I think we should pause to ponder that there is not a single new musical in a Broadway or off-Broadway venue on either list. The musical genre is in serious trouble my friends, and the fact that there are still exceptions in some years, and awards given in all does not occlude that fact. Garbage is still beating the new work.
But who's fault is that? Consumers choose garbage like "Mean Girls" and "Pretty Woman." So, that's what producers are going to produce. It sucks, and trust me, as a musical theater actor, it has become less and less inspiring to go in for a "Pretty Woman: The Musical" or "Spongebob Squarepants." But at least we have Hadestown, etc.
RippedMan said: "But who's fault is that? Consumers choose garbage like "Mean Girls" and "Pretty Woman." So, that's what producers are going to produce. It sucks, and trust me, as a musical theater actor, it has become less and less inspiring to go in for a "Pretty Woman: The Musical" or "Spongebob Squarepants." But at least we have Hadestown, etc."
We all get to pick the blameworthy. I think the core is in the failure to sufficiently nurture talented and commercially viable creators to work in the genre. For the most part we nurture one or the other. Or worse.
"Rags Parkland Sings the Songs of the Future" at Ars Nova is a new musical, although I don't know if Ars Nova is considered off-Broadway or off-off-Broadway.
I agree Hogan. It seems like it's the same 20 musical theater actors in everything being recycled into other things, and no new interesting talent is able to survive. Everything is whitewashed and bland.
it is considered off-off, and obliquely that was a distinction I intended. I'd also suggest it is unlikely as a commercially viable undertaking for a Broadway musical but that may be a bit too judgmental of me.
As a former lifelong New Yorker and constant theatergoer, I find their lists mostly meaningless. It would be far more helpful to have two lists, one for commercial on and off-Broadway shows, another for smaller or out-of-town venues.
Esoterica is certainly valid, but most of us are interested in the commercial theatre that we could normally see. And I am tired of hearing about OKLAHOMA!, which imo, was a self-conscious mess that screamed DIRECTOR'S PRODUCTION, having little to do with the work itself. Rodgers, Hammerstein and DeMille must have been spinning in their graves...
The fact that Eddie Perfect was scooped up by producers despite having no notable musical theatre composing experience and is debuting on Broadway with two shows in a single season is pretty indicative of some of the issues here.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I agree with Hogan that the American musical theatre appears bleak. But it's not like there have been a ton of new musicals on these lists in recent years: 2017 had 2 (Band's Visit, As You Like It), 2016 had 4 (Comet, Hansen, Ride the Cyclone, Taylor Mac), 2015 had 1.5 (Hamilton, American in Paris), and 2014 had 0.
When Hamilton premiered, a lot of people acted like it was a seismic shift for the future of MT. But almost 4 years later, it's obvious that Hamilton was the outlier in its originality/diversity (& popularity). Don't get me wrong, there have been some positive changes in writing style/inclusion/parity. And new musicals take time -- we may still be a few years away from seeing the "byproducts" of Hamilton. But there STILL aren't enough opportunities being given to serious, bold musicals on- and off-Broadway, especially from emerging writers and people who aren't white dudes.
It's a tough biz, and I hope this is just a moment of transition.
I do think next year is looking more promising, but this year (and most of last season) has made me rethink my argument that Broadway has always had lots more of dross than the opposite so this isn’t anything new. I still remain hopeful for next year...
I only made it into NYC for one June trip plus a few hours in February so I didn’t get to sample enough (plus I didn’t love everything I saw) to create a full top 10 NYC list so here’s my truncated list:
1. Angels in America 2. Three Tall Women 3. The Iceman Cometh 4. Hello, Dolly! (With Bernadette) - Yeah, I know it opened in 2017 (when it - with Bette - topped my list of 2017 shows), but it was thrilling to finally see Bernadette on stage 5. Spongebob Squarepants (whodathunkit) - yeah, I know it opened in 2017, but I didn’t see it til June. 6. The Boys in the Band 7. Skintight
Also, I experienced lots (for me) of touring/regional productions this year:
* Hamilton - Chicago * Wicked - saw it three times while it toured through Tulsa * When We’re Gone - new musical about London during the 14th plaque - saw twice during its premier in Oklahoma City * Dogfight - University of Oklahoma production - my first exposure to the show which I found greatly affecting * Book of Mormon - touring production - OKC - I laughed more than when I saw it on Broadway in 2012 * Avenue Q - college production (in conjunction with a local theater company) in Lincoln, Nebraska - first time seeing it since I saw it on tour through Tulsa years ago - loved it even more in such an intimate theater * Les Miserables - toured through Oklahoma City this year, first time seeing it live (I was a sobbing mess during Empty Chairs at Empty Tables) * Rent - non-equity tour/Madison, WI - not a great production as not all cast members were suited for their roles, but Angel’s death moves me more now than the first time I saw it on tour as more time has elapsed since my friends have passed.
HogansHero said: "I think we should pause to ponder that there is not a single new musical in a Broadway or off-Broadway venue on either list. The musical genre is in serious trouble my friends, and the fact that there are still exceptions in some years, and awards given in all does not occlude that fact. Garbage is still beating the new work."
How true. I would speculate that the producers want hit shows that repay investors and believe the safest path is to choose a property already known to be very popular. Why worry about the audience whistling the show's songs on the way out if the audience already knows them all on the way in?
