Producer Carmen Pavlovic of Global Creatures declined to identify the Broadway theatres the team was considering. Only four or five Broadway houses are large enough to accommodate the high-tech production that stars a six-meter-tall puppet as Kong. A team of 35 on-stage and off-stage puppeteers are employed to manipulate the creature.
"It's very political," she said. "I don't want to drop another show in it and start rumours and stories that say, 'Oh, is this show about to close?'" In New York this week are executive producer Bill Harris, production designer Peter England and technical director Richard Martin.
Producers are hoping that King Kong will roar in New York within two years. The creative team is already at work in Melbourne constructing a second animatronic puppet for a future production of the musical.
Pavlovic and her team are also in discussions to bring King Kong to Germany, Korea, Japan and Las Vegas; however, New York is first on the list.
Daniel Kramer directs the Australian production that began previews May 28 and officially opened June 15. Tickets are now on sale through Jan. 26, 2014.
The new musical features a book by Tony and Pulitzer Prize nominee Craig Lucas (An American In Paris, Marry Me A Little, The Light in the Piazza), who also contributed lyrics. Composer and arranger Marius de Vries, whose credits include the soundtracks for "Moulin Rouge" and "Romeo + Juliet," created and oversees a score that features revamped versions of 1930s Broadway classics like "Get Happy," "I Wanna Be Loved By You" and "Brother Can You Spare a Dime" as well as new and existing songs from a mix of contemporary artists: Robert Del Naja from Massive Attack, Sarah McLachlan, Justice, Guy Garvey from Elbow and The Avalanches. A key collaborator on the musical landscape for the show is Stephen Pavlovic from Modular People; Michael Mitnick has contributed lyrics to several new compositions.
Here's a look at Kong: