Could one consider Drood a significant musical of musical theatre?

As one who reads inbetween the lines of musical theatre history, aka, why certain shows are created in the first place (for example, Wicked and Hairspray lead to a number of other bubblegum pop and femenist based musicals), I recently brought up Drood as a major column in the history of musical theatre. In a world that at the time was dominated by Sondheim, Lloyd Webber, and pieces deeply rooted in messages, Drood, atleast in my opinion, came as a reminder of a good, old, classic musical comedy, with a few great numbers, a hilarious book, and just a feel-good, old, classic musical comedy. In some ways, I believe it lead to the continuation of creating such musical comedies, including The Will Rogers Follies, Crazy for You, and The Producers. Also, it was perhaps a sign of the times, as it's basic premise was to satarize the British epics which had been plaguing Broadway for some time. Furthermore, it was the first in perhaps many more to include both adlibbing and audience participation with it's unique voting system and always changing outcomes, for the first time in a while, a true public musical. Would I be correct in saying this, or am I digging way to deeply into this?

I'm sorry, what?

Well its certainly not a significant musical of kabuki theatre.

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Evita? I'm not saying ALL British mega musicals, it just kept musical comedy in the publics eye. Also, if you ask a girl off the street for her favorite musical, you believe she'll say Millie?

That's really not the point. Successful musicals makethe basis for what's to come. Could Drood be considerred influential regarding the history of musical comedy?

Nothing interested me in your original posting except the statement about Wicked and Hairspray being feminist pieces. While 'feminist' may not be the proper word, it does have a valid notion that there have been a lot of "heroine"-lead musicals recently (I mean, there have ALWAYS been leading-lady shows, but a show written today is a little diff'rent after the women's movement).

Which of these original 2000's musicals are "feminist?"
JANE EYRE
FOLLIES
MAMMA MIA!
THOROUGHLY MODERN MILLIE
HAIRSPRAY
WICKED
CAROLINE, OR CHANGE
LITTLE WOMEN
THE LIGHT IN THE PIAZZA
THE COLOR PURPLE
THE DROWSY CHAPERONE
GREY GARDENS
MARY POPPINS
THE PIRATE QUEEN
LEGALLY BLONDE
9 TO 5
and this doesn't include plays!

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I don't think there's much basis for thinking of Drood as "significant" or "influential". I think it's significant in terms of the quality of the music, but that's personal opinion. As for "influential", there haven't exactly been a large number of multiple-ending shows since, have there? An excellent show to be sure, but rather a "one-off".

DROOD was a fluke. Not a really good or great show. At times the book was confusing and amaturish. The album is one I haven't played since listening to it when it first came out.

Drood did not satirize the British mega-musicals in the least. It was a loving tribute to the old London music hall theatricals, but there was nothing in modern or contemporary Broadway that was being satirized at all (Evita and Cats being the only big British hit musicals to have opened in the previous decade). Drood has a charming book, noted for its variety of endings, and a very strong catchy score. Yes, it was more of a standard musical comedy, but standard musical comedies were pretty well-represented at the time:

Sugar Babies - 1979-82
Hollywood/Ukraine - 1980-81
42nd Street - 1980-89
Woman of the Year - 1981-83
Best Little Whorehouse in Texas - 1978-82
My One and Only - 1983-85
La Cage aux Folles - 1983-87

Add the revivals and take a good look at the other musicals running in the 80s prior to Drood and you'll see that Drood actually lead to nothing, really. Me and My Girl would have come along anyway is it was already a hit in London before Drood opened on Broadway. Drood is good, solid show with a cute gimmick (though Shear Madness did it first, I believe) and boasted a fantastic original cast. But it was not influential.

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Updated On: 6/15/09 at 12:53 PM

Without Drood, there would be no "musical theater" as we know it today.

It's the single most important theatrical event of the 20th century.

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