"I was probably just confused because I thought it took place in New York, Saskatchewan.
Why else would Mimi sing, "I wanna go owwwwwwwww-ooooooooooooot!"?"
I think you'd have to move over a few provinces to the East of Sask. for that
I think Namo raises a great point about shows that (to simplify it) get these massive followings and hype, particularly withyounger generations. Some of it also probably stems down to the fact that (with Chorus Line, Rent, and Hair, to use some of the examples given) many of the people who heaped praise on them also did go on about how it was ushering in some new form of musical theatre.
I grew up with that Gottfried coffee table book being my bible, but as I've actually read a lot more of his writing, and not just admired the gorgeous photos, I have a lot less respect for his opinions. Ignoring the famous examples of his veiled homophobia (he seems to be one of the last remaining critics who still holds on to that popular 60s view of all these homosexuals taking over the theatre and writing straight characters who theys hould know nothing about--like the attacks that were popular on Williams and especially Albee), his opinions often don't seem to hold any real weight--his (gorgeously illustrated) Sondheim book is even just filled with mis-information.
WHat I find odd is how many movie musicals now feel the need--due, I can only assume, to the belief that people will only really accept characters singing to each other, as opposed to performing, when it's either camp (Little Shop, Hairspray), or not at all--change through sung musicals to have dialogue. Rent, Dreamgirls, even Phantom to a lesser extent did this (and it sounds like Miz may be doing so as well), when surely with audiences growing up with music videos, etc, these shows actually would work better if they remained through sung as films--there's only the initial moments to adjust to.
So many people I know had the same experience as I did of seeing Dreamgirls in the theatre, and as soon as they finally had a song that was essentially sung dialogue and not a performance, people actually could be heard in the theatre saying "Wha? This is a *musical*?" As Namo pointed out, much of that is due to marketing (the biggest example being Sweeney, where I believe the major ads didn't even show ANY singing--but hey, I guess in that case it worked as a somewhat difficult film made a profit by selling the Burton and Depp element and not the Sondheim one).