By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
Surprising as it might seem to audiences watching what appears to be the irreversible demise of the musical, there are those who regard the above questions as strictly rhetorical. They maintain the answer is, No, the musical is not kaput. And in saying so, they're convinced they're not, in the famous South Pacific phrase, cockeyed optimists. Yes, they admit that artistic, commercial, and cultural developments over the past decades have crippled the musical. They agree that, the cost of producing musicals having skyrocketed, the Broadway emphasis now is on the safe betrevivals and musicals proven outside of New York. These mavens don't dispute the fact that American popular songs emanate from anywhere but Broadway nowadays. (Contact, the season's first hit and considered a musical in many quarters, has no original music and no one sings.) The last original cast album that had any impact on Billboard's chart was Rent, which topped out at 19 in 1996, and before that the best a show could boast was La Cage Aux Folles peaking at 65 in 1983.
In the face of the troubled discussion, however, many observers offer sunnier predictions. Asked about the current state of musical theater affairs, Ira Weitzman, perhaps the country's foremost musical-theater talent scout, jokes, "I'm producing three [Contact, Marie Christine, Wise Guys] at the moment. As far as I'm concerned, they're not over." Sarah Schlesinger, chairperson of NYU's Graduate Musical Theatre Writing Program, agrees: "Naysayers aside, you can't declare the death of an art form." Helen Sneed, executive and artistic director of the National Alliance for Musical Theatre, a consortium of 115 musical-presenting houses, says that "the Broadway audience is one audience, but the whole point is that there are cities and communities with audiences willing to take the risk of seeing something new." Virginia Dajani, who coordinates the Richard Rodgers Awards, reports that every year she receives somewhere between 115 and 160 entries from writers seeking up to $100,000 as production, workshop, and staged-reading seed money. Sondra Gilman, annually involved with distributing the Gilman & Gonzales-Falla Theatre Foundation prizes (the most recent winners are Polly Pen and Douglas J. Cohen), claims, "We know the pool of talent, and we don't see how this doesn't forecast a great future." Obie-winner Pen gets to the heart of the matter when she says of the gloom, "Part of it comes from people who have some sort of odd rules about what a musical is. What they're usually talking about is they're seeing something that has just changed, and they don't happen to like that change."
Noticeably participating in the shift to works where material and performance are emphasized over spectacle are the composers and lyricists writing what's been dubbed New Theater Music. This bunch, mentioned so often their names can sound like one long name, include Adam Guettel, Michael John LaChiusa, Jason Robert Brown, Lindy Robbins, Jenny Giering, Ricky Ian Gordon, and Jeanine Tesori and Brian Crawley. (All but Tesori and Crawley are represented on Audra McDonald's Way Back to Paradise CD, a tribute to new musical theater compositions that has reportedly sold 30,000 copies.) These writerswith musicals like Parade, Floyd Collins, Violet, and Dream True popping up in smaller venues around the countryaren't, it should be mentioned, heralded everywhere as saviors. Some critics see them as toiling more in the art-song field than in the familiar showbiz arena; with their sung-through scores, they're thought to be unfavorably blurring the boundary between musicals and opera. Weitzman notes that the not-for-profit theaters from which the Guettels and Gordons receive their commissions don't pay very much. As he sees it, there seems to be a widening schism between musical theater writers eking out a living shaping high-minded pieces and those (Frank Wildhorn, for example) scoring big bucks by hawking accessible but inferior product to mass audiences.
The National Alliance's Sneed is adamantly upbeat, however, not only because she's turned her operation into a clearinghouse for activity from around the globe and thus hears about practically everything, but also because she knows what's happened to works introduced for the past 11 years in the annual NAMT Festival of New Musicals. Usually eight new shows are spotlighted in the September event10 this past frameand the resulting grab at entries for production has accelerated. Sneed points to Stephen Schwartz's biblical Children of Eden as one of the best examples of a show seen widely around the country (at least 280 productions in the last three years) without having had Manhattan exposure. In 1998 the Festival click was Kirsten Childs's The Bubbly Black Girl Sheds Her Chameleon Skin, which Playwrights Horizons will present this spring; David Friedman's King Island Christmas is also getting multiple productions. From the 1999 crop, the Jed Feuer-Boyd Graham backers-audition parody The Big Bang will be seen locally later this winter. Birth of the Boom, in which five black men rhythmically rage and reconcile, has nailed down multiple dates. Honk!, a barnyard fantasy by Englishmen Anthony Drewe and George Stiles, is the Christmas offering at London's Royal National Theatre. None of these shows was written as your typical Broadway spectacle.