Kristin Chenoweth’s Broadway musical, The Queen of Versailles, will close earlier than anticipated, with its final performance scheduled for January 4, 2026. Officially opening on November 9, 2025, at the St. James Theatre, the production has faced significant challenges, primarily stemming from poor critical reviews.
The announcement of the closing comes just weeks after the show debuted, as critics have offered a mix of feedback, often highlighting a lack of coherence in the musical’s identity. Based on a 2012 documentary of the same name, the musical tells the story of a Florida couple who aspire to build an extravagant mansion during the economic turmoil of 2008.
Despite the early closure, the production has performed reasonably well financially. In its first weeks, The Queen of Versailles generated over $1 million a week at the box office. The early closing announcement is strategically timed ahead of the holiday season, allowing the show to attract additional audiences before its final bow.
Critical Reception and Audience Response
Critics’ reactions to the musical have been notably mixed. Some reviewers have pointed out the shortcomings in the songwriting, describing them as a significant issue within a show that struggles to define its purpose. While the first act received some praise, many noted that the second act felt drawn out and lacking momentum.
The official social media announcement reflected the urgency for audiences to secure tickets while they can, stating, “Consider this your royal summons. The Queen of Versailles will play its final Broadway performance on January 4th! Get tickets at the link in bio before time runs out.” This direct appeal aims to encourage viewers to experience the production before it concludes.
As the show prepares for its closing, it has sparked discussions about the challenges faced by new productions on Broadway. The combination of critical reception and audience interest often plays a crucial role in a show’s longevity, and The Queen of Versailles serves as a case study in this dynamic environment.
In summary, while Krisitin Chenoweth’s venture into Broadway has not achieved the acclaim it sought, the production’s ability to draw significant ticket sales highlights the complexities of audience engagement in the world of theatre. As the final curtain approaches, it remains to be seen how the show will be remembered in the broader landscape of Broadway history.
