Revival of a Musical 2014

I was just thinking about this as I was organizing some playbills this morning. The only musical revivals on the calendar for this season are Les Miserables, Cabaret (which will surely be ruled ineligible for Best Revival, Best Director, Best Actor, and the design categories), Violet, and Hedwig (both of which though never having appeared on Broadway will probably be ruled revivals under the classics rule). So essentially we'll have three eligible revivals for the Tony between Les Mis, Violet, and Hedwig? Those are some slim pickins. Did I miss anything? Are there musical revivals that haven't announced yet but are planning to open?

Why didn't you the new production that's coming to Broadway?

And P.S. even if it still is eligible, that doesn't change my point at all. It's lame that there are so few original productions of revivals this season.

I respectfully have to disagree with you. There should be a mix of revivals and new shows. Revivals expose a range of shows never seen by younger generations to new Broadway audiences. For instance, I'd never seen Finian's Rainbow until the recent revival (I'd only heard the score), and I found it so interesting to see the viewpoints of the writers in 1947. I think revivals serve an important role in keeping theatre history alive. Does that mean everything needs to be revived and often? No. I don't need to see another production of Gypsy until I'm 80. But give me a Mame or a Sugar or a Mack & Mabel. There are things I would love to see since they're shows I've read about but of which I've never seen professional stage versions.

But why shouldn't some quality revivals be on Broadway just because some others are looking for money? I would argue that most of our revivals the past few years have been about artistry rather than making a buck. Drood, Pippin, Follies, Porgy and Bess, Anything Goes, Finian's Rainbow, and Ragtime are just a few off the top of my head from the last few years that came to Broadway without a bankable name in tow. What are these "most" to which you refer? And who cares if there are productions elsewhere that are successful that choose to transfer here? Isn't that a good thing that these quality productions are getting further exposure?

Why would Roundabout as producer hurt it's chances?

bjh--
well, every show you mention started at a non-profit (and in the case of the 2 Roundabout shows, ended there). So that's half of the "most" I am talking about. So it seems to me that if you want revivals, the place to look is at the pipeline, not Broadway. Commercial Broadway does not really initiate revivals except as star vehicles (How to Succeed, Hedwig, etc.) and there are not that many of those. I'm afraid it's naive to think that shows are going to come to broadway without an analysis based on money. folks don't usually invest millions of dollars based on artistic merit alone.

I don't care where the productions start. I have no problem if these revivals come "from the pipeline" as you say. Whether or not they end up on Broadway is the topic at hand. I'm not saying that producers should open a revival cold here in New York. You wouldn't do that for most new shows either. I was merely expressing the fact that it's a shame there are so few revival projects finding their way to New York. That's all.

OK. Looked up some reviews for Violet and changed my mind. I just don't love what Roundabout has recently done (BIG KNIFE) other than Anything Goes, so I wasn't so optimistic.

People like to bring up THE BIG KNIFE and PICNIC (which I kind of liked, actually) as examples of how staid and boring Roundabout is, but they also did two of my very favorite productions of last season (EDWIN DROOD and TALLEY'S FOLLY) which get conveniently forgotten to suit one's purpose. They, like most large companies, are up-and-down. C'est la vie.

As for this (interesting, truly) discussion about the "pipeline" I think it's lost its thread from the original comment, which should be reiterated: ideally, it matters less to this consumer if the productions across Broadway are new or old than if they are inspired/satisfying than if they are tired/flat. It matters not to me if they are from non-profits (except that I might be more excited, as non-profits habitually produce work I am more appreciative of) or if they are star vehicles (if done well, a star turn can be truly thrilling). It matters more if they have a strong vision, execute it ably with excellent performers and designers and put on a great show, whether it's the first or forty-first time I've seen the material.

Also, if only three shows end up qualified, I wonder if the Tonys would do a de facto nomination for all three or what it would take for one of them to not get nominated...

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Updated On: 1/6/14 at 10:37 AM

I see it in this thread and I've seen it elsewhere- there is no chance of Les Mis winning by "default". Violet and Hedwig are both promising productions.

jnb-
first, answering your question, yes, all 3 (or 4) would be nominated automatically. regarding what matters to you, again, I understand what's being said but it is in the nature of a non-sequitur, and that is why I keep pointing it out. When we know that these revivals rarely spontaneously combust on Broadway, if you want to bemoan the lack of more offerings, you must look elsewhere. If there are no regional of off-B shows in the pipeline, then the sum total of revivals is likely to be 4 or less in any year: 1 star vehicle and 2-3 shows from roundabout and occasionally LCT. To not focus on the pipeline, then, is sticking your head in the sand. This work necessarily has to be made somewhere, and if it is not, then the result is all but predetermined. It's like saying you love okra, and can't find it at the market. If the farmers are not planting okra, your focus on the market is not going to get the food on your table.

Others mentioned:
Can can
On the town
Gigi
Hello dolly
My fair lady
On the 20th century