New version of TABOO to feature book by Jack Holden

Exclusive: A new version of Taboo, the musical featuring the music of Boy George, is in development with a freshly commissioned book by Jack Holden and Boy George.

The project, led by producer Thomas Hopkins, builds on the original book by Mark Davies Markham and reflects years of development.

Set in 1980s London, Taboo explores the rise of the New Romantics and their lasting impact on popular culture.

Holden, whose recent work includes Cruise in the West End and Kenrex at Sheffield Theatres and Southwark Playhouse, has been working closely with Boy George on the reimagining of the show. He said today: “Taboo is filthy, fabulous and full of heart — reworking the book is an outrageous joy. Boy George’s world still bites, sparkles, and aches with everything it means to be different, daring and loved.”

A closed reading of the first draft is taking place in London this week, attended by invited Broadway and West End producers and venues, as plans progress for the production’s next phase.

Boy George said the timing felt right for a new vision of Taboo, saying: “through its vibrant themes of identity and creative expression, Taboo serves as a poignant reminder that in this ever-evolving world, we must stay true to ourselves and celebrate individuality.”

Details about future plans for the production will be announced in due course.

https://www.whatsonstage.com/news/new-version-of-taboo-to-feature-book-by-jack-holden_1678349/

Just what the show needs. Another new book. That'll help.

One show I am so upset I missed that year on Broadway. It closed before I could see it. One of my favorite scores. 

Sutton Ross said: "HAHAHA. Right? Rosie is STILL pissed about the $10 million."

Excellent score though.

For the record, in 2005, Time magazine asked Stephen Sondheim if there was a Broadway musical in the past five years that he felt was underappreciated, and he said: 

''[Boy George’s] 'Taboo.' I thought it was inventive, and I was touched by it, and I thought it looked good. All the way through I had a good time. And a few of the songs really moved me. I got involved in it – and it’s not my kind of music.''

I haven't posted here in years, but TABOO is one of my niche MT obsessions. I agree the book is a mess, but I adore the score (if a bit emo and ballad heavy). It's underrated and unknown amongst theater lovers. 

To comment on SkidRow's post above, I lucked into seeing a revival of this in London at the Brixton Club House and that was exactly what it was: We were sat at tables, and the show happened around us. I vividly recall the character of Leigh Bowery popping out of the back of the bar, naked and sitting on a toilet, for "Ich Bin Kunst."  I've wanted to find a way to bring this to life a in Brooklyn warehouse with local Drag performers. 

I don’t know that it'd need anything too elaborate to pull off, but 3 Dollar Bill has hosted a few independent musicals. They host Fagtasia semi-monthly. Oscar at The Crown by Mark Mauriello and Andrew Barret Cox debuted there before going to Edinburgh Fringe, and is starting performances in a new Immersive Space in London tomorrow night.

I could see with the backing of Boy George they could do something fun with Taboo at 3 Dollar Bill even if its just a one off or a week long thing. Its easily accessible off the L Train in Brooklyn.

Updated On: 5/20/25 at 12:19 AM

I agree that the London book was a good start. They tried so hard to Americanize the story for Broadway that they wrecked the book. I think New York audiences can understand London club culture in the 80s. It's not like we were without our own. 

Beautiful score. Honestly, it's one of my favorite pop scores. Hopefully the new book can make it shine.

The Sonheim quote--which I love--and Giants in the Sky2's comment make me wonder if the goal is to make the show better or to make the show commercially viable.

I think of Follies. To me, that original book is the book. Every rewrite has weaked the show artisitically. But that initial book is also the least commercial (whether a production using it would fair better today simply because the score is now considered a classic and, the period being locked into the early 70s, it's no longer hits home so painfully to the average theatergoer, is another question entirely). 

So is the rewrite primarily about wanting to see this show reach a wide, popular audience or simply wanting the show to be the best version of itself it can be?

Updated On: 5/20/25 at 12:18 PM