Could Reform to Child Labour Laws Benefit West End Musicals

This week on the Simon Morris blog, I ask whether proposed reforms to child labour laws could benefit West End musicals.

Child Stars are Pivotal to West End Theatre

Many of our favourite West End musicals either have a significant child character or a child character as the star. Look at Billy Elliot or Matilda, for example. Without their child stars, these shows would fall part quicker than a Soufflé that’s failed to rise.

Yet, shows prominently featuring child stars often opt to open on Broadway rather than the West End, meaning New York’s musical theatre scenes sees the benefits these productions bring, rather than London’s.

Andrew Lloyd Weber Explains Why He Might Open His Next Production in New York

Notably, Andrew Lloyd-Weber commented on this recently, as he revealed that he is likely to debut his next production across the pond due to restrictive child labour laws. Lloyd Weber commented that "it's much easier to cast children in New York than it is here."

He elaborated by saying that "you don't have to do all this triple casting, you can cast them as if they're adults and then you can have them for a six–month or a year contract if you want to, without these endless changes. And with a show that is so dependent on the children really being able to play, I think that's important."

What Are the Proposed Reforms to Child Labour Laws?

Yet recent proposed reforms to child labour laws could draw musical theatre producers such as Lloyd-Weber back to London. I came across an article on this subject in the Telegraph recently, which went on to make a compelling case for why moves to reform child labours laws could benefit the West End.

The article went on to point out that the reforms would give child actors shorter breaks, and allow them to work longer hours. Specifically, these plans would allow children under five to do live television and radio broadcasts until 10pm, whilst they would allow children over five to do so up until 11pm. This would cut down the red tape productions face when staging a musical on the West End, making it easier, and more cost effective, for them to do so.

What Do You Think, Simon Morris Readers?

Therefore, the argument goes that reforming child labour laws would draw new productions to London, rather than New York. Yet the move certainly has its detractors. What do you think, Simon Morris readers? Would reforms to child labour laws benefit the West End and even if they would, would they be the best thing for the West End going forward?

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My Top Five Musical Theatre Anthems

Every time I get out my IPod and switch the player to my ‘musical theatre’ playlist, there are five songs that even now inspire something in me that nothing else can, and that’s why I believe they rise head and shoulders above the rest. That’s why this week I wanted to let you in on my top five musical theatre anthems!

A musical number is meant to inspire something inside you – whether it is pride, anger, fear, sadness, compassion, bravery, admiration etc. It’s supposed to make you feel something, and in turn make you believe in the character’s story and wish them well on the journey they are taking.

This is the basic criteria that I use to define a musical theatre anthem; it’s got to get you in the heart. So what are my top five of all time?

1) Defying Gravity: The all-time favourite has to be first act closer ‘Defying Gravity’ from Wicked. The song comes at a point where the carpet has been ripped out from under Elphaba, and you’re totally with her when she decides to say a big ‘screw you’ to the wizard and chart her own path. Plus the last bit of the performance, the rise up and the high note, is just spine tingling.

2) Don’t Rain on My Parade: A Funny Girl staple, ‘Don’t Rain on My Parade’ is similar to ‘Defying Gravity’, but it’s more hopeful. Fanny believes in the power of her love and her future and that, along with the bold passion littered throughout, has you standing up in your seat every time.

3) Don’t cry for me Argentina: The seminal classic from Andrew Lloyd Webber’s Evita, ‘Don’t cry for me Argentina’ is a more subdued, reflective affair. It’s Eva taking the time to share her love and devotion with her people, and the sweeping nature of the tune makes you feel like you’re taking a stroll down memory lane arm-in-arm with Eva herself.

4) I’ll cover you (Reprise): For me the reprise of this classic love show tune is more powerful than its first turn because of time and perspective. You’ve seen just how strong the feeling is between Collins and Angel, and this heart breaking lament makes you feel as if you’ve lost your life partner right alongside Collins. You’re broken for and with him.

5) I Dreamed a Dream: What else can I say, Simon Morris readers, except to say that this song is exceptional. A lament which sees Les Miserables character Fantine express her complete hopelessness, you just want to hold her hand and let her know everything will be ok, even if it really won’t be for the troubled heroine of this musical masterpiece.

