When would a revisal be considered a new musical?

I was thinking about Company's gender swap, Camelot's new book by Sorkin, I believe Amber Ruffin is doing some work on The Wiz as well?

There are obviously countless other examples of revivals that have been tinkered with, had songs added/taken out, or substantially rewritten. At what point would one just consider something a new musical? I don't personally think any of the above examples would be, but I'm curious to hear others' thoughts.

I don't know if it ever can be. If components of it are significantly new they can be eligible for Tonys. Maybe a wholly new score and a significantly revised book would count as a new musical, but even then it would be a determination of the Administration Committee.

ErmengardeStopSniveling said: "New title?

CRAZY FOR YOU and NICE WORK IF YOU CAN GET IT both take swings from GIRL CRAZY and OH, KAY, but they were probably only considered new by the Tonys because they had different titles."



They also had completely new books, new plots, new characters. No different than a jukebox musical like MAMMA MIA or BEAUTIFUL or JERSEY BOYS being considered a new musical.

Bounce/Road Show? Sondheim.

The Beautiful Game/The Boys in the Photograph? Andrew Lloyd Webber.

ALW also then took a song from The Beautiful Game and turned it into the title song of Love Never Dies, so I suppose that counts too.