Diana, The Musical — which made its debut not on the stage but on the screen in a filmed version that streamed on Netflix — will be ending its run just a short month after it opened.

It was announced late Friday evening that the show’s Sunday, Dec. 19 performance will serve as its closing night at the Longacre Theatre. The musical, which traces the life of Princess Diana as well as her legacy, opened on Broadway on Nov. 17 following a series of previews that began on Nov. 2. It will have run for a total of 33 performances and 16 previews.

“We are extraordinarily proud of the Diana company and of the show onstage at the Longacre. Our heartfelt thanks go out to the cast, crew and everyone involved in creating the show. And to the audiences who have shown their love and support at every performance,” the show’s producers, Grove Entertainment (Beth Williams), Frank Marshall and The Araca Group, said in a joint statement.

The show stars Jeanna de Waal as Diana, Roe Hartrampf as Prince Charles, Erin Davie as Camilla Parker Bowles and Judy Kaye as Queen Elizabeth. The musical’s book and lyrics are Tony winner Joe DiPietro, with music and lyrics by Tony Award winner and Bon Jovi member David Bryan. The musical was directed by Tony winner Christopher Ashley, choreographed by Olivier Award winner Kelly Devine with musical supervision and arrangements by Olivier winner Ian Eisendrath.

The Broadway show was initially slated to open in the spring of 2020 and had run for nine preview performances before Broadway shut down for an unprecedented 18 months due to the ongoing COVID-19 pandemic.

The musical arrived amid a resurgence of interest in Princess Diana and her time as part of the Royal Family. Other recent takes on the life and legacy of the former Princess of Wales include Emma Corrin as the philanthropist, fashion icon and mother in Netflix’s The Crown and the Pablo Larraín-directed drama Spencer, starring Kristen Stewart in a performance that is has earned her major Oscar buzz.

Ahead of the production’s streaming debut, Marshall told The Hollywood Reporter of the current interest in Diana’s story, “She was an amazing woman, and there’s a lot of ways to celebrate her life, and we’re one of them. She’s fascinating, and I think the public is really interested in seeing behind the curtain.”

Diana both in its Broadway and streaming forms were met with poor critical reception. In a review of the show during its world premiere run at La Jolla Playhouse, THR noted that despite there being an “earnestness” about the musical, the story had “flaws.”

“Given the endless stream of books, movies, documentaries and news coverage over the decades, the world certainly didn’t need a Diana musical, and with so much potential for a camp misfire, it might have been safer just to pass on this idea,” THR theater reviewer Deborah Wilker wrote.

This article was originally published by The Hollywood Reporter.

Steven Spielberg’s critically acclaimed West Side Story posted a subdued opening day gross of $4.1 million from 2,820 theaters at the Friday (Dec. 10) box office for a disappointing domestic opening in the $10 million to $11 million range.

The good news: if those projections hold, the 20th Century and Disney film will claim the No. 1 spot on the chart ahead of Disney Animation holdover Encanto.

West Side Story had hoped to clear at least $13 million in its start. Musicals face a huge challenge in the pandemic era since they rely on older adults, and particularly older females. So far, moviegoers over the age of 35 are the leeriest in terms of returning to theaters.

The movie earned an A CinemaScore from audiences, while the largest quadrant were ticket buyers over the age of 55 (26 percent). More than half of the audience was over the age of 35.

The overall marketing campaign has positioned the film as an event pic and love story instead of a musical, in hopes of attracting younger consumers who are so far fueling the box office recovery.

Directed from a script by Tony Kushner and based on the iconic 1957 Broadway show, West Side Story was originally set to open in 2020. The film stars Ansel Elgort and newcomer Rachel Zegler as star-crossed lovers Tony and Maria and opens 60 years after the first movie hit the big screen on its way to scoring numerous Oscars, including best picture.

Spielberg’s West Side Story is likewise expected to be a major Oscar contender. At the box office, it hopes to remain a player throughout the year-end holidays.

The weekend’s other new nationwide release, the football drama National Champions, is getting sacked in its debut. The film, directed by Ric Roman Waugh, grossed $120,000 from 1,197 theaters on Friday for an estimated weekend opening of $320,000. STX, which is handling the films, is counting on a robust premium VOD run in January tied to the real-life national championship game.

This article was originally published by The Hollywood Reporter.

Bad Bunny went big and went home at his “P FKN R” show in Puerto Rico on Friday night (Dec. 10), which also marked his first concert in over two years since his X100Pre Tour.

Lines at San Juan’s Estadio Hiram Bithorn began to wrap around the stadium hours before gates opened at 4 p.m. Unofficially coined “Badchella” because of its Coachella-inspired aesthetics, the Puerto Rican artist gave attendees the ultimate fan experience.

