'Topdog' has its day

Legiter recoups its $1.5 mil capitalization

By ROBERT HOFLER

The producers of "Topdog/Underdog" have reported one of Broadway's more unlikely success stories. According to Carole Shorenstein Hays, the Suzan-Lori Parks' drama about two brothers named Lincoln and Booth has recouped its $1.5 million capitalization.

The production had a late surge at the box office in its final week. During that Aug. 5-11 session, it brought in just over $400,000, momentarily topping "The Graduate" as the highest grossing play on Broadway.

"The capacity audiences in the final week were good enough to put us over the top," said Hays. "It was like the crowds at Shakespeare in the Park -- only this wasn't free!"

Early on, "Topdog" appeared to be a clear B.O. mistake in its commercial transfer from the Public Theater, where it had its world premiere in summer 2001. Don Cheadle and Jeffrey Wright starred in the original downtown production and were mentioned to star on Broadway. Cheadle then withdrew, and the production got pushed back indefinitely.

When "Topdog" materialized again in late winter, director George C. Wolfe replaced Cheadle with Mos Def, a rap star unknown to most Broadway theatergoers, including a few of the show's producers. In its Broadway previews last March at the Ambassador Theater, "Topdog" struggled each week in the $60,000-$80,000 range, at least $100,000 under the show's break-even. Once again, legit truisms equating race to box office quickly made their way down Shubert Alley.

But something unusual happened on the way to financial disaster: "Topdog" opened April 7 to some of the best reviews of the 2001-02 season. The very next day, it won the Pulitzer Prize for drama, making Parks the first African American woman to win the honor in that category. Box office immediately shot up $161,041 to close with $242,981 for its first week of regular performances. Over the limited five-month engagement, few sessions fell below that mark and several topped $300,000.

As for the future of "Topdog," fellow producer Elizabeth Williams said the play would go to London. Hays is making plans for a 2003 tour; it kicks off at Seattle Rep next summer and goes to her Curran Theater in San Francisco that August, with other venues to follow.

"Suzan-Lori Parks is a great writer. She will always have a place in my theaters," said Hays.

Parks' next one, "Fucking A," is about an abortionist; it opens this season at the Public Theater. Hays said the title did not discourage her from considering a commercial transfer.

"I've produced David Mamet," said Hays. "I'm used to that. And I have two teenagers."