My friend and I were having a discussion about this earlier this week and it really got me thinking - if an older musical that was a hit/very well received on Broadway in its original run were written today, would it be successful? For example - if OKLAHOMA or GYPSY were new musicals opening this season, would they be probable to receive good reviews and word of mouth? Those shows were both very successful in their original runs, and are still popular today because of their history, but if nobody knew what they were would they be deemed as "good", considering what the mass public enjoys now vs. 50-60 years ago?
Oklahoma would flop. Gypsy would probably be even more of a hit if it came out recently. Hello Dolly might have survived a good run. My Fair lady would still be a hit. Guys and DOlls would flop. Peter Pan would still be a hit. Annie get your gun would flop. Once upon a Mattress would have had a decent run. Fiddler on the roof would still be a hit. South Pacific probably would be fine.
I agree, Jeffrey. Everything has a foundation and a groundwork on which that what comes later is planted. Some of those stories behind the musical might indeed be considered too tame for today's audiences, but I have to believe the music, which is just so good, would still be well received. Despite the era gap.
I guess it's hard to tell though since it would be hard to separate the music from the story. Many might say the music is great, but the stories are corny. And would the music be enough to sell it if that were the opinion.
I want to believe so.
Some things are timeless. Which is proven by revivals that turn out to be very popular. IMO it's more than just nostalgia that drives them. They're just well done shows with great music.
I still listen to the music of R & H, et. al. and find their lyrics so clever and the music truly great.
If, for instance, South Pacific or Guys and Dolls or She Loves Me or My Fair Lady didn't exist, and someone created them today, and they were well produced, I have little doubt that a great many people would recognize in them something of great value which deserved major success.
Of course not. They're too good. The musical is a junk heap today. Far inferior to shows written by genuinely talented people rather than snarky pipsqueaks who thing they're so, so clever. You know who's clever? Cole Porter, Lorenz Hart, Frank Loesser, Dorothy Fields.