How to Blow a Musical Theatre Audition

If you’re the type of person who succeeds by learning what not to do keep reading, as this week on the SimonMorris blog I let you know how to blow a musical theatre audition.

Set Yourself Apart from the Competition

Musical theatre is a competitive industry. Each role has a thousand contenders, with only one actor destined to fill its shoes. You need to separate yourself from every other auditionee if you hope to secure the role of your dreams.

Distinguishing yourself apart from the competition begins at your very first audition. Nail your first audition and you’ll stick in the casting director’s mind as one to watch, as they weed their way through the hopefuls to find the right actor for the part. As such, you might find it pretty useful to know which mistakes you should avoid making on your first audition.

Five Mistakes That’ll Blow Your Audition

Auditioning is a minefield. The following five mistakes will have your casting director screaming ‘next’ before you’ve even gotten started…

•       Picking the Wrong Audition Song: The right song will make your voice shine and show a casting director why they need you in their production. The wrong song will not only point out your vocal weaknesses, but show the casting director why you’re wrong for the part.
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•       Assuming You Know What Directors Are Looking For: Directors are a strange bunch. They like to look for something fresh, new and innovative. If you assume you know what a director’s looking for before you step on stage, you may convince them you’re not right for their interpretation of the character in question. Just be yourself.
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•       Doing Something Offensive: People seem to think doing something offensive at their audition will make them stand out. Yes it’ll certainly make you stand out… as someone who’d be a nightmare to work with. If you get the urge to pick an audition song or a monologue with a curse word in it, think again.
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•       Crying on Stage: This is not the X Factor. Bursting into tears and letting everybody and their mother know why this means so much to you won’t do you any favours. It’ll just convince the casting director you’ve got a screw loose. No one wants to work with a performer who bursts into tears every five seconds.
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•         Talking back to the Casting Director: Musical theatre is not a democracy. It’s a dictatorship. If a casting director tells you to do something, you do it. If they tell you to jump, you ask how high? If they tell you to do the Macarena whilst singing ‘Defying Gravity,’ get dancing!

Think About What You Do, Say and Even Think!

Let me make something clear. Don’t think that if you avoid these five mistakes you have free reign to do whatever you want in your audition. Think long and hard about what you do, say and even think before you walk into an audition if you want to secure the role of your dreams.

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Five Underappreciated Musical Theatre Show Tunes

This week, I want to salute real musical theatre enthusiasts here on the Simon Morris blog, by listing what I believe are five underappreciated musical theatre show tunes.

We All Have a Show Tune That Made Us Fall in Love with Musical Theatre

Perhaps the reason I first fell in love with musical theatre, back when a mini Simon Morris was first watching actors tread the boards, is because I fell in love with a particular show tune, ‘Don’t Cry for Me Argentina.’

I’d say it’s the same for many people. For all of us, there’s a show tune that defines us, and more, a show tune that defines a show – ‘Defying Gravity’ in Wicked, ‘Memory’ in Cats etc. That’s great and all, but it means that similar, just as good show tunes often get left in the dust in the minds of musical theatre enthusiasts, in their hurry to re-listen to their favourites.

Take a Listen to the Following Five Show Tunes

Which is why this week, I wanted to educate and inspire in equal measure, by directing your attention to five underappreciated show tunes that you’d really love, if only you took the time to listen.

1)      No Good Deed: It may not be as famous as it’s more well-known cousins, such as ‘Defying Gravity’ or ‘Popular,’ but ‘No Good Deed’ is a song that is easily one of Wicked’s best. Elphaba’s absolute disillusionment that litters the track is haunting, yet compelling for any viewer.

2)      Finale B: I don’t why this show closer was given such a non-descript name, because it’s a real experience to listen to. It expertly combines several lyrical refrains that have run throughout the  show to bring RENT to a resounding, yet effortlessly hopeful conclusion that’ll have you in tears every time.

