The Cher Show

[Nvr2thick4me]

Opened on June 12th in Chicago - any information/reviews?

[+ azdr0710]

Cher (2002)

What She Said Then: "If I come back in five years, I'd be driving around in one of those carts with the joy-sticks. This truly is it." - Cher, 2002

 

Years Until Next Tour: 10, but there was a long-running Las Vegas show during the downtime.

 

Explanation: "This is my farewell tour. I'm never coming back. I swear to God." - Cher, 2014

[Nvr2thick4me]

Cher (2002)

What She Said Then: "If I come back in five years, I'd be driving around in one of those carts with the joy-sticks. This truly is it." - Cher, 2002

 

Years Until Next Tour: 10, but there was a long-running Las Vegas show during the downtime.

 

Explanation: "This is my farewell tour. I'm never coming back. I swear to God." - Cher, 2014

Thanks. I was actually referring to the Broadway bound The Cher Show that just opened in Chicago

[+ azdr0710]

Thanks. I was actually referring to the Broadway bound The Cher Show that just opened in Chicago

 

Sorry I didn't have any new info. I was just making a joke with my post about her many farewell tours.

[Nvr2thick4me]

Sorry I didn't have any new info. I was just making a joke with my post about her many farewell tours.

Yes, she really should title her show “ The Never Can Say Goodby Cher Show”!

[+ Cash4Trash]

Here's a thread discussing the show on Broadway World. People who've seen it chime in on later pages. https://www.broadwayworld.com/board/readmessage.php?thread=1107242&dt=273

Buzz seems sort of positive.

[Nvr2thick4me]

Thanks! Interesting discussion. I hope Bob Mackie did a more accurate wardrobe for “Babe”. Cher didn’t start wearing sequins until the late 60’s/early 70’s. She had a very Folk/Rock look before then - some wild patterns but minimal glitter. I’m a big Cher fan,, saw her live in 1966 and 1977 ( I was able to give her a drawing I did - she was very gracious and was breathtaking beautiful in 1977) Not sure I want to see her live today.

[+ BenjaminNicholas]

Here's a thread discussing the show on Broadway World. People who've seen it chime in on later pages. https://www.broadwayworld.com/board/readmessage.php?thread=1107242&dt=273

Buzz seems sort of positive.

 

A lot of it has to do with Stephanie Block.

 

Even when she's in a turkey, her voice and passion are always showstoppers. I hope this one is her big chance to bring a successful show to Broadway as the lead.

[samhexum]

Cher to release new album, ‘Dancing Queen,’ next month

 

Cher will release “Dancing Queen,” a new album of Abba covers, on Sept. 28, Warner Bros. Records announced on Thursday.

 

The singer and actress — who has won Oscar, Emmy, and Grammy Awards — was inspired to record the album following her performance in the recently-released hit film, “Mamma Mia! Here We Go Again,” according to the announcement.

 

“I’ve always liked Abba and saw the original ‘Mamma Mia’ musical on Broadway three times,” Cher said. “After filming ‘Mamma Mia! Here We Go Again,’ I was reminded again of what great and timeless songs they wrote and started thinking ‘why not do an album of their music?’ The songs were harder to sing than I imagined but I’m so happy with how the music came out. I’m really excited for people to hear it. It’s a perfect time.”

 

The album was recorded and produced in London and Los Angeles with Cher’s longtime collaborator Mark Taylor, who previously produced Cher’s global hit single “Believe.”

 

Cher released a teaser video for the album’s first single, “Gimme! Gimme! Gimme!,” Wednesday night.

 

Cher is scheduled to be awarded a Kennedy Center Honor on Dec. 2 in Washington D.C. She is also a co-producer of the “The Cher Show,” the upcoming Broadway musical opening on Dec. 3, and will be touring Australia and New Zealand in September. She is currently performing a residency at MGM Resorts in Las Vegas.

