"Dolly is a star driven musical, TMM is more an ensemble piece certainly with a charismatic lead who can bring his own take to the swindler/con man/romantic fella 'that he chooses."
Sorry, that distinction without a difference is not supported by the history of both shows. They're both classic star vehicles in the American musical theater canon, having attracted stars above the title in first class productions, tours, and summer theaters. (Review those who toured -- from Dan Dailey to Forrest Tucker -- who I saw as a kid -- to Dick Van Dyke to Tony Randall -- a terrible Hill who sold tickets on the road.) Asking us not to compare them may serve the moment's debate about Rudin's thumbprints but these revivals exist because stars are attracted to them. Yes, there are exceptions -- Bierko succeeded in overriding the vehicle distinction, because the sense at the time was the show might create new stars. That didn't really sustain and as soon as he left the producers sought a popular-in-the-moment television star as a first replacement. Who decidedly sold tickets. More critically: This production wouldn't exist without Jackman, which is more or less supported by everything from the pricing to the discussions here. Both shows are about vintage Americana, both invite nostalgia about the eras they represent as well as the eras in which they were written, and both still require above the title stars to run on Broadway.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Updated On: 12/23/21 at 10:30 PM