MEL Brooks loves green. And not just in monsters. The creator of "Young Frankenstein" has carved out what theater insiders are calling an "unprecedented" deal for himself that could earn him millions of dollars if the musical is a hit.
Brooks is entitled to 24 percent of the net profits from "Young Frankenstein," according to investment papers slipped to The Post by a highly placed source with a hump in Transylvania.
Which means that if "Young Frankenstein" earns as much as the $70 million his first musical, "The Producers," did, Brooks pockets around $17 million.
No writer - not even Andrew Lloyd Webber, the most successful composer in Broadway history - has ever laid claim to such a big chunk of a show.
Lloyd Webber, it's said, owns about 12 percent of "The Phantom of the Opera," the most successful stage musical of all time, with a worldwide gross of $2.5 billion.
("Phantom" is much more profitable than "The Producers," so don't cry for Lloyd Webber, Argentina.)
Not only does Brooks get the lion's share of profits, but as composer, lyricist, producer and co-writer (with his nicely compensated friend, Tom Meehan) he's also entitled to a substantial weekly royalty, which, according to the papers, amounts to about $100,000 - if the show sells out. That would mean an additional $5.2 million in his pocket each year.
That's in line with what authors of Brooks' rank command on Broadway. It's his percentage of the profits that's off the charts.
"It's a very big number," says a veteran producer. "From every angle, this show is to Mel Brooks' benefit."
Brooks' compensation package is so rich that unless "Young Frankenstein" is a sellout, through-the-roof, sell-your-firstborn-to-get-a-ticket smash, his backers - who include billionaire entertainment mogul Robert F. Sillerman - will be on the street, rattling tin cups.
"Winning a Tony this year is like winning Best Attendance in third grade: no one will care but the winner and their mom."
-Kad
"I have also met him in person, and I find him to be quite funny actually. Arrogant and often misinformed, but still funny."
-bjh2114 (on Michael Riedel)
Wow, he's gonna be one rich man if this show's a hit. But it sounds to me like they're really counting on this show to be a sellout smash like The Producers was its first few years. If it flops they're gonna lose a boatload of money. Especially if it'll take 40 weeks to recoup there investment with the show grossing over $1 million
"You drank a charm to kill John Proctor's wife! You drank a charm to kill Goody Proctor!" - Betty Parris to Abigail Williams in Arthur Miller's The Crucible
I want this show to do great but i have a feeling it's gonna bomb because there is so much hype behind everything and if this show is a hit congrats to Mel.
I have heard so much buzz about this show - not all good - big budget, big sets, big cast, big stars, big advertising budget, BIG ticket prices, big profits but does all of that = big success/hit? Not sure. The premise is alright but some of the "bigs" including the ticket prices and big profits for Mel may turn some people off (myself included). I guess I just don't like that it seems to be more about Mel and the success or lack thereof and not about the actual merit of the show itself. Only time will tell, but I hope the focus changes from Mel and the money to the show and SOON.
As much as I truly want this show to be good and have a long run for the sake of not only the cast and crew, but also for the namesake that the show carries - that of the film itself - I kind of have a little devil inside of me that wants it to run long enough so that I can see it (selfish, yes I know!) and then run itself into the ground with Mr. Brooks' tears running through the ashes putting out the remaining flames.
...but of course, that's only a tiny piece of me.
Best of luck, cast and crew!
"The nice thing about the rain is that it always stops... eventually."
The show's advance is already selling out (atleast for orchestra seats). So I have little doubt that for atleast the first few months this show is going to sold out...time will tell beyond that once reviews come out.
"Judy Garland, Jimmy Dean, You tragedy Queen" ~ Taboo
"Watching a frat boy realize just what he put his d!ck in...ex's getting std's...schadenfruede" ~ Ave Q
"when dangers near, exploit their fear" ~ Reefer Madness the Musical
"As much as I truly want this show to be good and have a long run for the sake of not only the cast and crew, but also for the namesake that the show carries - that of the film itself - I kind of have a little devil inside of me that wants it to run long enough so that I can see it (selfish, yes I know!) and then run itself into the ground with Mr. Brooks' tears running through the ashes putting out the remaining flames."
Well I know it's useless to argue with the Brooks haters- but Mel not only wrote the book and the score, but he's adapting his original film and producing. Plus I'd guess he put his own money in too. There would be no Young Frankenstein without him- why shouldn't he get the lion's share of the profits?
Because Joe, Brooks is clearly a meanie who kicked out The Pirate Queen so his show coud go in there. I hope the show fails!!!11
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
Exactly. It's not like YOUNG FRANKENSTEIN is an old movie in a vault just waiting to be found.
Not only is its original creator still around, but he's also adapting the thing from screen to stage, composing new music, writing lyrics, and producing. Why shouldn't he get all the money. Writers should get more money for their work. And, as producer, Brooks can make such things happen.
I was wondering how much of his own money he has invested in the whole production? If he is fronting most of the money, he is taking the greatest risk, so it seems fair? As long as he is paying this crew their fair share and offers bonus' for fantastic sales, than I can only hope it makes lot's of money.
but Mel not only wrote the book and the score, but he's adapting his original film and producing.
So, wait, serious question - does that mean Brooks actually wrote the music for YF or simply hummed a melody and left it to someone else (e.g. Glen Kelly for The Producers) to transcribe, harmonize, compose - basically, create? Sorry. That just really irked me about The Producers. So I was wondering if it's the same deal here.
Gangway, world, get off of my runway. - Mama Rose, Gypsy
A bird cage I plan to hang,
I'll get to that someday...
A bird cage for a bird who flew away
Around the world. - Edie, Grey Gardens
For fear of getting flamed (not because anyone said or implied anything) - I never said I didn't like his music. It's good stuff. There's just something extra for me in knowing that the name attached to a show ("Mel Brooks' Young Frankenstein") actually sat down with a pencil and paper or a computer and did some of the boring musical grunt work and whatnot. ::shrug:: I'm just a strange, strange person.
Gangway, world, get off of my runway. - Mama Rose, Gypsy
A bird cage I plan to hang,
I'll get to that someday...
A bird cage for a bird who flew away
Around the world. - Edie, Grey Gardens
Because Joe, Brooks is clearly a meanie who kicked out The Pirate Queen so his show coud go in there.
You said it, sista!
"Winning a Tony this year is like winning Best Attendance in third grade: no one will care but the winner and their mom."
-Kad
"I have also met him in person, and I find him to be quite funny actually. Arrogant and often misinformed, but still funny."
-bjh2114 (on Michael Riedel)