 

Check out the track list below:

 

1. Dancing Queen
   
2. Gimme! Gimme! Gimme! (A Man After Midnight)
   
3. The Name Of The Game
   
4. SOS
   
5. Waterloo
   
6. Mamma Mia
   
7. Chiquitita
   
8. Fernando
   
9. The Winner Takes It All
   
10. One Of Us
    

[edjames]

Saw the show tonight. I jokingly told friends that I bought a ticket and for all this money and she isn't even in it!

Wrong! The diva herself showed up at tonight's show and sat a few seats away from me in the center orchestra!

The crowd went wild and she looks amazing.

The show is a lot of fun. 3 actresses play the role of Cher, and they are titled Star, Lady and Babe, reflecting the age range of Cher throughout her life.

Stephanie J. Block who plays The Star, perhaps comes the closest to embodying the essence of Cher. Her voice and vocals are almost spot-on and

although she doesn't quite facially resemble Cher, with all the makeup and wigs she does a damn fine job. I did sit there wondering if Chad Michaels would have been better!

The show does a good job of condensing Cher's life and struggles, and with an amazing array of hit tunes, the music is fun and rousing.

There's a good supporting cast and Emily Skinner, as Cher's Mom, Georgia, and Jarrod Spector, as Sonny Bono, are very good.

Of note is costumes, many recreations of originals worn by Cher, are by the original great designer, Bob Mackie.

All in all, it's a jukebox musical and the a great walk down memory lane.

I went hime with a Cher Greatest hits ear worm for the remainder of the night.

[bostonman]

3 actresses play the role of Cher, and they are titled Star, Lady and Babe, reflecting the age range of Cher throughout her life.

 

I might have suggested they be called Cher, Cher Alike, and possibly Fair Cher.

 

Carry on...

[edjames]

NYPost reports that the box office personnel are amazed at how many people are purchasing tickets thinking Cher is actually starring....

[bostonman]

NYPost reports that the box office personnel are amazed at how many people are purchasing tickets thinking Cher is actually starring....

 

I tend to think they didn't really think carefully about the title. Most jukebox musicals wind up with titles that don't directly mention the group or star they are based on - and most of the ones that do (for instance Beautiful: The Carole King Musical or Summer: The Donna Summer Musical) clarify, at least, that's it's a musical. The Cher Show could certainly be misconstrued as something akin to a long-running concert appearance, like the current Bruce Springteeen show.

 

That said, there also have been times when the star writer/performer has stepped into their own show, such as Billie Joe Armstrong doing part of the run of American Idiot (though he was not a planned part of the original cast). And promotional appearances, such as the Tony Awards excerpt of Beautiful, where Carole King appeared together with the actress playing her in the show, Jessie Mueller. So, I guess it would be easy to assume that Cher could indeed be part of her own musical.

 

Titles can be misleading. I think there are plenty of people who mistakenly assume that Ethel Merman played the "title role" in Gypsy - this being a case where the starring role was NOT the title role.

[edjames]

Today's Bway news:

 

The Boss is paving the way for big musicians on Broadway

By Michael Riedel

November 22, 2018 | 10:39pm

 

Bruce Springsteen has paved the way for a host of legendary music acts to play the Great White Way in 2019.

 

A group of powerful entertainment companies — Live Nation, Creative Artists Associates and Entertainment Benefits Group — is about to snap up a Broadway theater where A-list rock, pop and country performers will be “in residency” for three-week stints.

 

Deals have not been finalized, but CAA — home to Springsteen’s agent — represents a boatload of superstars, including Ariana Grande, Kelly Clarkson, Bette Milder, Aerosmith, Carrie Underwood, Lionel Richie, James Taylor, Demi Lovato, Diana Ross, Faith Hill, the Eagles, Michael Bublé and Adam Lambert.

 

All are in the mix to play Broadway.

 

At the top of the list is Beyoncé, although a source says her price may be too high to make a three-week gig at a Broadway theater profitable.

 

Barbra Streisand, another CAA client, is also a possibility. She hasn’t appeared on Broadway since she starred in “Funny Girl” in 1964, and sources say she’d love to cap her career with a triumphant return to the Broadway stage.

