The Bronx Opera returns for its Spring performances with something of a departure from its norm. To be sure, it adheres to its customary template of presenting a well-known opera in the Spring, yet by choosing Hansel and Gretel as its focus, the Bronx Opera makes an inspired decision to perform a piece that could serve to introduce the world of opera to the younger generation.
One of the best known and most beloved fairy tales, Hansel and Gretel was published by the Grimm Brothers in 1812 in a volume containing scores of other legendary short stories such as Snow White and Cinderella. By 1893, Engelbert Humperdinck – no, not the Las Vegas schmaltz-meister, the original German composer – turned the beloved story into a full-blown three-act opera to largely rave reviews. It is this version that the Bronx Opera adapts for its May session.
The Bronx Opera's rendition of Humperdink's Hansel and Gretel is brilliantly brought to life by the Bronx Opera's founder, Michael Spierman who draws lush, room-filling sound from his full orchestra of almost three dozen extremely talented musicians. Spierman's son Benjamin serves as Stage Director and translated the opera so that it could be fully performed in English while maintaining the integrity and wit of the original.
As is usual for a Bronx Opera production, there are standout and noteworthy performances aplenty. In the cast we saw, Allison Pohl was charming and charismatic as Gretel and Bronx Opera vet Hannah Rosenbaum makes a memorable impression in a brief but pivotal role as the Sandman. It should be noted that this rendition of the opera continues the tradition of the original in that the role of Hansel is performed by a female – a so-called "pants" role – and Jennifer Caruana does a fine job as the mischievous Hansel. On the technical side, the many projections used to suggest the forest, the witches flying across the sky, and the gingerbread house are clever, colorful, and inventive and were quite effective tools in the school of doing more with less.
Image credit: The Bronx Opera Company
If we have one critique of Hansel and Gretel, it is with the third act, which follows the intermission. At this point, the children are awakened by the Dew Fairy and soon find themselves at the mercy of the evil Gingerbread Witch. This is where the story should kick into high gear and the action should rise toward a satisfying climax, but in spite of the fact that the children are captured and Hansel is being fattened in preparation for his eventual fate as a tasty morsel, no sense of underlying tension is ever achieved. Therefore, when the children find the courage and resourcefulness to outsmart the witch and push her into her own oven, the thrill of giddy catharsis that shoud be felt by the audience is somewhat diminished.
Much of the problem is with the underlying source material. Humperdinck, in trying to lift Hansel and Gretel from its childhood folk tale origins to an opera worthy of serious consideration by adults may have succeeded all too well. The composer's Wagnerian influences are apparent, but are structurally too rigid, serving to deflate much of the playfulness and imaginative spark inherent in the concept. In the past, we've seen fantastic results where the Bronx Opera stayed extremely close to the source material they adapted and did not take too many liberties, but in this case with such kid-friendly material, why not?
The staging of this production was perhaps too well-mannered where a little cutting loose would have worked wonders. The production design was fun and colorful, and we would have liked to have seen things taken even further. Having the witch's entrance moved off-stage and directly into the audience where she could pop up unexpectedly, for example, might have provoked shrieks of laughter from the many children that were in attendance. Or use the many video screens adorning the stage to have the witch's ugly mug projected in large size on four screens simultaneously as she sings her entrance number. On a similar note, the witch's performance could have been made more broadly campy as her presence comprises the money shots of this oft-told tale and therefore needed to make much more of an impact than they do here. Everything about the witch, from the costume to the entrance to the performance should have been bigger, grander, and just plain more fun.
Image credit: The Bronx Opera Company
While remaining faithful to the original, it might have been a canny idea for Spierman to have another story in the back of his mind that uses much the same template: lost child trying to get back home, but running afoul of an evil witch and singing songs along the way – The Wizard of Oz – to try to attain the same larger-than-life tone particularly in the witch's performance.
Humperdinck's opera ends up being a creation that is neither fish nor fowl – not weighty enough to engage a fully adult audience, yet not cartoonishly preposterous enough to have the kids leaping out of their seats in excitement. Still, the Bronx Opera does a commendable job in bringing this flawed gem to the stage and it is a largely effective gateway to the world of opera for the little ones – a nice night out for the entire family.
There are still two more performances left to the Bronx Opera's Hansel and Gretel, and tickets should still be available for their Long Island shows at Hofstra University. Please visit the Bronx Opera's website for more information and to keep up with future projects and their ongoing mission to make classical opera affordable and accessible to everyone.
