Some shows leaving The Great White Way are, of course limited runs: Betrayal (thru 1/5; Tinseltown must be champing at the bit for the return of Daniel Craig and Rachel Weisz); 700 Sundays (thru 1/5) and The Snow Geese (thru 12/15) (ditto and ditto respectively re: Billy Crystal and Mary-Louise Parker); and no doubt the Star Trek franchise is hot to scoop up their young Mr. Spock, Zachary Quinto, from his extended run in The Glass Menagerie (thru 2/23) opposite Cherry Jones, who is gearing up for her next project, the Manhattan Theatre Club production of When We Were Young and Unafraid (set to begin previews May 22nd).

Rafe Spall, Weisz, and Craig in Betrayal. Photo: Brigitte Lacombe

Meanwhile, waning ticket sales in these highly competitive months — when the traditionally heavy onslaught of new spring shows are scavenging for Broadway theatres — means several major productions are leaving the Great White Way earlier than anticipated: Annie (thru 1/5); Big Fish (thru 12/29); First Date (thru 1/5); Romeo & Juliet (thru 12/8); and the latest, longest running and most fiscally bereft of the group, Spider-Man, Turn Off the Dark (thru 1/4).

To be fair, the pre-emptive departure of Romeo & Juliet (starring Orlando Bloom and Condola Rashad) is the result of overestimating the potential draw of both Shakespeare and movie star Bloom: the show has already exceeded its original closing date. As for Spider-Man: Turn Off the Dark, producers have high hopes for its next big venue, Las Vegas, which might turn out to be an even better match for the musical’s pyrotechnic-driven allure. At least that’s the kernel of hope dangling before the show’s investors who, to date, have taken a pool-sized bath.