 

Springsteen has proved that a pop star can make a big splash on Broadway. His show — “Springsteen on Broadway” at the Walter Kerr Theatre — has been grossing $2.5 million a week since it opened in October 2017. The top ticket price is $850, although good luck getting one for that amount. Scalpers are getting $3,000 to $6,000 per ticket.

 

The Boss’ success has “opened our eyes to what you can do on Broadway,” says a music-business source. “There is plenty of money to be made.”

 

Springsteen enjoys performing in an intimate setting — the Kerr seats just 975 — and has told friends that his Broadway run has been a highlight of his career.

 

“Springsteen on Broadway” was scheduled to run four months. But demand was so great, it has been extended three times. It will play its final performance Dec. 15, the same day Netflix will stream a performance of the show filmed in July.

 

Netflix is likely to broadcast other performers live from Broadway as well, sources say.

 

“Springsteen has completely changed the way music people look at Broadway,” says a source. “He can play huge venues all over the world, but look at the attention he got for doing this show.

 

He made it an event. It’s an artistic success, and it’s making a lot of money.”

 

Springsteen tailored his show to Broadway, basing it on his best-selling memoir, “Born to Run.”

 

The other performers and groups looking at a Broadway run will do scaled-down versions of their acts, sources say.

 

The draw for ticket-buyers is the intimacy of a Broadway theater. The chance to see Ariana Grande or Barbra Streisand up close is irresistible. The promoters don’t want to charge more than

 

$500 a ticket, although if the demand is there, prices could go higher.

 

Live Nation and CAA haven’t closed a deal yet on a theater, but the choices are obvious.

 

“King Kong,” a $35 million musical roasted by critics, is in serious trouble at the Broadway Theatre. It could close by February. The West 53rd Street venue seats 1,761 — plenty of room to make a three-week run with a music legend profitable.

 

Another possibility is the Lunt-Fontanne, where the winter months may not be kind to “The Donna Summer Musical.”

 

But I’d vote for the Palace Theatre, which is due to be hoisted up a couple of floors to create retail space on the street level.

 

So many showbiz giants played the Palace — Al Jolson, Fred Astaire, Enrico Caruso, Bing Crosby, Judy Garland.

 

Why not postpone the renovations for a year and bring in today’s legendary talents?

[+ WilliamM]

I tend to think they didn't really think carefully about the title. Most jukebox musicals wind up with titles that don't directly mention the group or star they are based on - and most of the ones that do (for instance Beautiful: The Carole King Musical or Summer: The Donna Summer Musical) clarify, at least, that's it's a musical. The Cher Show could certainly be misconstrued as something akin to a long-running concert appearance, like the current Bruce Springteeen show.

 

That said, there also have been times when the star writer/performer has stepped into their own show, such as Billie Joe Armstrong doing part of the run of American Idiot (though he was not a planned part of the original cast). And promotional appearances, such as the Tony Awards excerpt of Beautiful, where Carole King appeared together with the actress playing her in the show, Jessie Mueller. So, I guess it would be easy to assume that Cher could indeed be part of her own musical.

 

Titles can be misleading. I think there are plenty of people who mistakenly assume that Ethel Merman played the "title role" in Gypsy - this being a case where the starring role was NOT the title role.

 

Agree with you about Ethel Merman and Gypsy. Ethel was the most well known Broadway musical performer for decade in 1959 when the show opened.

[+ WilliamM]

I tend to think they didn't really think carefully about the title. Most jukebox musicals wind up with titles that don't directly mention the group or star they are based on - and most of the ones that do (for instance Beautiful: The Carole King Musical or Summer: The Donna Summer Musical) clarify, at least, that's it's a musical. The Cher Show could certainly be misconstrued as something akin to a long-running concert appearance, like the current Bruce Springteeen show.