To listen to our previous interviews with the Bronx Opera Company's Ben Spierman, click here.
2013-2014 TELEVISION SEASON PREVIEW
Written by USTownhall staff
Sunday, 15 September 2013 09:38
ABC
CBS
FOX
NBC
The CW
SUNDAY
7:00
America's Funniest Home Videos
60 Minutes
American Dad reruns
Football Night in America
7:30
The Simpsons reruns
8:00
Once Upon a Time
The Amazing Race
The Simpsons
Sunday Night Football
8:30
Bob's Burgers
9:00
Revenge
The Good Wife
Family Guy
9:30
American Dad
10:00
Betrayal
The Mentalist
10:30
MONDAY
8:00
Dancing with the Stars
How I Met Your Mother
Bones
The Voice
Hart of Dixie
8:30
We Are Men
9:00
2 Broke Girls
Sleepy Hollow
Beauty & the Beast
9:30
Mom
10:00
Castle
Hostages
The Blacklist
10:30
TUESDAY
8:00
Marvel's Agents of SHIELD
NCIS
Dads
The Biggest Loser
The Originals
8:30
Brooklyn Nine-Nine
9:00
The Goldbergs
NCIS: Los Angeles
New Girl
The Voice results show
Supernatural
9:30
Trophy Wife
The Mindy Project
10:00
Lucky 7
Person of Interest
Chicago Fire
10:30
WEDNESDAY
8:00
The Middle
Survivor
The X Factor
Revolution
Arrow
8:30
Back in the Game
9:00
Modern Family
Criminal Minds
Law & Order: SVU
The Tomorrow People
9:30
Super Fun Night
10:00
Nashville
CSI
Ironside
10:30
THURSDAY
8:00
Once Upon a Time in Wonderland
The Big Bang Theory
The X Factor Results Show
Parks and Recreation
The Vampire Diaries
8:30
The Millers
Welcome to the Family
9:00
Grey's Anatomy
The Crazy Ones
Glee
Sean Saves the World
Reign
9:30
Two and a Half Men
The Michael J. Fox Show
10:00
Scandal
Elementary
Parenthood
10:30
FRIDAY
8:00
Last Man Standing
Undercover Boss
MasterChef Junior
Dateline NBC
The Carrie Diaries
8:30
The Neighbors
9:00
Shark Tank
Hawaii Five-O
Sleepy Hollow (encore broadcast)
Grimm
America's Next Top Model
9:30
10:00
20/20
Blue Bloods
Dracula
10:30
SATURDAY
8:00
College Football
Comedytime Saturday
Fox Sports Saturday
reruns
8:30
9:00
Crimetime Saturday
9:30
10:00
48 Hours Mystery
SNL Primetime
10:30
USTownhall RealStories presents author ANDY MANGELS
Written by Scott Katz
Friday, 07 December 2012 13:45
We recently interviewed USA Today best-selling author and DVD documentary producer Andy Mangels to discuss his latest book, the years-in-the-making Lou Scheimer: Creating the Filmation Generation. Weighing in at 288 pages, this book, co-written with Lou Scheimer himself, is part biography and part business history as it chronicles both Lou's life and the life of the Filmation animation studio, one of the preeminent television animation producers for over 25 years.
As in-depth as this interview is, it can give you only a taste of what happened behind the scenes in the often harsh world of television production. Although shuttered in the late 1980s, Filmation's legacy endures today as many of its classic series are available to own on DVD, and many of today's top animators got their start at this legendary animation studio.
For more, including information on how to order Lou Scheimer: Creating the Filmation Generation, please visit www.andymangels.com and www.twomorrows.com
Click the triangular "play" button above to listen to the show!
As long as the browser window is not refreshed, you can click the "pause" button at any time and resume where you left off.
