BEACHES The Musical (or, musicals that replaced the composer & score)

I noticed that BEACHES: THE MUSICAL –– currently running in Calgary featuring Kelli Barrett & Jessica Vosk –– made the unusual decision to replace its composer after its first two out-of-town engagements in 2014 and 2015:

For those two productions, David Austin was the sole credited composer. Now, 90-year-old Mike Stoller (of Lieber & Stoller) is the sole credited composer. Interestingly, Iris Rainer Dart has remained as lyricist and bookwriter (and source material author) throughout all 3 versions of the show. She and Stoller previously collaborated on People in the Picture. The show also had a change in director: Eric Schaeffer originally, now Lonny Price.

The show was previously announced to be opening on Broadway in 2016, but obviously that didn't happen. The Calgary production has a lengthy list of commercial producers attached to it, so perhaps they will get it to Broadway if the response is rapturous and the money is there.

Was the score really that awful/unsalvageable that they had to start again from scratch after two different out-of-town engagements and the announcement of a Broadway production? And, for those who've seen it in Calgary and elsewhere, is it significantly better now?

Aside from Harvey Weinstein's antics on FINDING NEVERLAND, what are other examples of shows that replaced the score after a full production of the show?

I'm unsure if this is apocryphal, but I remember hearing "Little Women" was a composer/lyricist generated show, but when a producer picked it up he fired those original writers from their own show and hired Dickstein and Howland.

Didn't know that about Little Women! Howland's score is fine, it's the book and lyrics that are the huge problem (and the bookwriter never changed, according to that Playbill piece).

Jordan Catalano said: "That video they put out for this looks insane, almost like a parody."

This song is awfully generic and the lyrics don't really match the music!

The video of the authors isn't much better (in which Iris describes girls coming up to her and saying "she's my Beaches" about a friend).

I'm usually of the belief that authors of any age can create a compelling musical about characters of any age and in any era. BUT. On paper, this is a property that BEGS for a woman under the age of 40 as a writer or director. Not an 80-year-old female bookwriter/lyricist and a 90-year-old male composer (who have never written a successful stage musical), alongside a 65-year-old male director. Maybe it's actually magical and wonderful in person, I'm only going by the press materials and show's rocky production history.

Updated On: 5/24/24 at 01:10 PM

Does anyone actually think this will make the transfer to Broadway?   I don’t know. I think it’s quite “under realized” or maybe it just doesn’t work as a musical.  Like the stuff that I’ve seen coming out of this version has been unfortunately lacklustre.  Yet I think. Somehow they are going bring it and it’s going to tank

Also, WHY would they name the Barbara Hershey character (named Hillary in the movie) "Bertie"??  Is she also Margo Channing's backstage dresser?

Seems obvious that this would go the non eq/tertiary market route, right?

I love their passion to keep pushing forward. Never give up.........

Eleven years and two mediocre productions (with talents like Shoshana Bean and Jessica Vosk) later, and they’re STILL working on this? Wild. 

hyangsoo said: "Is it common for shows to tour before they've had a proper staging in the US? Wondering about the strategy for this."

It's definitely not common, but it's also not unheard of and there are no rules.

It's the type of show that could probably make a lot more money on the road than on Broadway.

I'd be surprised if this is playing top-tier markets, and I'd be surprised if it is Equity, despite being billed as "pre-Broadway." (Everything is pre-Broadway until it isn't)

Movie adaptations like THE BODYGUARD and FLASHDANCE went straight to touring. LITTLE HOUSE ON THE PRAIRIE also toured but didn't go to Broadway. A show premiering in Canada vs a U.S. regional vs London doesn't really matter.

Updated On: 3/21/25 at 12:16 PM

ErmengardeStopSniveling said: "

Movie adaptations like THE BODYGUARD and FLASHDANCE went straight to touring. LITTLE HOUSE ON THE PRAIRIE also toured but didn't go to Broadway. A show premiering in Canada vs a U.S. regional vs London doesn'treallymatter."

Right--both Six and Hadestown played in not Calgary but Edmonton, Alberta, on the way to Broadway.

 

The continued development of this and Bull Durham is just so funny to me. They’ll have to give up at some point, right? I’d love to see someone give another crack at First Wives Club, though. I thought it’s Chicago tryout was almost good.