"It's a Musical for People Who Don't like Musicals"

I seem to be hearing this phrase more and more. First with Spamalot, that really went for the straight male crowd and seemed to mock musical theatre (in my opinion, at least) rather than celebrate it. Then, Spring Awakening which I do enjoy, but I've heard so much "I hate musicals but I love Spring Awakening). By making the songs in to mini-concerts, I feel somewhat pissed that this devise was partially created for those who (as the composer has admitted in the press) don't care too much for musical theatre.

My biggest peeve came with the Chicago movie, where, it all had to happen in her head because people don't break into song in "real life".

I go to the theatre to escape into a wonderful world where music happens when mere words cannot explain the emotion. I am happy that it is getting a new audience but will these audiences embrace musicals that celebrate the artform, like Drowsy or Curtains. Shows like Spamalot, HIgh Fidelity ,Wedding Singer, seem to be going for the "straight" crowd. Only 1 of the three I mentioned still has a healthy life today, mostly because of all the Python fans.

Producers keep looking for new ways to get non-musical fans into the theatre. It feels like wasted effort to me. What I like about Spring Awakening, is, at least the subject matter is important enough to make a lot of its flaws forgivable.

I just hate the division between fans I see everyday on this board. I have tried to embrace the younger sets favorite musicals but when I've had Sondheim for breakfast, Kander and Ebb for lunch, and then High Fidelity for dinner, how can I help but feel ill from the opening number alone from HF.

I wish those who keep telling me to give Bright Lights, High Fidelity, etc a chance, would open their minds into the full world of musical theatre that has affected so many of our daily lives.

When I read that statement of Duncan's, I thought to myself, "Umm, if you feel that way, then don't write musicals."

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Food for thought from sister Kacie Sheik's blog:



How often is a sibling an integral part, maybe the most integral part, of making history. Words are being used in reviews along the lines of "saving musical theatre" with comments alluding to it being above the staple pieces such as Sweeney Todd and Rent when considering their scores. The references to it being more precise, and moving, and timely than such musings as Hair - and Duncan being named the Man of the Hour in all of it.
For almost the exact amount of time that the production team of SA talk about their life with the piece, I have been living my life surrounded by Musical Theatre, and the bubble of a world that that life entails. Here it has been broken. They are not breaking ground, they are breaking into the bubble and making it accessible, instead of a clique that you must be accepted into. The album is a rock album, not an Original Cast Recording. The actors are really in their teens and barely early twenties, instead of accredited Broadway actresses of 35 years old wearing wigs to young them down. The adaptation, the direction, the set, the mood, the environment that each person has contributed to creating is "bubble breaking"....and now since it has burst - the theatre world that we have all been making do with, trying to be accepted into, has to learn how to accept us - the new voices. We were out in Las Vegas trying to be true to a rock genre in a tug of war with a theatrical concept. The jukeboxes are trying - our friends are in companies of the Jukeboxes that are constantly being shut down - a few thriving in their own right, in the small towns, in the far off place from Manhattan. And here lands SA - fearless. Other vehicles have turned around from even an attempt at throwing their guts into Broadway, fear of the critics, fear of the subscription blue hairs....all the while itching to break the bubble.
He has scored a piece of history - he will accept a Tony for it. He will accept that he has won a Tony, completely humbled by the idea that a rock star can change a medium that was asking to be changed. Will classical musical theatre be affected - it surely holds its own...Fiddler and Grease revivals and updated Mary Poppins will still thrive. Absolutely...but In the Heights is just around the corner, and so are countless, hungry, songwriters who are now walking through an open door. With a high standard to follow, a bar has been set - try to conquer it - you won't...but make your own. Creation is open again ---
You have these young actors and actresses - follow these kids to their next projects, see how their lives will be changed because of these songs and these words that they are singing. All involved are better for it...all that go to see it...are better after it.
Take a minute to ingest what is truly happening in the Eugene O'Neil - insert your own adjective - magic, beauty, wonder, excitement... emotional outbursts of young kids getting their chance to get through. You will sit with a jaw drop through Touch Me - without even knowing half the string section is off stage left. You will think "this is huge" and be amazed at the pure volume (not sound levels) but thickness of what is being accomplished by an ensemble of a dozen or so 18 year olds with hand held mics standing on wooden chairs and singing about Purple Summers and Words of Their Bodies -- and the beauty of it all is - that they understand it...and it makes sense. They speak about reaching the younger audience, pulling it in. Saving the day, really. That's what they are doing. Saving musical theatre is a grand way of looking at it...but isn't it nice to save something at all?
My brother is going to win a Tony Award. I am superstitious. I hate jinxing my own life, let alone others...but I don't have a doubt in my mind. It has been a transcendent feat accomplished - It will be properly acknowledged. Or there will be repercussions*....

The creativity WILL draw a new audience and that's great. Mix up the genre! That's what makes theatre great! Make it rock, rap whatever. Try things! I LOVE what has been done to musicals!

But it's still musical theatre.

