the reused pop/rock musical invasion!

[Theatreboy33]

Posted: 8/2/04 at 6:28pm

Although I'd like to think I have always held a positive outlook for te future of broadway, with all of these new reused rock musicals coming to broadway (good vibrations, all shook up, we will rock you (in vegas), and apparently a new Chicago musical in the works) I'm honestly worried about the future of broadway. Is it just me, or for the most part, aren't these shows terrible? Mamma Mia is a joke. Movin Out is alright, but patchy. I just don't see how you can take the repetoire of a formerly popular music group and attempt to place a story around songs that have nothing to do with one another. The results are always contrived, shallow shells of a musical. So why are so many broadway-bound? I know most musical theatre goers have a keen eye for what's good and what's bad, so what's the deal with these?? Who else votes to never see one again? Updated On: 8/2/04 at 06:28 PM

[POLisPOL]

Posted: 8/2/04 at 6:31pm

If you think about it... in "singing in the rain" there are some songs that were reused... so it's nothing new.
In other hand, Taboo is a great example of how a show with non-original music could be great. But to me the best musical with reused songs was "our house" the musical with songs of the english group madness... I love that show! Is one of my favourites, and I didn't care that the music isn't original.

[bronxboundexpress]

Posted: 8/2/04 at 7:20pm

This is a good thing! Broadway will be a better place with MAMMA MIA! shows than SINGIN IN THE RAIN shows! This is what broadway is destined for!

[MargoChanning]

Posted: 8/2/04 at 7:55pm

POLisPOL--
Boy George composed all new songs for TABOO (the exceptions were "Karma Chameleon" and "Do You Really Want To Hurt Me" -- neither of which were used as "book" songs).

Theatreboy33--
I agree completely with your point, but I don't agree that "most musical theatre goers have a keen eye for what's good and what's bad." Most theatregoers are tourists who come into town to see light mindless entertainment -- only a fraction have anything I would describe as a "keen eye." Give them big splashy numbers based on songs they already know going into the theatre (ABBA, Elton John, Billy Joel) and they're happy. They're not demanding as far as plot or subject matter or even performances are concerned as long as they get to hear the hit tunes.

Mind you, if you were to give them a show that actually made sense, with a good, tuneful original score and high production values, they'd like that too -- there just aren't a lot of those being created so they apparently don't mind settling for karaoke at $100 a ticket.

It is worrisome in terms of the future of musical theatre on Broadway, but given the financial model where, with a few exceptions, new musicals cost $10-15 million to produce, producers are understandably a little gun shy about spending that kind of money on something that doesn't have some sort of built in hook to attract the folks from Peoria when they're in town (i.e. music by a big pop composer; a huge star a la Hugh Jackman; a show "related to" on one of the most beloved movies of all time a la "Wicked"). Shows like "Avenue Q" and "Urinetown" with original stories and original scores and no big stars that recoup and become big hits are increasingly rare commodities (it helped that they were both very cheap to produce by Broadway standards) and may become even rarer commodities in the future.

Updated On: 8/2/04 at 07:55 PM

[POLisPOL]

Posted: 8/2/04 at 8:04pm

I can't remember if it's on the broadway one...
but I have a cd from boy george with Il adore and is from 1995...
also I think "Do You Really Want To Hurt Me" is a book song, at least in the london version...
and I think that "genocide..." is an old song too

[MargoChanning]

Posted: 8/2/04 at 8:09pm

In the Broadway version, "Do You Really Want to Hurt Me?" is just the song that Boy George sings during his first recording session (it's not really part of the plot). "Il Adore" is sung in the 2nd Act during a video retrospective of Leigh Bowery after he dies (again, it doesn't serve to advance the plot -- great song, though). Marilyn doing "Genocide" is sort of integrated plot-wise, though.

[Rose_MacShane]

Posted: 8/2/04 at 9:07pm

I've believed for years that shows that recycle pop music are a waste of theater space. Honestly, if I wanted to hear, say, Billy Joel's music or ABBA's, I would pop in a CD or see them in concert instead of listening to what essentially amounts to a cover band.

[POLisPOL]

Posted: 8/2/04 at 9:10pm

-ironic mode on-
me too! I prefer much more to put a cd of cole porter in my player than seeing kiss me kate.
-ironic mode off-

[Rose_MacShane]

Posted: 8/2/04 at 10:04pm

All right, point taken. I'm just saying, why would I pay $60 or more to see random people perform someone else's songs? "Piano Man" just isn't the same if Billy Joel isn't singing it.

[POLisPOL]

Posted: 8/2/04 at 10:15pm

And if this songs and people all together makes a good story with a good music... who cares where the music come from?

[Seany]

Posted: 8/2/04 at 10:28pm

"Piano Man" isn't in "Movin' Out". :)

Updated On: 8/2/04 at 10:28 PM

[Rose_MacShane]

Posted: 8/2/04 at 10:31pm

Yes, I know. Honestly, people, just trying to make a point!

[fyffe]

Posted: 8/3/04 at 2:47am

hey, i have been wondering if there was a cast recording of the OUR HOUSE show. if so, where can I find it. Oh, and I personally find it interesting how these people can weave a story out of the catolouge of someones music. I do prefer original, but I just chalk it up to a different theatre expierence.
kev

[Alex The Gopher]

Posted: 8/3/04 at 4:34am

I understand your feelings and somedays I agree, but I'm currently working on an Elton John musical so I'm on the fence for the time being. More on the topic MC is absolutely right, these shows are made because Broadway noticed revivals were making most of the money. The same reason lots of movies are being made into musicals. Tourists like even new things to seem familiar. Like with movie to musical converts, sometimes you get ones that work and sometimes you don't. There's my opinion.

[joeyjoe]

Posted: 8/3/04 at 8:20am

"-ironic mode on-
me too! I prefer much more to put a cd of cole porter in my player than seeing kiss me kate.
-ironic mode off-"

i think the difference here is that Cole Porter wrote the music for a musical... he didn't write these songs to be pop hits and then have them fashioned into a musical... Taboo was a different story, in that, as Margo stated, Boy George wrote original music for the show...

[Eastwickian]

Posted: 8/3/04 at 8:38am

But as with a lot of older shows (for example Gershwin, and some Porter) the songs were not really written to serve what little plot there was, but as a showcase for the composers and/or performers talents. Like We Wil Rock You, entertainment came first, coherent narrative came second.
The composers popular hits from less well known shows were then later squeezed into other musicals (the revised Antyhing Goes for example) and made very little difference to any on-going narrative. Taking it even further was Crazy for you, which in a way started this whole 'weave a plot round some songs' trend.

And sadly, there was no cast recording of Our House, but there is a full length DVD coming out in November in the UK - available for pre-order from Play.com

[joeyjoe]

Posted: 8/3/04 at 10:41am

"The composers popular hits from less well known shows were then later squeezed into other musicals..."

i have to admit that this statement made me think... what about all those revues, follies, and scandals of the 20s and 30s? examples being the Zeigfeld Follies or the George White Scandals? couldn't those be considered the Movin' On's or Mamma Mia's of their days? Updated On: 8/3/04 at 10:41 AM