 

That said, there also have been times when the star writer/performer has stepped into their own show, such as Billie Joe Armstrong doing part of the run of American Idiot (though he was not a planned part of the original cast). And promotional appearances, such as the Tony Awards excerpt of Beautiful, where Carole King appeared together with the actress playing her in the show, Jessie Mueller. So, I guess it would be easy to assume that Cher could indeed be part of her own musical.

 

Titles can be misleading. I think there are plenty of people who mistakenly assume that Ethel Merman played the "title role" in Gypsy - this being a case where the starring role was NOT the title role.

 

Agree with you about Ethel Merman and Gypsy. Ethel was the most well known Broadway musical performer for decade in 1959 when the show opened.

[edjames]

And the critics said;

NYTimes:

Review: In ‘The Cher Show,’ I Got You, Babe. And You. And You.

There’s a fine line between tacky and spectacular. In creating costumes for Cher over the years — costumes that often tell the story of a shy woman emerging triumphant from a chrysalis — the designer Bob Mackie has kept on the right side of the line by making sure the level of craft supports the extravagance of the gesture.

Sadly that’s not the case with “The Cher Show,” the maddening mishmash of a new musical that opened on Monday at the Neil Simon Theater. Except for the dozens of eye-popping outfits Mr. Mackie gorgeously recreates for the occasion, it’s all gesture, no craft: dramatically threadbare and surprisingly unrevealing.

That’s too bad because, reading between the paillettes, you get the feeling that the 72-year-old singer-actress-survivor is a good egg: self-mocking, plain speaking and a hoot. Whether that’s enough to build a Broadway musical on is another question, one “The Cher Show,” striving to be agreeable, never gets close to answering.

Rather, its energies are waylaid in trying to solve the puzzle of its own concept, of which weird vestiges remain after a tryout in Chicago. The plan was to explore Cher’s life in the form of a television variety show like the ones she starred in — with or without her first husband, Sonny Bono — between 1971 and 1977.

That doesn’t sound like a bad idea to me, but there’s no way to know. In its current state, you can’t distinguish scenes meant to borrow comedy-hour elements from those meant to be taken at face value. Cher’s difficult marriage to the Nashville-born rock musician Gregg Allman is covered in a ludicrous saloon sketch interspersed with bad jokes. Cher to Allman: “Are you from Tennessee, ’cause you’re the only 10 I see.”

And back story is handled with the subtlety of a backhoe. You can almost hear a groan on the laugh track when, later in the show, Cher asks Sonny’s ghost, “Are you really dead?”

Complicating matters is the decision to confine such an unconventional figure as Cher in the straitjacket of the biographical jukebox musical — particularly the tripartite diva subgenus most recently botched by “Summer: The Donna Summer Musical.” We need not rehearse the traps inherent in the genre, except to say that “The Cher Show” falls into all of them. It wastes so much time hammering its biographical bullet points and tunestack into place, despite logic or chronology, that it never seems to notice the unintelligible result.

Anyway, unless you are Edward Albee, that three-ages-of-woman gimmick is subtractive, not additive. In giving us a kaleidoscope of Cher avatars called Babe, Lady and Star, the book writer Rick Elice, who also scripted “Jersey Boys,” creates three one-note characters from what might have been a single rich one. Babe, the “sweetheart” spirit of Cher in her teens and early 20s (Micaela Diamond), and Lady, the “smart-mouth” Cher of the next few years (Teal Wicks), are especially flat, as is usually true of innocents being crushed by forces they don’t yet understand.

It’s only with Star — the “bad-ass,” mature Cher — that we get a character who rewards our attention. She also rewards the efforts of the fine singing actress Stephanie J. Block; once Ms. Block takes over it feels as if Star has swallowed Babe and Lady whole. Not only does she ace Cher’s vocal inflections and physical mannerisms, including the half-mast eyes, the arm akimbo and the dancing-from-the-hair-up hauteur, but she somehow integrates them into a portrait of a woman at odds with the very dream that sustained her.