INTERVIEW HIGHLIGHTS
0:00
Intro & overview of the Filmation studio and the shows it produced
1:09:40
L'Oreal buys Filmation leading to the demise of the studio
3:25
Filmation's use of licensed properties such as The Archies, Star Trek, etc.; Archie song segments as a precursor to music videos; Fat Albert introduces stories with morals and messages
1:13:00
Lou Scheimer's mood as he realized Filmation was being closed for good
9:30
Lou Scheimer's dedication to shows with a pro-social message & stories that had value in addition to entertainment; Filmation was first animation studio to feature minority characters that weren't racist caricatures
1:16:50
Mr. Mangels' personal appreciation for Filmation's output and innovations in the process of creating the book
12:20
Mr. Mangels discusses how he met Lou Scheimer while creating DVD documentaries for BCIEclipse animated DVD sets
1:20:00
Why is Filmation considered the also-ran when discussing television animated studios?; Stories of how Filmation cartoons have affected its audience
16:10
Interviewing Lou Scheimer for the book and including information that couldn't be included in the DVD documentaries
1:25:50
Lou Scheimer's feelings regarding fan reaction vs. critical reaction
19:35
Mr. Mangels talks about his extensive time interviewing Lou Scheimer and his sense of Mr. Scheimer as a person
1:28:25
Unfair critiques of Filmation by animation historians; Filmation's use of more realistally drawn characters, detailed backgrounds, and rotoscoping
22:40
Animation & special effects legends who got their start at Filmation; Filmation's commitment to keeping all its animation work in the United States
1:34:00
Filmation's going the extra mile in developing their licensed series in terms of hiring DC and Star Trek writers and hiring the original actors to reprise their voices for the animated series
27:35
How Pinky and the Brain was inspired by a Filmation cartoon; Some behind-the-scenes stories about the history of television animation; Filmation creating the weekday syndicated animation boom in the 1980s with He-Man and the Masters of the Universe
1:37:10
Did Filmation's having so many licensed properties hurt their standing among animation historians?; Using Laugh-In writers in Filmation shows; Being ahead of the curve regarding diversity in series such as Isis and Fat Albert, among others
34:00
Relationship between Kid Super Power with Shazam and the Archies; Presenting all sides of the story besides Mr. Scheimer's recollections in the book; DC copyright lawsuit regarding Tarzan and the Super 7 characters
1:44:00
Many Hanna-Barbera shows could be traced back to a successful Filmation series
39:30
Filmation being sued by DC at the same time as being in business with DC; Filmation's plans for a new Batman live-action series starring Adam West & Burt Ward in the 1970s; Why Filmation never did a series for Marvel Comics; Batman being used by both Hanna-Barbera and Filmation in the 1970s; Behind the scenes in selling animated series to networks; Being inspired to create animation for weekday syndicated market
1:47:20
Status of Filmation series original materials today
51:50
Did the DC lawsuit hurt the working relationship with DC?; Changes in licensing in the post-Star Wars era; Cartoons based on toys including He-Man and the Masters of the Universe
1:52:00
Status of materials for projects that never made it to series and never seen by the public; Filmation library recently purchased by DreamWorks
56:25
Filmation working with Mattel in creating the He-Man and the Masters of the Universe series
1:55:30
Who has video rights to Filmation's licensed properties?; Why are some series released on DVD, but others are not?; Non-Filmation animated series Time-Life may release in the future
1:00:00
Internal thoughts at Filmation on their big gamble in producing the He-Man series; Increased competition in the wake of He-Man's success
2:00:00
Final notes from Mr. Mangels about his book and what readers can find in the book including the real story of how the Flintstones were created and when Lou Scheimer's father punched out Adolf Hitler!
1:05:00
Filmation's moral-based style suffering in comparison to GI Joeand Transformers; The rise of video games and their impact on animated programming
EXCLUSIVE: The Queen + Adam Lambert 2014 Concert Series
Written by Scott Katz
We kick off our Summer 2014 sessions of the USTownhall RoundTable podcast with full coverage of one of the hottest concert tickets of the season: The Queen + Adam Lambert concert series! RoundTable panelist Brenda English went to an unbelievalbe six of those concerts in a marathon undertaking from June 22 to July 6. She'll be sharing her first-hand experiences of the concerts as well as exclusive photos taken from each venue. This podcast series is truly a must-listen for any Queen or Adam Lambert fan!
USTownhall RoundTable Summer Sessions 2014: The QUEEN + ADAM LAMBERT concert tour
June 22, 2014: Previewing the Queen + Adam Lambert Summer 2014 concert series.
July 9, 2014: The panel discusses the concerts that took place in Los Angeles and at the Hard Rock Hotel in Las Vegas.
June 30, 2014: The panel discusses the concerts that took place in Edmonton, Calgary, and Vancouver. Photo galleries below!
