Musical Theatre

I’ve a choleric relationship with musical theatre but it’s not because I hate the medium. It’s because I see how great it could be.

Too often, the first thing that springs to mind when musical theatre is mentioned is: “Ugh! Like Starlight Express?” This is testament to the fact that commercial musical theatre has failed to evolve. There may have been a time when the charts were dominated by show-tunes, but until Lady Gaga decides to hit Broadway that is never likely to happen again.

When I’m reviewing musicals at big venues I’m typically surrounded by an audience two to three times older than me. While it’s wonderful that they have something to turn out to, I’m dreaming of something that has the power to bring in a more diverse crowd.

Rent paved the way in '96 - contemporary, accessible, hard hitting and a little controversial. Fifteen years later nothing boasting the same artistic credentials has followed its success. Some really deserved a shot, such as the sagacious Hedwig and the Angry Inch, but perhaps it was too intricate: I found myself picking up on subtext and foreshadowing after five views.

The current staple for a new West End production is the Juke Box Musical. Buddy kicked off the trend in 95. It was unique in that it told the story of Buddy Holly’s life, dramatizing interesting events and illustrating moments key to the genesis of the songs he wrote through his music. The shows that followed, culminating in We Will Rock You and Mamma Mia, have little bearing on the acts who spawned the songs in them, but instead weave clichéd storylines and hackneyed capers around well-known songs, bending loved lyrics to match. I’m not against the Juke Box musical, but they’re about hits rather than theatre. With productions that don’t exhibit a shred of originality, such as the neo-Faustian Disco Inferno doing the rounds, it’s little wonder that The Musical has a reputation for being cheesy and lame.

Musical Theatre is under cardiac arrest, and to save it from flat-lining we desperately need contemporary work which marrys the insight of Sondheim’s Company with the rebellious edge of Hair or bite of Spring Awakening. Something that packs a punch but can still command the ubiquitous appeal of Grease.

To my delight The Fringe is a show case for so much material that is interesting and relevant. The Selfish Gene (“the first ever bio-musical”) captures with the rationalist zeitgeist of 2011 with comic appeal, Fresher The Musical offers the character dynamics and great tracks to boot, Apply Within is contemporary as can be during the recession, and Hitler: The Musical pairs modern vernacular with a diverse score and great choreography.

But what space is this emerging talent to emerge into? Seeds need fertile ground to grow. Without the platform, financial backing and collaboration of production experts that Avenue Q received what hope have these acorns of becoming Great Oaks?

I want to attend The King’s and leave with satisfaction, knowing I'm enthusing to a readership who'd sworn off Musical Theatre since the day their parents first exposed them to Evita.