The Rochester Broadway Theatre League today announced its ticket-lottery
process for the upcoming Rochester performances of the national tour of the
Tony-winning musical “The Book of Mormon.” The much-anticipated show, running at
Auditorium Theatre March 5-10, has been very close to sold out for months.
However, 20 tickets will be available via lottery for each performance at
$27.50 apiece.
The full press release appears below. Check beck at
rochestercitynewspaper.com on Wednesday, March 6, for City’s review of the
show. Additional details on “Book of Mormon” can be found on the RBTL website.
[ROCHESTER,
NY] – THE BOOK OF
MORMON, winner of nine Tony Awards including Best Musical, is pleased to announce
a lottery ticket policy for the National Tour, which begins MARCH 5TH
at the AUDITORIUM THEATRE in ROCHESTER and plays a limited 1-week engagement
through MARCH 10TH. In ROCHESTER, the production will conduct a
pre-show lottery at the box office, making a limited 20 tickets available for
each performance at $27.50 apiece.
The wildly
popular lottery for the Broadway production has attracted as many as 800
entries at some performances. The producers of THE BOOK OF MORMON are pleased to offer low-priced lottery seats for every city on the National
Tour.
Entries will be
accepted at the box office beginning two and a half hours prior to each
performance; each person will print their name and the number of tickets (1 or
2) they wish to purchase on a card that is provided. Two hours before curtain,
names will be drawn at random for a limited number of tickets priced at $27.50
each. Only one entry is allowed per person. Cards are checked for duplication
prior to drawing. Winners must be present at the time of the drawing and show
valid ID to purchase tickets. Limit one entry per person and two tickets per
winner. Tickets are subject to availability.
THE BOOK OF
MORMON features book,
music and lyrics byTrey
Parker,Robert Lopez andMatt Stone. Parker and Stone are the four-time Emmy
Award-winning creators of the landmark animated series, “South Park.” Tony
Award-winner Lopez is co-creator of the long-running hit musical comedy, Avenue Q. The musical is choreographed by Tony Award-winnerCasey Nicholaw(Monty Python’s Spamalot, The Drowsy Chaperone) and is directed byNicholaw andParker.
THE
BOOK OF MORMON is the
winner of nine Tony Awards, including Best Musical, Best Score (Trey Parker,
Robert Lopez, Matt Stone), Best Book (Trey Parker, Robert Lopez, Matt
Stone), Best Direction (Casey Nicholaw, Trey
Parker), Best Featured Actress (Nikki M. James), Best Scenic Design
(Scott Pask), Best Lighting Design (Brian MacDevitt), Best Sound Design (Brian Ronan) and
Best Orchestrations (Larry Hochman, Stephen Oremus); the New York Drama Critics Circle Award for
Best Musical; five Drama Desk Awards including Best Musical, the 2011 Grammy
Award for Best Musical Theater Album; four Outer Critics Circle Awards,
including Best Musical, and the Drama League Award for Best Musical.
THE
BOOK OF MORMONfeatures
set design by Scott Pask, costume design by Ann Roth,lighting
design by Brian MacDevitt and sound design by Brian Ronan. Orchestrations are byLarry Hochmanand Stephen Oremus.
Music direction and vocal arrangements are byStephen Oremus.
The
Original Broadway Cast Recording forTHE BOOK OF MORMON,
winner of the 2011 Grammy Award for Best Musical Theater Album, is available on
Ghostlight Records.
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This article appears in Feb 20-26, 2013.
It’s offensive to mock someone’s religion (unless you’re making fun of Catholics, Fundamentalist Christians or Mormons apparently). At least ‘Nunsense’ was purportedly made by Catholics. The Book of Mormon was created by the producers of South Park and are not of the Mormon faith. I’m waiting for someone to produce ‘The Book of Islam’ or a musical based on Salmon Rushdie’s ‘Satanic Verses ‘or maybe a ‘Burka Chorus Line’.
@Darius: +1. Those great examples of yours: that will be a great day. It is easier when done by the same folks who share the faith. Maybe a non-sequiter, but: When Kanye West was portrayed as Jesus Christ on the cover of Rolling Stone, no one seemed to care.