Definition of "mega-musical"

A rough definition of a "mega-musical" would typically describe a fully or an almost entirely sung-through musical drama, produced on a very large scale in which the staging, spectacle and specific special effects are equally important as (if not more so than) the plot, characters, book and score. Most megamusicals have at least one singular effect that defines it to the public: Phantom (the chandelier), Cats (the tire that rises to kitty heaven), Les Mis (the moving battlements), and Miss Saigon (the helicopter). They are also notable for their lack of humor and the fact that they aren't reliant on specific "star" casting for their success -- no role in any mega-musical requires any special star quality for the show to work, which is why they were all able to run for a decade or more with unknown actors interchangeably going in and out of the shows. Most were based on classic works of literature (novels, T.S. Elliot). While there are other shows from Disney and other American producers that have been produced on a large scale in recent years (the tradition of spectacle on stage after all goes back to the Ziegfeld Follies in the early part of the 20th century), the term "mega-musical" specifically applies only really to those shows of European origin (Webber and Boubil-Schonberg were the main creators) from the 80s and early 90s.

None of the shows cited in the first post fall under this definition. "The Drowsy Chaperone" is a throwback musical comedy, that is character-driven, humorous, and uses a pastiche score recalling the music of the 1920s -- it also isn't nearly large enough in scale to be considered even close to a mega-musical. Curtains is also a throwback musical comedy on a rather modest scale with no notable special effects that is humorous and character-driven -- also the opposite of a mega-musical. Same with Hairspray which is a rather traditional musical comedy in the mold of so many American musicals of the past. The Little Mermaid, I haven't seen, but as it's from Disney, American in origin, humorous in some fashion and plot and character driven, it doesn't fit the standard notion of "mega-musical" -- perhaps it can be called a spectacle, but that doesn't make it a mega-musical.

Bottom line, "mega-musical" is a specific subgenre of spectacle applying to the kind of European, musical dramas named above that had their heyday in the 80s and 90s and nothing else.

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Updated On: 11/16/07 at 01:04 PM

Well put, Margo.

I've seen it used a lot lately improperly. When used correctly it usually comes with the word British attached to it as in "British Mega-Musical" referring, as Margo said, to the European musical dramas from the 80s and 90s. Anything else is an applied opinion not in reference to the term's original origin.

I do think that the Pirate Queen is in fact a mega musicial. I just think that audiences are not keen for new ones. Les Miserables and Phantom are ones that have gotten thier proper place in the history books of musical theatre.

I think that the Pirate Queen is a throw back to the mega musicials that came from england in the 80's. But, like I said that they are not ones that the audiences want at this point.


I do think that if the typical mega musical is not one that is popular unless it is one that everyone knows and loves. I wonder what this says for Tale of Two Cities when it to broadway.

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Tag ,

I think we mentioned the pirate queen.

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Maybe Sunset Boulevard? Ragtime?

I always felt like Joseph… wanted to be a mega musical. I realize it actually predates the era known for the genre, but the major productions of the show always feel so unnecessarily SPECTACULAR. It is great childrens theater, it’s what it was written for it’s where it belongs.
The show is great with simple sets some colorful costumes and a bunch of kids singing the heck out of what are some really fun songs. Any production that’s bigger than that just feels garish.

Margo is right

The mega musical term was used to describe the big overblown spectacles that were imported from here in the UK (sorry lol)

In the 80s it seemed anything with a lavish set, big effects etc was a hit here in the UK.

Les Mis, Miss Saigon, Phantom, Cats, Starlight Express etc etc.

Sometimes the critics hated them here in the UK (les mis was hated by the critics when it first opened) but new theatre goers and tourists flocked to see them because of the gimmick (helicopter, Barricades etc) and because the logo's seemed to be everywhere.

They all seemed to be MASSIVE hits here in the UK.

Carrie was also supposed to be a mega musical with its special effects and clever set design (unfortunately its clever set design was the shows biggest problem and it flopped in the US despite been well received by audiences here in the UK and getting some positive notices)

I have an article from 87 talking about the "only 2 shows that mattered in the 88 season would be 2 mega musicals Carrie and Miss Saigon"

Gone With The Wind was another MEGA musical here in the UK that did not work (the tourists kept it running for almost a year)

The US embraced a lot of the Mega Musicals from here but also got wise to the fact that shows like Starlight Express just was not very good (yeeeah well done you)

The American press used to hate our musicals for been all budget and no heart.

Ironically now the US seems to have gone in to the business of mega musicals like Wicked, Pirate Queen and disney shows etc and the UK is now the ones sick of the Mega American Musicals like Wicked etc.

Lion King has been a hit here where as Beauty and The Beast did not do as well and Wicked was critically hated here and rumor has it the show is not doing as well as expected.

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"Gone With The Wind was another MEGA musical here in the UK that did not work (the tourists kept it running for almost a year)"

When did it open?

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Oh yeah. THAT Gone With the Wind. Sorry I got confused.

If we think about it, France has taken the megamusical to a whole new level. Namely the basement level.

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Ah, so you agree.

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Are you gonna be in it?

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