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Why is Defying Gravity the Ultimate Modern Broadway Show Tune?

Considering my love of modern classic musical ‘Wicked,’ it should be no surprise that I believe that the production’s signature song, ‘Defying Gravity,’ is the ultimate modern Broadway show tune. Let me present my case.

I realise, Simon Morris readers, that this is a hotly contested topic and that many would contest the argument. The last 50 years has seen numerous shows produce iconic numbers and classics such as ‘Don’t Cry for Me Argentina,’ ‘Memory,’ ‘Electricity,’ ‘I’ll Cover You’ and a thousand more are serious contenders for this title.

However I would contend that ‘Defying Gravity’ beats them all, and not for the reason you think. I would argue that it is the ultimate modern Broadway show tune because of the impact it has had on audiences and performers.

Of course Defying Gravity is a technically brilliant song and it bears all the hallmarks of a classic. It is a defiance anthem that comes at the end of the first half of the musical. The lead character, Elphaba, has just realised that every single dream she had was based on a lie and the song is basically her ‘screw you’ moment as she literally and figuratively defies gravity.

In a theatre it’s a real treat to watch. The number itself is full of fierce lyrics that resonate because we’ve all had that moment in our lives where we take that first brave step in going against what society expects of us. It has amazingly big belts and the production is immense as Elphaba rises up on a podium and looks like she is actually defying gravity.

However other modern Broadway anthems hold similar characteristics. ‘Electricity’ is every bit as defiant. ‘Memory’ is every bit as vocally stunning, if more melancholy. ‘Don’t Cry for Me Argentina’ is just as emotionally honest. ‘I’ll Cover You’ is equally as inspiring. However I would argue that none of the aforementioned tracks combine these elements in quite the same way that ‘Defying Gravity’ does.

This shows in the legacy the song has left. It’s a standard these days, not just of the musical theatre industry but of the entertainment industry as a whole. Everybody from Broadway starlets to TV alums to Pop divas has tried their hand at the song and that is because it is probably one of, if not the, most relatable number ever produced on a Broadway stage.

In conclusion, I believe I have presented a strong case to suggest that ‘Defying Gravity’ is the modern ultimate Broadway show tune. This is not because of each of its individually great elements but because the combination of those elements has captured an entire generation of performers. 

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Anne Hathaway Killed It and This is Why

Anne Hathaway managed to bring a new dimension to classic show tune ‘I dreamed a dream’ in the movie version of Les Miserables and I want to explain why her performance breathed new life into one of musical theatre’s most enduring hits.

People were sceptical when Anne Hathaway won the pivotal role of Fantine in the long awaited movie version of popular musical Les Miserables. They doubted that her vocal ability, despite being good, was up to the performance of Fantine’s signature tune.

It’s easy to see why people may believe that; this song has been belted out by some of the best in the business. Theatre icons including but not limited to Barbara Streisand, Patti Lu Pone and Idina Menzel have all at some point in their careers tackled this song and brought people to tears with their renditions.

If Hathaway had chosen to emulate these icons she would have fallen flat on her face; she can’t belt like they can. However she didn’t and in my opinion it was this that made it work. More, her haunting rendition of the track breathed new life into it and brought it to a whole new generation.

When the song is usually performed it is a waling lament; the big notes are almost screamed to the heavens and the leading lady takes on an air of the hysterical. Hathaway could easily have tried to cast her version of Fantine in this light.

However she chose to make her Fantine a more broken creature. The version she sang of the song was quiet, withdrawn and purely broken hearted. She made Fantine less of a hysterical melodramatic character and more one that had just been broken by all the horrific things she had been through in her life.

Quite frankly I thought it was a very real interpretation. Fantine was a woman with a little girl to support who had lost all her chances in life. ‘I dreamed a dream’ is her absolute lowest point, she can’t take it anymore and Hathaway’s muted notes reflect this. She just gives up.

The great thing about musical theatre is that you can interpret the characters over and over again. You don’t have to have one as gospel truth and this allows you to get a fresh perspective on the show you are watching, Simon Morris readers, every single time a new actor comes to fill those large shoes. 

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