, but only to avoid unnecessary confusion. Plus, there’ll be some seats in the first two neck-cricking rows on sale to really poor people, at $25. (Restrictions may apply: The deal’s off if it’s a national holiday; the Sabbath; a leap year; raining; looking like rain; a Wednesday or Thursday, or possibly a Friday; a very hot summer day; or otherwise a problem for anyone involved in the show, including Mel Brooks. Fair’s fair.)
Should Young Frankenstein prove a hit when it opens at the vast 1,821-seat Hilton Theatre on Nov. 8, Mel’s unprecedented share of the profits will amount to $5.2 million a year. A mere bag of shells until all the dough rolls in from future touring productions in the U.S. and around the world.
Do you appreciate the enormous gamble munificent Mel is taking? Though he might never give a sucker an even break, everything depends on the $16 million musical being a megahit in New York.
Nobody wishes a show ill. If Young Frankenstein is a success, I, for one, will surely celebrate. If it’s a monster hit, the latest Mel Brooks ticket-price scandal will soon be forgotten as the box office is besieged.
And all will be well again in paradise—right?