Broadway Star's Show Cut Short Amid Controversy
Kristin Chenoweth's highly anticipated return to Broadway has been cut dramatically short, with her new musical 'The Queen of Versailles' announcing an early closure following slow ticket sales and significant public backlash. The production, which opened on November 9, will now hold its final performance on January 4 – nearly three months earlier than its originally scheduled run through March 29.
The Controversy That Sparked Outrage
The Tony-winning actress, best known for originating the role of Glinda in Wicked, found herself at the centre of a firestorm in September following her public response to the assassination of conservative activist Charlie Kirk. Chenoweth took to Instagram to express her sympathy, writing: 'I'm. So. Upset. Didn't always agree but appreciated some perspectives. What a heartbreak. His young family. I know where he is now. Heaven. But still.'
These comments provoked immediate outrage from her substantial LGBT fanbase, who flooded her social media with critical responses. The 57-year-old star later told The Hollywood Reporter that the intense backlash 'almost broke' her, though she declined to discuss the matter further, stating she had 'dealt with it'.
A Troubled Production From the Start
'The Queen of Versailles' marked Chenoweth's first Broadway role in over a decade and represented a five-year development project based on the 2012 documentary about a Florida couple building an extravagant home before the 2008 financial crisis. Despite Chenoweth describing it as a 'very topical piece', the show received predominantly negative reviews from critics.
Major publications were particularly harsh in their assessments:
- Entertainment Weekly criticised its 'identity crisis'
- The Guardian called it 'lavish, unwieldy, pointless and seemingly unfinished'
- The New York Post panned the entire second act as 'terrible'
Though The New York Times offered some praise, calling it an 'entertaining biomusical with a hummable score', the damage was done. The show had begun previews on October 8 following a successful stint in Boston, but failed to capture audience interest in New York.
The early closure represents a significant setback for Chenoweth's celebrated Broadway comeback, demonstrating how quickly public sentiment and critical reception can impact even the most established theatrical productions.