I was present at one of the first attempts to turn a successful film musical into a stage musical. Despite the fact the Lerner and Loewe wrote the book and added songs, and despite the presence of Alfred Drake and Agnes Moorehead, Gigi ran foronly a hundred performances. I think that most of us could have told the creatives that casting a wooden soap opera star in the role played by the effervescent Leslie Caron was not going to go well.
My favorite musicals had original books (must seem like a big risk), including The Music Man and Chicago, or were adapted from a straight play, including Carousel and The Band's Visit, or were adapted from a novel or short story, such as Oklahoma and Show Boat. The literature itself does not have to be great as long as it provides the book writer with good raw materials.
While the musical industry isn't doing well, I must say the plays have been thriving this past year. Is this because I've finally matured into a play person and I'm realizing how great they are, or are the play categories usually this strong? I used to fully focus on musicals and sort of skip over the plays, but I have become much more of a play person as of late. Like The Ferryman would never be on my radar, but I believe im taking a 4 hour day trip to see it this weekend! Really diverse group of shows, it's exciting!
The Band's Visit is adapted from a 2007 Israeli film, not a straight play - perhaps you are thinking of The Visit, which is adapted from the Dürrenmatt play?
"But who's fault is that? Consumers choose garbage like "Mean Girls" and "Pretty Woman." So, that's what producers are going to produce. It sucks, and trust me, as a musical theater actor, it has become less and less inspiring to go in for a "Pretty Woman: The Musical" or "Spongebob Squarepants." But at least we have Hadestown, etc."
Consumers also chose shows like "Come From Away" and "Dear Evan Hansen" so I would not blame this all on consumers. Producers seem tho think having a built in audience from a famous movie/TV show will more likely give them a hit and in reality most of them fail big time.
I think it's very unfair of them to release these lists without giving RUBEN & CLAY’S FIRST ANNUAL CHRISTMAS CAROL FAMILY FUN PAGEANT SPECTACULAR REUNION SHOW a real chance. Talk about a couple of hacks!
perfectlymarvelous said: "The Band's Visit is adapted from a 2007 Israeli film, not a straight play - perhaps you are thinking of The Visit, which is adapted from the Dürrenmatt play?"
No, I just got it wrong. Happens increasingly.
Thanks for the correction.
How about The Philadelphia Story the play -> The Philadelphia Story the film -> High Society the film musical -> High Society the stage musical.
In retrospect it seems like re-making the film (a lifetime favorite) into a musical film should not have been seen as doable without shredding all that was the best of Philadelphia Story. And I have never accepted it as fact that Cole Porter wrote the bland ballad "True Love."
SomethingPeculiar said: "I agreewith Hogan that the American musical theatre appears bleak. But it's not like there have been atonof newmusicals on these lists in recent years: 2017 had 2(Band's Visit, As You Like It), 2016 had 4(Comet, Hansen, Ride the Cyclone, Taylor Mac), 2015 had1.5(Hamilton, American in Paris), and 2014 had 0.
When Hamiltonpremiered, a lot of people acted like it was a seismic shift for the future of MT. But almost 4 years later,it's obvious that Hamilton was the outlier in its originality/diversity (& popularity). Don't get me wrong,there have been some positive changes in writing style/inclusion/parity. And new musicals take time -- we may still be a few years away from seeing the "byproducts" of Hamilton. But there STILL aren't enough opportunities being given to serious, bold musicals on- and off-Broadway, especially from emerging writers and people who aren't white dudes.
It's a tough biz, and I hope this is just a moment of transition."
I went through a long of stretch of time without visiting New York City, but I went in 2016 and 2017 and saw Hamilton, the flawed but worth-seeing Shuffle Along, Fun Home and Hedwig on tour, Great Comet, and Dear Evan Hansen. I think I got a little spoiled on new (or almost new) musicals, because there haven't been many new musicals that have made me regret not going there since. (The Band's Visit is the only one, at least on Broadway.) The shows I've seen on tour or in out-of-town tryouts have been OK, but nothing extraordinary.
If anything, the achievement of Hamilton seems more impressive now than it did at the time, in part because it hasn't changed musical theater as much as some hoped - at least not yet. I do worry that the musical might be less of a game-changer than a unicorn, the product of a really talented person who loved and understood the joys of pop songs and the traditions of musical theater and had an inspired idea.
But SomethingPeculiar is right that it takes a while for musicals to come together, and a period of retrenchment probably isn't surprising. If nothing else, it's given me a chance to catch up on revivals I hadn't seen and a bunch of plays locally. This is the first year I've seen more plays than musicals in a while.
@bear88 good points. At some point, the message will sink in that the risk with these exploitation undertakings is as great or greater than the new work. That then leads to a serious investment in the PROCESS of making musicals, which I believe involves a marriage of musical talent (i.e., people with the ability to write songs folks want to hear outside of the MT cocoon) and craft (people who have the ability to put a show together in an intelligent and enticing way). The jukebox brings the former, but in the case of Cher, not the latter. The latter is where the heavy lifting is needed.It is hard to believe that a bookwriter, a director, and a few producers could not listen to a reading of that material and have the same reaction that I did about its flatfootedness. And one of those producers (although, to be fair, he was likely just there to help a friend) is the person responsible for Hamilton. What is required are producers who nurture the good people, and are involved enough to force the mediocre ones to do better. Because, we can do better.
joined:7/24/15
joined:
7/24/15
Posted: 12/4/18 at 11:03am