What Is With Musicals These Days?
Posted in Jersey on April 3rd, 2009 by Kai – 2 CommentsThe continual parade of commercials for “Shrek the Musical” across my TV screen have inspired me with the following question: what is with new musicals these days? I actually like musicals, but I haven’t been to one in ages. I grew up on all the great movie musicals from the 1950s — Cole Porter, Jerome Kern, Lerner and Loewe — and developed a permanent passion for the late Robert Preston after seeing “The Music Man” too many times.
Now, I realize that it is no longer the golden age of musicals and that the audience to fuel the production of a long string of new musicals just isn’t there. But lately, all the new musicals that seem to come along are remakes of Hollywood films that were, okay, perfectly fine movies, but that I have no desire to see again WITH MUSIC. I mean, really. Legally Blonde was a perfectly acceptable low-brain movie, but why would I want to see it as a musical? Shrek, unless I had a kid, ditto.
I will admit, I haven’t seen any of the musicals that fall into that category with the sole exception of “The Producers” (gotta love Nathan Lane), but the lack of creativity really disturbs me, and the selection of films disturbs me even more. I’ve seen “Rent,” “Les Miserables,” “Chicago,” but I can’t bring myself to pay Broadway prices to see a remake of a movie I’ve already seen. Yeah, yeah, I’m sure “The Lion King” is great. No. I did see “Mamma Mia” (I will note that I went for a work function and did not pay for it), but even though that at least has an original plotline, I couldn’t help but compare it to the musical that Bjorn Ulvaeus and Benny Andersson actually wrote from scratch, “Chess.” Chess is vastly superior in pretty much every way except recognizability of the music, and hey, the music actually FITS THE PLOT.
I suppose that ultimately most musicals are going to be at least slightly derivative of SOMETHING. Hey, “Rent” was loosely based on “La Boheme,” and there’s a long and respected tradition of adapting existing works into opera (“Lucia di Lammermoor”, “Rigoletto”, “MacBeth”, even, horrifyingly, “Billy Budd”). But it’d be great if the composers and librettists could give some thought to adapting works that were not throwaway pop pieces to begin with.
In other words, folks, 1300 page classic by Victor Hugo? Fine. But I swear, if I see an ad for “Dude, Where’s My Car, The Musical,” I’m moving to Nepal.






