Tag: Musicals

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I ordered tickets for an upcoming production of The Phantom of the Opera (the Andrew Lloyd Webber musical) and something occurred to me: In all likelihood it’s going to be an exact replica of the 22-year-old London production (with a few concessions to the realities of touring). When did this start happening?

MasqueradeMost of the time when someone puts on a play that’s been done before, they take the script and do their own thing with the sets, costumes, and performances. This is generally true with older musicals as well; people generally aren’t worried about seeing the original staging of, say, The Sound of Music. But these days, when a big show goes on tour, audiences expect the same experience they’d get on Broadway or in the West End.

Les Miserables opened in London in 1985, went through some tweaks on the way to Broadway, and then every production worldwide for the next 10 years was identical save for cast and translations. They retooled the show for the 10th anniversary, and those changes stuck around until they decided to cut it so that they wouldn’t have to pay the orchestra overtime.

Same with Miss Saigon: opened in London, tweaked as it went to Broadway, then frozen until 2003, when it was retooled to make touring simpler (fewer sets on palettes, using a projection of a helicopter instead of a model on a boom, etc. And let me tell you, watching a show about the Vietnam War during the week leading up to the Iraq War was an odd experience.)

It’s probably been 10 years since I saw Phantom (not counting the movie, about which the less said, the better), but I’ll be surprised if it’s much different (aside from cast) than the last time. I’m sure that’s what the rest of the audience is looking for, after all.

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Over the weekend, Something Positive’s Monette met her girlfriend’s half-brother, who wants to write showtunes when he grows up. Friday’s Real Life featured Tony taking Greg to task over singing a song from Monty Python’s Spamalot. Where did the showtunes=gay (or at least effeminate) stereotype come from? While we’re at it, where did the art=gay stereotype come from?

I mean, most of the people who actually write musicals are probably straight. Not all of them, of course, and some of the exceptions (Cole Porter, for instance) are rather prominent. And I would guess that a majority of the actors and audience are probably straight, also.

I have no doubt that the percentage of gays in the arts is higher than in the general population. I studied drama in college—all I had to do was look around to see that. But that’s a far cry from “most.” I mean, to pull some numbers out of thin air, let’s say it’s 20%, or even 30%, instead of the commonly-cited 10%—that would be like saying an industry with 30% women is primarily female. Continue reading →

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Just got an email from Disney on Broadway (I assume I must have given them my email address when I bought Lion King tickets several years ago) offering me advance tickets to their new Broadway show, Tarzan.

WTF?

Admittedly, I thought The Lion King was an odd choice for a stage musical, and it turned out to be quite good. But Tarzan? I mean, it’s a weird enough choice for a musical in the first place, but Disney’s cartoon wasn’t even really a musical—it was a movie with a Phil Collins soundtrack.

I wish I could remember exactly what Aimee Mann said last week when she introduced “Save Me.” It was something like “Yes, this is the song that lost the Oscar to Phil Collins and his cartoon monkeys monkey love song.” (Katie remembered it.) Apparently she says this regularly.

Bleah. I’d rather they put together a new tour of Beauty and the Beast. With any luck it’ll still be playing when we finally get around to visiting New York. (I honestly didn’t know it was still playing now until I went to look at the Tarzan info.)