The dream, of course, was stardom, and “The Cher Show” does not seem to know what it thinks about that. Growing up poor, outcast and painfully shy, little Cherilyn Sarkisian nevertheless clung to her mother’s mantra: “The song will make you strong.” We see no evidence of this, especially during the years when most of her songs were written by Sonny, the annoying pipsqueak who also cut her out of the ownership of their mutual endeavors.

The effort of husbands, directors and network executives to control and profit from Cher is a powerful and timely subject that the book keeps raising then dropping, or turning into jokes. (It’s perhaps worth noting that Cher is one of the show’s above-the-title producers.) Though Jarrod Spector gets Sonny’s Napoleon complex just right, he also gives him an adenoidal honk so exaggerated as to render him cute and harmless.

Even so, the book hedges. “Are we making Sonny seem too horrible?” Babe asks. “’Cause I don’t wanna do that.”

Why not? Must a musical intended for popular consumption defang the anger of its powerful subject and, in doing so, whitewash her most interesting problems? A scene in which Cher, who’s dyslexic, struggles to read an audition script for a Broadway play is well handled by Ms. Block, but omits the fact that the resulting production was an infamous flop.

Nor is a word said about her initial difficulty accepting her son Chaz’s coming out as trans — a conflict that might have given some dramatic shape to the Star years. As depicted here, those years consist of little but fare

At least the musical numbers are gleefully staged; the director Jason Moore and the choreographer Christopher Gattelli keep the super-buff ensemble whirling constantly on pop pastel sets under sparkly lights. The songs are beautifully arranged by Daryl Waters and sung better by the three lead women (and by Emily Skinner, in the thankless role of Cher’s mother) than Cher usually did. In any case, they will surely satisfy die-hard fans.

For occasional admirers, though, they will more likely mystify, having only the most notional connection to the story. Cher’s 1989 comeback hit, “If I Could Turn Back Time,” is grabbed as the opening solely because of its title; her entire movie career is crammed into a version of “The Beat Goes On” with new lyrics like “There’s Mike Nichols standing at the door!”

This is where the jukebox problem and the star-splitting problem converge with the craft problem. With too many character arcs and agendas to serve — three Chers, several careers, 35 songs or parts thereof — the show’s creators can serve none well.

And yet despite its total ham-handedness, “The Cher Show” is not as unpleasant as slicker jukebox musicals that valorize thugs or bulldoze the audience. Yes, it argues way too hard for Cher’s significance — a significance it would be better off merely assuming and then

complicating. And yes, it gets whiny just when you want it to get fierce.

But it’s not cynical. It even has moments in which, like Cher herself, it’s strong enough to tease its own conventions. At one point, Star crows to Babe and Lady, “It’s so much easier to talk to myself when I’m all here.”

The solid laugh Ms. Block gets from that line should have been a clue. However gorgeously attired, a biomusical divided against itself cannot stand.

[edjames]

NYPost was kinder...

 

‘The Cher Show’ will leave you feeling moonstruck

 

If I could turn back time, I’d rewind to my night at “The Cher Show” for another happy high.

Think I’m kidding? Snap out of it!

Granted, the jukebox musical that opened on Broadway Monday night has some clumsy and dopey dialogue. The story — a 50-50 mix of narration (yawn) and not-quite-skin-deep dramatization — tracing the pop goddess’s personal and professional ups and downs won’t surprise those with even a passing knowledge of Cher. Or access to Wikipedia.

Still, it’s thrilling watching the 72-year-old diva’s rags-to-riches-and-back-again life woven by wall-to-wall hits — “Bang Bang,” “The Beat Goes On,” “Half-Breed” and “Believe,” among them.

Stephanie J. Block gives the season its first must-see star turn as one of the show’s three Chers. She nails the singer’s signature vibrato, twang and distinctive O’s in her vocals, along with her gutsy, glitzy, no-BS attitude.

Teal Wicks and Micaela Diamond are very fine as, respectively, the singer’s middle and youngest alter egos. Even so, that three-women-playing-one-thing is getting old: It was done, though a lot less cleverly, in “Summer: The Donna Summer Musical,” where that singer’s three selves rise up and down from the stage like whack-a-moles.