July 20, 2014: More on the Queen/Adam Lambert concert series, but first, the panel weighs in on the controversy surrounding the daytime talk show The View that dominated July entertainment coverage.
August 4, 2014: The panel is joined by Brenda's son Michael to discuss more on the Las Vegas concerts as well as the FINAL concert in North America – Toronto, Canada on July 29.
June 28, 2014 - Vancouver, British Columbia, Canada - Ever wonder what it would be like to see a concert from ON the stage? Wonder no more, as we present this gallery of exclusive photos taken from on stage (and back stage!) at the Vancouver show!
Weekend Box Office Summer 2011
Written by USTownhall staff
Sunday, 08 May 2011 20:21
Summer movie season officially kicked off on Friday, May 6, 2011, and we'll be bringing you the actual box office results for the domestic market (USA+Canada) each Monday in an easy-to-read chart. Which will be the hits, and which will be the bombs? Follow your favorite movies throughout the summer and see whether they live up to box office expectations.
In this final weekend of the summer movie season, The Help surges almost 37% to capture the top spot for a third straight week. This uniquely American tale isn't really translating overseas, but its bargain-priced $25 million budget has been recouped a few times over anyway.
2
The Debt
(Focus Features)
$12,851,600
debut
$14,753,014
3
Apollo 18
(Weinstein/Dimension)
$10,705,556
debut
$10,705,556
4
Rise of the Planet of the Apes
(20th Century Fox)
$10,325,485
+16.4%
$162,550,178
5
Shark Night 3D
(Relativity)
$10,126,458
debut
$10,126,458
It's got sharks. It's got 3D. It just doesn't have an audience. Along with Judy Moody, Relativity chalks up another bomb in this bummer summer.
6
Columbiana
(TriStar)
$9,570,213
-8.1%
$24,132,335
7
Our Idiot Brother
(Weinstein Company)
$7,038,249
+0.4%
$17,273,593
8
Spy Kids: All the Time in the World
(Weinstein/Dimension)
$6,801,885
+13.2%
$31,201,190
9
Don't Be Afraid of the Dark
(FilmDistrict)
$6,382,227
-25.1%
$17,822,416
10
The Smurfs
(Sony Pictures)
$5,724,093
+20.4%
$133,676,705
11
Crazy, Stupid, Love
(Warner Bros.)
$4,261,090
+37.1%
$75,464,794
12
Harry Potter and the Deathly Hallows Part 2
(Warner Bros.)
$3,401,110
+32.6%
$375,552,093
We were wrong. Potter logs yet another week in the top 12 thanks to the four-day weekend.
Great word of mouth continues and The Help has the smallest drop in the top 10 allowing it to remain on top and hold off three new releases.
2
Columbiana
(TriStar)
$10,408,176
debut
$10,408,176
3
Rise of the Planet of the Apes
(20th Century Fox)
$8,867,741
-45.0%
$148,674,018
4
Don't Be Afraid of the Dark
(FilmDistrict)
$8,525,728
debut
$8,525,728
5
Our Idiot Brother
(Weinstein Company)
$7,011,631
debut
$7,011,631
Lackluster debut for this Paul Rudd comedy that is getting some good reviews. However, it was made on an impossibly miniscule production budget of $5 million, so it might actually make a small profit during its theatrical run.
6
Spy Kids: All the Time in the World
(Weinstein/Dimension)
$6,007,180
-48.4%
$21,990,229
Another failed remake.
7
The Smurfs
(Sony Pictures)
$4,754,766
-39.1%
$125,948,234
8
Conan the Barbarian (2011)
(Lionsgate)
$3,185,094
-68.2%
$16,660,669
There won't be a sequel to this $90 million budgeted disaster. The audience simply didn't care about this film.
9
Crazy, Stupid, Love
(Warner Bros.)
$3,108,178
-35.2%
$69,732,502
10
Fright Night (2011)
(Disney)
$3,103,227
-59.8%
$14,281,778
Another of last week's openers that suffered a huge dropoff. We'd like to hope that this signals the ending of the 80s remakes, but we know better – especially with both Footloose and Dirty Dancing coming up.
11
30 Minutes or Less
(Sony Picutres)
$2,687,165
-58.0%
$31,789,438
12
Harry Potter and the Deathly Hallows Part 2
(Warner Bros.)