As soon as doors opened, fans walked through the Bad Bunny museum that included two huge Bad Bunny inflatables and displayed actual belongings of the artist such as his Bugatti car and countless awards, to name a few.

Outside the stadium, a carnival atmosphere with various food trucks, a live DJ, a carousel, the merchandise booth, and different Bad Bunny stations for cute photo ops.

At around 7:30 p.m., fans rushed their way to general admission e to catch a good spot. Others took their seats. Outside, a long line still wrapped around the stadium with fans trying to get inside. For entrance, organizers required that all concert attendees show proof of COVID-19 vaccination or an official Vacu-Id provided by CESCO Digital, which slowed down the check-in process at the show.

Set to kick off at 8:30 p.m., the man of the hour did not jump on stage until 11:35 p.m. after all fans were inside, and after a nearly 10-minute intro that highlighted the best of Puerto Rico’s culture, athletes, activists, and artists.

“Sorry for the wait and thank you for being patient,” said Bunny, looking like a rock star in black leather pants and a mesh top. “I have the best fans in the world!”

He began the show performing “El Mundo es Mio” and continued with a streak of songs that formed part of his 2020 album, El Último Tour del Mundo, including “Booker T,” “Maldita Pobreza,” “La Noche de Anoche,” “Te Mudaste,” and “Sorry Papi” with newcomer Abra.

“Thank you for being here tonight,” he told the 40,000 people in the crowd. “I’m a bit nervous because it’s my first concert in two years. Everything is so different now but we’re here.”

Thirty minutes past midnight, Bad called on stage his first major guest of the night, Jhay Cortez. Together, they performed their hits “Como Se Siente,” “No Me Conoce,” and “Dákiti.”

.@jhaycortez en el concierto de @sanbenito anoche 🇵🇷🔥 #badbunny #pfknr pic.twitter.com/atjdeurHPr

— La Roiz (@la_roiz) December 11, 2021

Cortez was one of 10 special guests of the night, followed by J Balvin, who took the stage to perform “La Canción” and “AM (Remix)” with another special guest, Nio Garcia.

On the stage, Bad was accompanied by a live band and a group of fierce dancers. Massive screens showed groovy visuals for each performance, along with fireworks every so often, making the evening into a spectacle. The energy at the stadium was immaculate with fans of all ages dancing and singing at the top of their lungs.

At 1:10 a.m., the Puerto Rican artist performed “Si Veo a tu Mamá,” followed by all the bangers from his sophomore album, YHLQMDLG, such as “La Dificil,” “Vete,” “Ignorantes” with special guest Sech, “Una Vez” with special guest Mora, and “Hablamos Mañana” with special guest Duki.

“I released three albums and I haven’t been able to sing them live,” an emotional Bad Bunny said. “Thanks to you, I am where I am and have the success I have today. I’m always going to be grateful for you.”

.@sanbenito concert in Puerto Rico last night was a WHOLE MOOD! #pfknr #badbunny pic.twitter.com/QvlovtEhMo

— La Roiz (@la_roiz) December 11, 2021

Then, the Último Tour del Mundo truck pulled up at the middle of the stadium, becoming another stage for Bunny and his special guests: Myke Towers performing “Puesto Pa’ Guerriar” and “Bandido,” Romeo Santos playing “Volví,” and Arcangel delivering “P FKN R.” He also performed “Yonaguni” and “Callaita” live for the first time.

Bad Bunny topped off the night with his perreo gems “Yo Perreo Sola” and “Safaera.” “Thank you, you’re the best,” he assured his fans before jumping off the stage at 2:30 a.m.

Produced by Noah Assad Presents and Move Concerts, the two-day “P FKN R” concert cost over $10 million to produce. “This is not only the biggest event Puerto Rico will see but also the biggest that many people in the world will see,” Noah Assad said in a press conference earlier this week. “It’s been spectacular and collaborative. A lot of people have worked together to make this show happen and the idea is so that fans enjoy it to the max.”

“P FKN R,” which was live-streamed for additional fans at San Juan’s Coliseo de Puerto Rico José Miguel Agrelot, continues with a second show on Saturday (Dec. 11). Bad Bunny’s El Último Tour del Mundo trek will kick off in February 2022.

Michael Nesmith, who died Friday (Dec. 10) at age 78, and his fellow Monkees – Davy Jones, Peter Tork and Micky Dolenz – set a record in 1967 that no other act has equaled: They became the first and only act to have four No. 1 albums on the Billboard 200 in a calendar year.

They were on top as the year began with their debut album, The Monkees, which had spent the last eight weeks of 1966 at No. 1. The Monkees spent the first five weeks of 1967 in the top spot, until it was replaced on Feb. 11 by the group’s sophomore set, More of the Monkees. That album logged 18 consecutive weeks on top.