Between director Jason Moore’s flashy, fleshy, fluid staging and choreographer Christopher Gattelli’s high-energy and ridiculously sexy dances — wait till you see the steamy “Dark Lady” — the production is light on its feet, too.

It’s also a looker, thanks to gleaming sets, dynamic lights and traffic-stopping costumes by Cher’s longtime collaborator Bob Mackie, played here by Michael Berresse.

Since you can’t tell Cher’s story without the other men in — and out of — her life, we also see her personal Svengali, Sonny Bono (Jarrod Spector); second husband, Gregg Allman (Matthew Hydzik); and Rob Camilletti (Michael Campayno), aka “Bagel Boy.” All have a chance to shine, as does Emily Skinner as Georgia Holt, Cher’s tough-talking mom.

The giant sparkly “C” — for Cher, duh! — hangs center stage. “The Cher Show” merits a bright, shiny, bedazzling “B.”

[+ E.T.Bass]

Fun stuff. (Honoring Cher)

 

 

https://www.youtube.com/watch?v=d6ll7YES6dc

 

https://www.youtube.com/watch?v=KPr_0Ghf-P4

Edited December 28, 2018 by E.T.Bass

[samhexum]

Style guru and TV personality Susie Coelho and her husband, Michael Peel, have listed their home at 455 W. 20th St. for $6.9 million.

 

It was previously on the market for $8.25 million in 2016, and as a $29,500-a-month rental.

 

Coelho, a former Ford model and actress, was married to the late Sonny Bono from 1981 to 1984 following his divorce from Cher.

 

Peel, the former vice president of human resources and administration at Yale before his 2017 retirement, bought the fourth-floor unit for $5.75 million in 2013.

 

Coelho and Peel married in Chelsea in 2017, Page Six reported at the time. The three-bedroom, three-bathroom unit is 2,500 square feet.

 

It’s in the former General Theological Seminary — one of the oldest buildings in Chelsea, which is connected to a newer building by a glass atrium — and overlooks a private park.

 

Special details include three woodburning fireplaces and a chef’s kitchen with a wine cooler and a fireplace framed by a 16th-century limestone mantel.

 

There’s also a formal foyer and 17-foot vaulted ceilings, along with herringbone vintage oak floors.

 

Building amenities include a doorman, a gym and bike storage.

 

The listing brokers are James Morgan and Brandon Cohen of Compass.

 

[Cooper]

@samhexum. Let’s stay on topic. This Forum is called Broadway. It’s not a Real Estate Forum.

 

If you’ve seen “The Cher Show” or have a review/interview/information about the show, please share.

 

If you want to talk about homes where celebrities once lived, you can start a new thread in the appropriate Forum.

[+ ursalex]

I was fortunate enough to be invited to the Opening Night by one of the attorneys involved in the production. It was fantastic, and some of the costumes worn by the male audience members outshone the Bob Mackie creations onstage. There were three Cher sightings. As we approached the theater she was giving an interview outside. Then, when the audience was finally seated (about 20 minutes late) and the curtain was about to go up Cher was escorted to her seat to thunderous applause. Finally, after the curtain calls, Stephanie J. Block brought the creative team onstage (including Bob Mackie.) Finally she introduced Cher herself and they sang a duet (obviously rehearsed) of "If I Could Turn Back Time".

 

The show was quite nice for a jukebox musical and the three Chers worked well together, although Block had the largest role and the best voice. She nailed Cher. The costumes were wonderful. The book is more than little thin and I knew more about Cher from Wikipedia and VH1's "Behind the Music" than from the show. But her point was made, that she had to take control of her own life and succeeded when everyone thought she would fail.

 

I was invited to the afterparty but didn't go as I had to work the next day and had a two hour commute home.

 

All in all, the show is a crowd pleaser and should have a decent run.

[Cooper]

Saw The Cher Show and found it most entertaining & lively. At times it felt like being at a live concert. The 3 ladies who played Cher did an amazing job but the one who captured it best was Stephanie J Block, the elder Cher.