Don't insult it when you're opening a show on Broadway.

That entire piece pisses me off to no extent. Doesn't she understand that without clasics there wouldn't be Spring Awakening?
I beyond support young writers/new ideas getting to broadway, but this woman's acting like Spring Awakening is the be all and end all in the 21st century of musical theater. Get over yourself.

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Honestly - I don't understand why there has to be a divide at all. Can't people like the "old-fashioned" musicals as well as the new ones? Isn't Drowsy Chaperone doing just fine, not too far away from where Spring Awakening is breaking down doors? I have no problem listening to My Fair Lady one minute, and after Higgins asks for his slippers, slip myself into December 24th, 9pm, Eastern Standard Time. Why can't both be enjoyed?

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I find it a little funny that she says "creation is open again" yet the cast of SA had to change their lyrics in their Tony performance

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It is difficult for me to understand why some who have never seen a Musical on Stage say they don't like them. Some though, just prefer different types of music, so I can't expect them to really appreciate everything. Some music I don't like or can't appreciate the lyrics. It is why though, we do need to encourage modern Productions.

What is disappointing is that so many children don't have the opportunity to even see a Musical, so they don't even get the chance to see what they are missing. My Parents weren't too interested in them but lucky for me, I had a couple of Teachers who were so I had the chance to see what a difference a Musical is like on a large stage. Of course we still have Television but now, more than ever, we rarely get to see a good Musical on Television which is really too bad.

Most people don't even bother turning to PBS unless they have children. I did get to see my first Opera on Television and that was interesting. Some things, it probably is best to first see on Television or Video if you are a kid. So you can discuss all of those bewildering question at home first and not during a performance.

I wish more Plays were on DVD though. Since so much doesn't make it's way out of Broadway and I can't visit there on a regular basis. I think Theaters, Writers, Producers could help with the expense if more Stage Performances were recorded at the end of a shows run. It also gives us something to save when there is just nothing at all worth watching at Home.

With Movies, like the Phantom, we only get to see small parts of the actual Operas, so we really don't get the full effect of the show. It is still a good concept because it does expose more people to an Opera, who may have never dreamed of attending one before. The cost of many of them is far above the typical Families monthly budget.

I know many of the popular ones are making their way to DVD but usually they don't have a Broadway cast. With a Play or Musical, I expect to see props and stage changes. I like the Movies versions but would very much appreciate seeing how these Plays were performed on Stage as well. If you pay a lot of money too, to see a great show, it would be nice to have something to share with your friends or family and watch later as a keepsake.

I have a few and just watched, Sweeney Todd, on DVD with Angela Lansbury. She's amazing. It was great hearing her with that heavy accent. It isn't the same as seeing it on Stage but it is the next best thing and I was happy to have seen it. The Mikado version I just saw, well, I was even happier I didn't have to pay to see that on Stage. It was awful but maybe I just don't appreciate those lame lyrics.

Updated On: 7/3/07 at 03:07 AM

I can't read all of this now, as I'm at work, but a lot of the "I hate musicals" crowd only does so because of their association with musicals being "gay" -- a message which has been pounded into their skulls over the years.

By suddenly changing the style of music in a show to something more "hip" or "acceptable", (or the universally acceptable Rock and Roll), it becomes OK for some of Broadway's newest fans to tell all their friends "Hey, I love Spring Awakening! It's a really cool musical"

The same person would never be heard proclaiming "Hey everyone, that dance number in Act 2 of Sweet Charity really kicks ass!"

I think that's whatthe phrase "musical for those who hate musicals" is really all about.

It's safe to come out of the "Broadway Closet" if the music ROCKS!

Just a thought...

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Tk2: Did you just say that Phantom has opera in it? I hope that you don't mean the 2004 version.

Anyway... I'm sorry, but I can't consider Spring Awakening a musical. It's a Trans-Siberian Orchestra concert.

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A couple recent examples here in Toronto:

1) The producers of Lord of the Rings went out of their way to insist that it wasn't a musical which I guess is fair because it turns out it really wasn't a musical.

2) We Will Rock You is billed as a "rock theatrical".

I don't take issue with the phrase simply because there are people with very ignorant views of what a musical can be. They think all musicals are like The Music Man, The Sound of Music, West Side Story, Mary Poppins, and any number of the musicals commonly done in high schools...Grease, Bye Bye Birdie, etc.

So, because people are dismissing the entire genre based on a small sample of the genre, the phrase makes perfect sense to me. Things like Hair, Rent, and Spring Awakening ARE musicals for people who generally hate the genre because they actually use musical and staging styles the genre's detractors can actually relate to. If the phrase "a musical for people who don't like musicals" is something that will get people who really DON'T like the musical theater genre as they know it to see some musical theatre and therefore look at the rest of the genre through a new framework, then I think that's not the worst thing in the world.

When I'm reading a recipe online, and there's a review that says "It's a vegetarian dish that even my meat-loving husband would eat," I know it's going to be filled with a lot of cheese. I think that applies here as well.