After a one-week interruption by Herb Alpert & the Tijuana Brass – you’ll be reading more about them soon – The Monkees’ third album, Headquarters, grabbed a week at No. 1 in June before spending the next 11 weeks at No. 2 behind The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. (Hot as The Monkees were in 1967, Sgt. Pepper’s was a watershed album.) The Monkees made it back to the top spot in December with Pisces, Aquarius, Capricorn & Jones, Ltd., which spent the last five weeks of the year at No. 1.

Since March 1956, when the Billboard 200 began publication on a consistent, weekly basis, no one else has had four No. 1 albums in a calendar year. And only seven acts have had three No. 1 albums in a calendar year. The Beatles achieved this feat three times. Elvis Presley did it twice. Here’s a full report.

Elvis Presley (1957): Elvis, which had spent the last four weeks of 1956 at No. 1 on Best Selling Pop Albums, was No. 1 for a fifth week as the new year began. The Loving You soundtrack was on top for 10 consecutive weeks, from July to September. Elvis’ Christmas Album was No. 1 for the last three weeks of 1957 (and a fourth week in January 1958).

The Kingston Trio (1960): This folk/pop trio may not be as famous today as some of these other acts, but they were enormously successful in their time. Here We Go Again!, which had been No. 1 on Best Selling Monophonic LPs for the last three weeks of 1959, remained on top of Mono Action Albums for the first five weeks of 1960. Sold Out had 10 nonconsecutive weeks on top from May to July. String Along had five consecutive weeks on top of that chart in September and October.

Elvis Presley (1961): The G.I. Blues soundtrack, which spent four weeks on top of Mono Action Albums in December 1960, remained on top for six more weeks in 1961. Something for Everybody was No. 1 for three weeks in August and September. The Blue Hawaii soundtrack spent the last three weeks of the year at No. 1 (and stayed on top for 17 additional weeks in 1962).

The Beatles (1964): The Fab Four were the first act to have three No. 1 albums in a year following the August 1963 merger of separate mono and stereo charts into one definitive listing. Meet the Beatles! spent 11 consecutive weeks on top from February through April. It was replaced in the top spot on May 2 by The Beatles’ Second Album, which spent five weeks in the lead. The group returned to No. 1 in July with the A Hard Day’s Night soundtrack, which had 14 weeks on top, through Oct. 24.

The Beatles (1965): Beatles ’65 spent nine consecutive weeks on top, from January in to March. Beatles VI spent six consecutive weeks on top in July and August. The Help! soundtrack spent nine consecutive weeks on top from September to November.

Herb Alpert & the Tijuana Brass (1966): This instrumental ensemble reached its peak this year. Whipped Cream & Other Delights, which had spent the last five weeks of 1965 at No. 1, remained on top for three nonconsecutive weeks in 1966. Whipped Cream – famous for one of the sexiest album covers of that or any era – was replaced at No. 1 on March 5 by Going Places, which had six nonconsecutive weeks on top. After a one-week interruption by The Mamas & the Papas, What Now My Love took the lead in May and stayed on top for nine nonconsecutive weeks, ending Sept. 3.

The Beatles (1966): Rubber Soul had six consecutive weeks at No. 1 in January and February. “Yesterday”…and Today, featuring the 1965 ballad that is probably The Beatles’ most beloved song, had five weeks on top in July and August. After a one-week interruption by Herb Alpert & the Tijuana Brass – them again! — Revolver was No. 1 for six consecutive weeks in September and October.

The Monkees (1967): Details above.

Elton John (1975): Elton John’s Greatest Hits, which spent the last five weeks of 1974 on top, also spent the first five weeks of 1975 in the lead. Captain Fantastic and the Brown Dirt Cowboy, which in June became the first album (by anybody) to enter the Billboard 200 at No. 1, spent seven nonconsecutive weeks on top. Rock of the Westies, which in November became the second album to debut at No. 1, spent three weeks in the lead.

Glee Cast (2010): Glee, which was by most measures the biggest TV/music crossover phenomenon since The Monkees, had three No. 1 albums in the space of just eight weeks in May and June. Glee: The Music, the Power of Madonna was on top for one week in May. Glee: The Music, Volume 3: Showstoppers led for two weeks in June. Glee: The Music, Journey to Regionals had one week on top in June.

Taylor Swift (2021): Swift is the only female solo artist to log three No. 1 albums in a calendar year. Evermore, which hit No. 1 in the last week of 2020, led for three additional weeks in 2021. Fearless (Taylor’s Version) spent two weeks on top. Red (Taylor’s Version) spent one week in the lead before being supplanted by Adele’s 30.