 

Lots of costume changes along with some of her most memorable Bob Mackie designs.

 

Nice to listen to songs you already knew but hadn’t heard in awhile. Great voices & solid dance numbers.

 

Cher’s life has been out there for a long time. Many of her ups & downs made headlines. The actor who plays Sonny, sounded just like him. Well done!

 

I enjoyed it.

[samhexum]

She worked her G-stringed butt off to make it a success, but in the end, “The Cher Show” just wasn’t strong enough to make it.

 

Despite non-stop promo appearances on “The Tonight Show with Jimmy Fallon,” “Today,” “The View” and more, the critically acclaimed musical inspired by pop music icon Cher will close on Aug. 18.

 

The production opened Dec. 3 on Broadway, and will have played 34 previews and 296 regular performances by its final curtain call at the Neil Simon Theatre.

 

“Telling Cher’s life story on Broadway has been a joy,” says Flody Suarez, who produced the show with four-time Tony winner Jeffrey Seller (“Hamilton”).

 

But audiences don’t have to turn back time to see the show: A national tour is set to launch in October 2020 with a premiere in Rochester, NY.

 

“Watching audiences relive her empowering story through six decades worth of iconic songs, movies, costumes and relationships has been incredible,” Suarez says. “We look forward to taking this inspiring message on the road next year. We are incredibly thankful to this brilliant cast and crew.”

 

Stage vet Stephanie J. Block — in a fab change of pace from less glam roles in “Falsettos” and “The Mystery of Edwin Drood” — won the Tony and Drama Desk Award for Best Actress in a Leading Role in a Musical. Bob Mackie, Cher’s longtime costume designer, also took home a Tony for his bedazzling work.

 

“The Cher Show” revolves around the storied life of Cher, with three different singer-actresses fleshing out different periods of her career: Micaela Diamond as Babe, Teal Wicks as Lady and Block as Star. It features a crowd-pleasing batch of Cher’s most-loved songs, from “I Got You Babe” and “Gypsies, Tramps, and Thieves” to “If I Could Turn Back Time” and “Believe.”

 

Tickets are still available at TheCherShowBroadway.com.

[+ WilliamM]

She worked her G-stringed butt off to make it a success, but in the end, “The Cher Show” just wasn’t strong enough to make it.

 

Despite non-stop promo appearances on “The Tonight Show with Jimmy Fallon,” “Today,” “The View” and more, the critically acclaimed musical inspired by pop music icon Cher will close on Aug. 18.

 

The production opened Dec. 3 on Broadway, and will have played 34 previews and 296 regular performances by its final curtain call at the Neil Simon Theatre.

 

“Telling Cher’s life story on Broadway has been a joy,” says Flody Suarez, who produced the show with four-time Tony winner Jeffrey Seller (“Hamilton”).

 

But audiences don’t have to turn back time to see the show: A national tour is set to launch in October 2020 with a premiere in Rochester, NY.

 

“Watching audiences relive her empowering story through six decades worth of iconic songs, movies, costumes and relationships has been incredible,” Suarez says. “We look forward to taking this inspiring message on the road next year. We are incredibly thankful to this brilliant cast and crew.”

 

Stage vet Stephanie J. Block — in a fab change of pace from less glam roles in “Falsettos” and “The Mystery of Edwin Drood” — won the Tony and Drama Desk Award for Best Actress in a Leading Role in a Musical. Bob Mackie, Cher’s longtime costume designer, also took home a Tony for his bedazzling work.

 

“The Cher Show” revolves around the storied life of Cher, with three different singer-actresses fleshing out different periods of her career: Micaela Diamond as Babe, Teal Wicks as Lady and Block as Star. It features a crowd-pleasing batch of Cher’s most-loved songs, from “I Got You Babe” and “Gypsies, Tramps, and Thieves” to “If I Could Turn Back Time” and “Believe.”

 

Tickets are still available at TheCherShowBroadway.com.

 

 

Sorry it is closing. Especially for Ms. block who is now a star.