When a Classic Musical is Revived, Do You Think It Should Be Done EXACTLY as Original or Rethought?

I think Classic Musicals are Classic for a reason. Too many times, changes are made to make a production "better" while all they are doing is diluting the mix.

If material entertained in the 1940s or 1950s, why can't same material entertain today?

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I have a question for you Mary Ethel... Why do you keep posting these stupid questions?

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I don't think Mary Ethel's questions are stupid (and I love you dearly Mominator :) At least they're provocative and about something other than Brooklyn, Wicked, etc..... IMO, these are opportunities to discuss Broadway history, which we don't do nearly enough on this board.

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Hey Glebb, :)

Your point about society today versus "innocence" is well taken. I will have to give that some serious thought. :)

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So Glebb, :)

When are you "goin' back"? :)

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I'll be honest, to today's audiences, classic musicals are boring. Broadway is different now than it was 50 years ago. Today, everything is about lights and costumes and special effects. If you produced a carbon-copy of the original CAROUSEL (for example), the show would not have a good audience with the younger generations. However, if you modernize it, while still keeping it the same, it could be a hit. However, you cannot over-modernize the show, just look at the new Fiddler. Keep the show the same, but make it more "accessible" to the younger crowd.

Where's the interest in creating a carbon copy of a past production? I think the beauty of revivals is that they can become rethought and given a different spin. And sometimes it can work beautifully, like with Cabaret.

If the authors are still alive then no changes can be made without their approval. If the authors approve, then go for it.

However, if the authors are in musical theatre heaven, I think the script should be frozen as they wrote it. Interpret the script all you like, but do not change the authors' words and music.

Excellent point, Kiss...

The BROADWAY production of FINIAN'S RAINBOW opened in 1947.

The FILM version was released in 1968; and many critics were uncomfortable with the "civil rights" issues raised by the film.

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Well, I thought the 1958 FLOWER DRUM SONG was just fine and NEEDED NO TAMPERING. Revival also gave songs to different characters to sing and trashed old/new generation theme--which was a BIG part of the original story.

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I think that there can be things done to a production to make it new and exciting for audiences without really "changing" the show. For example... I loved what they did with the recent revival of KISS ME KATE. The orchestrations were updated as well as the vocal arrangements. Just doing that I think made the show much more accessable to a modern audience. They didn't touch the script (to my knowledge). The choreography and set design was done in a modern way and integrated into the show beautifully.

On the other hand, other shows that have been really overhauled, like ANNIE GET YOUR GUN, I don't think would have had a modern revival life if they hadn't been changed or "updated." I mean AGYG had things in it that are pretty offensive to today's audiences. If you have the blessing of original creators or their estates, I think it is acceptable to update these shows in script or organization. I would rather see a newer version that the general public can get excited about and have these wonderful songs still in our collective consciousness than have the show and songs disappear for all eternity. To do this though, I think you need a team that is incredibly respectful to the original work and is willing to keep the integrity of that work and not create a show that is absolutely nothing like the original (which is what I think has happened with many revivals of ANYTHING GOES, let's say). I hate it when songs by the same composers but from another show are inserted into a show.

That's all I have to say about that. Anyone else agree or disagree?

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Sant,

I agree about SHOW BOAT 1000% percent. Prince took THE ULTIMATE CLASSIC and WITHOUT SACRIFICING ONE BIT OF INTEGRITY, made it as new and exciting for theater-goers today as it was in 1927.

By the way, have you ever read Miles Kruger's wonderful SHOW BOAT book?

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I don't think there's a clear cut answer: there are examples of both trains of thought working splendidly. In the end, art is about taking risks, not all of which will work. Interpreting an already existing work has to take those same risks.