$2,564,370
-43.2%
$370,805,062
The final Harry Potter flick logs its final week in the top 12, and will likely top out around the $375 million range domestically. Add about $1 billion more in international sales, and this last chapter goes out with a bank.
Logs a second week at the top in spite of an almost 50% drop. On track to make $160-170 million.
2
The Help
(Disney)
$26,044,590
debut
$35,918,416
Excellent debut for this civil rights drama. Will undoutedly recoup its meager $25 million production budget.
3
Final Destination 5
(New Line Cinema)
$18,031,396
debut
$18,031,396
New Line went to the well once too often as the fifth installment opens weaker than any of the previous four.
4
The Smurfs
(Sony Pictures)
$13,733,081
-33.7%
$101,778,741
Superb holdover vaults the kiddie favorite over the $100 million mark. Also doing quite well overseas, which is no surprise given the international appeal of the property.
5
30 Minutes or Less
(Sony Picutres)
$13,330,118
debut
$13,330,118
Comedy caper failed to find an audience and will likely drop out of the top 10 in a week or two.
6
Cowboys and Aliens
(Universal)
$7,811,305
-50.3%
$81,674,015
7
Harry Potter and the Deathly Hallows Part 2
(Warner Bros.)
$7,251,414
-41.7%
$357,337,355
8
Captain America: The First Avenger
(Paramount)
$7,210,902
-44.6%
$156,971,108
9
Crazy, Stupid, Love
(Warner Bros.)
$7,054,228
-41.3%
$55,526,524
10
The Change-Up
(Universal)
$6,306,645
-53.4%
$25,838,850
11
Glee: The 3D Concert Movie
(20th Century Fox)
$5,961,231
debut
$5,961,231
Glee's appeal extends beyond television to music, but stops at the cinema with a dead-on-arrival opening weekend outside the top 10.
Box office came in about the same as Thor in May, but had a larger audience due to fewer people opting to see it in 3D.
2
Harry Potter and the Deathly Hallows Part 2
(Warner Bros.)
$47,422,212
-72.0%
$273,539,281
Enormous drop in box office, but mitigated by the record-breaking first weekend.
3
Friends with Benefits
(Sony Screen Gems)
$18,622,150
debut
$18,622,150
Could not have ranked higher than third given the competion, and box office was on par for a film of this type and stars of this caliber. Did only $1.1 million less than Ashton Kutcher's & Natalie Portman's No Strings Attached.
4
Transformers: Dark of the Moon
(Paramount)
$12,051,735
-43.5%
$325,841,185
Already 2011's highest grossing movie, but Harry Potter just might unseat it before each ends its theatrical run.
5
Horrible Bosses
(Warner Bros.)
$11,884,319
-33.1%
$82,566,703
Doing slightly better than fellow R-rated, high concept comedy Bad Teacher did at this point. Both will likely cross the $100 million mark domestically.
6
Zookeeper
(Sony Pictures)
$8,702,055
-29.4%
$59,206,255
$80 million budget greenlit when it was thought that Kevin James was a movie star after Paul Blart hit big two years ago. James did not deliver the goods a second time.
7
Cars 2
(Disney-Pixar)
$5,655,857
-32.7%
$176,375,295
Not a good summer for Disney toons as both Cars and Winnie the Pooh are performing below expectations.
8
Winnie the Pooh
(Disney)
$5,162,046
-34.3%
$17,594,297
Is Pooh past his prime? Not doing well either domestically or internationally.
9
Bad Teacher
(Sony Pictures)
$2,610,925
-49.3%
$94,365,688
Should just make it over the $100 million mark if it can stay in theaters a few more weeks.
10
Midnight in Paris
(Sony Pictures Classics)
$1,804,662
-3.8%
$44,783,206
Woody Allen's biggest hit in years holds relatively steady in its tenth weekend.
11
Bridesmaids
(Universal)
$1,325,985
-23.0%
$163,832,870
Sleeper hit of the summer stays in the race in its eleventh weekend. With a $32.5 million production budget, Bridesmaids has already made tons of profit.
12
Larry Crowne
(Universal)
$1,019,475
-61.7%
$34,327,405
High profile failure for stars Tom Hanks and Julia Roberts.
Obviously the best debut of the year, but does noticeably less than the previous entry in the series. It's not accurate to call this an underperformer, but it's another franchise that is seeing diminishing returns this summer.
