Leftist Michael Moore may have set the "terms of his surrender" with his Broadway debut, but if the box office reports for his one-man show The Terms of My Surrender provide any indication, reality has dictated those terms for him.
Michael Moore has been desperately searching for a hit ever since his anti-Bush propaganda piece Farenheit 9/11 rocked the box office in 2004, a phenomenon he has never been able to replicate. His last film Where to Invade Next tanked at the box office and his follow-up Trumpland was such a haphazard apotheosis in mediocrity that it failed to break even $150k (most people didn't even know they premiered).
Now he hopes to ride the anti-Trump train to success, and though his sequel to the aforementioned hit – Fahrenheit 11/9 – may bolster him to the top slot again, the future looks dismal for him at the moment, given the poor turnout for his anti-Trump Broadway show.
Broadway World has the latest numbers for weekly gross receipts and The Terms of My Surrender will be waving the white flag long before audience fatigue sets in as it now is taking only half of its potential. Mediaite has more:
People in the Broadway industry are taking note of the paltry sales and whispers are already circulating that the numbers for the week ending September 10th will put the show in the sub-$275,000 range which is… really, really bad.
With the cost of theatre rent, advertising, salaries and fees, the show is losing money, Bigly.
It’s pretty clear: Broadway (like much of America) hates Michael Moore.
Moore has taken to desperate measures to make his audience happy, even taking those who shill him $150 bucks out for a free hot dog after the show:
The reviews for Moore's show have also been dismal, with even the left-wing New York Times calling it a “shaggy and self-aggrandizing Broadway showcase":
Still, you don’t have to disagree with Mr. Moore’s politics to find that his shtick has become disagreeable with age. 'The Terms of My Surrender,' which opened on Thursday at the Belasco, is a bit like being stuck at Thanksgiving dinner with a garrulous, self-regarding, time-sucking uncle. Gotta love him — but maybe let’s turn on the television.
This isn't really surprising. Though Manhattan is a leftist cesspool, not all theatergoers are "Resistance" flag-waving "useful idiots" who slap $50 apiece down at the box office to hear their views regurgitated by Michael Moore. As noted by Mediaite, the people who actually make Broadway shows successful are out-of-town red staters who like themselves a good old-fashioned story, not political sermonizing:
So most theatregoers are left-wing, anti-capitalist agitators who think Republicans are racist war-mongers? Last time I checked Times Square, most of the theatregoers I saw were families visiting New York from red states that routinely choose politicians Moore abhors. They also gladly see incredibly entertaining and non-political shows such as Phantom of the Opera, Chicago, Les Miserables... you know, all the shows that have run for decades and broken world-wide box office records.
Which brings us to the reason Mr. Moore’s exercise in narcissism is hemorrhaging money and playing to more-than-half-empty houses.
When you open a show in New York in Summer you’re going to need the tourists to buy your tickets. Moore’s core ticket-buyers are enjoying themselves in the Hamptons or Martha’s Vineyard or Lake Como… and they never pay for their tickets, anyway. Moore is trying to sell tickets each night to people he openly hates and mocks whenever given the chance. Why would anyone shell out a hundreds of dollars for that kind of treatment?
Hollywood's summer box office numbers show it is getting the same treatment from moviegoers. Rather than blame themselves for making bad movies or insulting people with leftist politics, they now blame Rotten Tomatoes for their woes.
The terms for their surrender is denial until bankruptcy.