2
Cars 2
(Disney-Pixar)
$31,629,695
-52.2%
$122,560,310
Big drop considering it's $200 million production budget.
3
Bad Teacher
(Sony Pictures)
$17,261,534
-45.4%
$62,707,505
Holding over quite well. Made on a miniscule $20 million budget, Bad Teacher will make a tidy profit just on theater grosses alone. DVD, pay-per-view, and cable revenues are just gravy.
4
Larry Crowne
(Universal)
$16,098,795
debut
$16,098,795
Surprisingly low number considering the star power here, but it was made on a $30 million budget, which makes it a worthy investment.
5
Super 8
(Paramount)
$9,527,129
-20.8%
$110,070,156
6
Monte Carlo
(20th Century Fox)
$8,588,318
debut
$8,588,318
7
Green Lantern
(Warner Bros.)
$7,928,176
-56.0%
$103,616,460
Once again, GL has the steepest drop in the top 12, and it lost many 3D screens to Transformers.
Just-ok debut for the latest Pixar feature in terms of audience attendance.
2
Bad Teacher
(Sony Pictures)
$31,603,106
debut
$31,603,106
R-rated comedy came in around expectations. Opened better than Bridesmaids, and if word of mouth is strong, it can be another sleeper hit.
3
Green Lantern
(Warner Bros.)
$18,028,056
-66.1%
$88,989,477
The news keeps getting worse for GL as it suffers the largest percentage drop in the top 12. Will likely not even hit the $120 million mark domestically. Foreign box office is likewise lackluster. Won't get anywhere near recouping its $200 million production budget in theaters.
4
Super 8
(Paramount)
$12,028,092
-44.0%
$95,114,324
In contrast to GL, Super 8 will break even on its $50 million production budget with theatrical grosses alone.
5
Mr. Popper's Penguins
(20th Century Fox)
$10,145,662
-45.0%
$39,293,341
Not a terrible drop, but considering how low opening weekend was, this really does count as a high-profile bomb for Carrey.
Relatively soft debut given the hype. A manageable budget of $50 million may still allow a profit to be made even before it gets to DVD and cable.
2
X-Men: First Class
(20th Century Fox)
$24,128,986
-56.2%
$98,023,335
Standard drop for the genre. First Class will likely top out at under $160 million domestically.
3
The Hangover Part II
(Warner Bros.)
$17,667,329
-43.7%
$215,727,461
Even with another big drop, Hangover II has already more than doubled its $80 million production budget.
4
Kung Fu Panda 2
(DreamWorks)
$16,543,166
-30.7%
$126,813,240
5
Pirates of the Caribbean: On Stranger Tides
(Disney)
$10,945,764
-39.0%
$208,873,258
6
Bridesmaids
(Universal)
$10,066,290
-16.4%
$123,815,865
7
Judy Moody and the NOT Bummer Summer
(Relativity Pictures)
$6,076,859
debut
$6,076,859
Looks like the summer will be a bummer for Judy after all. Will likely not even get to $20 million.
8
Midnight in Paris
(Sony Pictures Classics)
$5,830,723
+110.5%
$13,909,196
Woody Allen's latest opens wide and becomes his highest grosser since Vicky Cristina Barcelona. Still needs to make more than $10 million to exceed it, though.
9
Thor
(Paramount)
$2,435,215
-42.7%
$173,664,723
10
Fast Five
(Universal)
$1,727,330
-45.4%
$205,094,205
11
The Tree of Life
(Fox Searchlight)
$827,009
+33.8%
$2,361,655
Terrence Malik's latest, which stars Brad Pitt and Sean Penn, is doing nice business at fewer than 50 theaters domestically.
Prequel entry becomes the worst opener in the series. Excellent film may prove to be a costly failure given its $160 million budget.
2
The Hangover Part II
(Warner Bros.)
$31,381,234
-63.5%
$185,808,194
Huge drop considering it was a comedy, a genre which tends to hold over better in succeeding weeks
3
Kung Fu Panda 2
(DreamWorks)
$23,887,914
-49.9%
$100,028,372
4
Pirates of the Caribbean: On Stranger Tides
(Disney)
$17,954,603
-54.9%
$190,200,880
Box office has been very lopsided for this film. It's already made $615 million overseas, but this fourth entry will undoubtedly be the lowest grosser domestically.