3)      The Temple: In the adoration that usually gets poured liberally on solo pieces, ensembles often get left out of the mix, which is completely the case with ‘The Temple,’ from Jesus Christ Superstar. The sharp contrast between the protagonist’s anger at the largesse on display in the Temple and his utter despair as he is crowded with lepers he is unable to help once he escapes into the desert, will take your breath away.

4)      Waltz for Eva and Che: When you think of Evita, there are certain mind blowing tracks that come to mind – ‘Don’t Cry for Me Argentina,’ Another Suitcase in Another Hall,’ Buenos Aires,’ etc. Yet one that never does, but should, is the fantastic ‘Waltz for Eva and Che.’ Coming close to the point where Eva dies, it’s a sizzling affair, which expertly examines whether Mrs Peron really was a saint or a sinner; not that it ever manages to answer the question!

5)   Whispering: Spring Awakening really is the modern – yet old fashioned – exploration of sexual awareness, with high octane numbers, but I would suggest one of its stand outs is the more sedate ‘Whispering,’ sung by the female protagonist, Wendla. Quite simply put, its heart breaking.

Which Songs Do You Believe are the Underrated Gems of the Broadway Cannon?

And there are the five underappreciated show tunes you should be listening to the minute you finish this article. Do you agree Simon Morris readers? If not, then which songs do you believe are the real underrated gems of the Broadway cannon?

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Will Education Get You a West End Role?

This week on the Simon Morris blog, I ask; will an education in musical theatre actually get you that role on a West End stage you’ve been dreaming about since you were a kid.

It’s Extremely Hard to Get a Role in the West End

You don’t have to be a musical theatre expert, Simon Morris readers, to know that it is monumentally hard to break into the West End.

It’s a simple matter of mathematics. There are only a handful of roles for a large number of applicants. That is why most people assume that a first class education in musical theatre will give you the edge to outshine your competition and get the role of your dreams.

Only 2.6% of Musical Theatre Graduates Work in West End in First Five Years

But is this the case? This week I came across a fascinating article on The Stage that revealed that only 2.6% of jobs taken by top musical theatre graduates in their first five years actually see them land on a West End Stage.

According to the online publication, this finding came from research commissioned by Drama UK and carried out by Jane Dietch, a casting director.  It went on to show that out of the almost 500 performing arts jobs that were taken by musical theatre graduates who had been studying a three year course in 2013, a mere 13 were for roles in the West End.

Where are Musical Theatre Graduates Getting Jobs?

The figures went on to show that 13 jobs were provided to graduates from the larger theatre companies. These include the National Theatre, the National Theatre of Scotland and the Donmar Warehouse.

Meanwhile 3.4% of jobs (17) were given to graduates by regional theatres, whilst 4.6% (23), were provided by commercial tours. Yet the largest proportion of jobs given to graduates (26%) were for roles in cabaret, pantomime, events, cruises concerts etc. whilst the second largest proportion (20%)  were provided by Off-West End and fringe work.

You Have to Work Your Way Up

So will an education get you a West End role; eventually. However what these figures show, Simon Morris readers, is that you have to work your way up. If you want to be successful in any industry, you have to pay your dues and gain experience before graduating to the big leagues.

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Mobile Phones to Be Banned in Theatres?

A director has said that mobile phones could be banned in the West End to stop patrons from filming. On the Simon Morris blog this week, I ask, could this really happen?

Simon Morris Wishes He Could Throw Mobile Phones into the Thames!

We all know it’s really annoying when you’re watching a musical you’ve spent money to see, and have waited for, for ages, when someone breaks out their phone. Whether they’re answering a text, calling a friend or filming a production with plans to post it later on YouTube, it makes you want to grab the phone and throw it into the Thames.

Whilst I have blogged about how to be an audience member when watching a musical theatre production, and I did talk about mobile phones, I do recognise that we need to have them on us when we’re in a theatre. That’s why I’ve always been dubious when West End personnel have talked about banning mobile phones in theatres (and they talk about it a lot). It just seems so impractical.

He Was Only Texting His Son, Who Was Ill.

And someone else has been at it recently; this time acclaimed West End director Anthony Biggs. According to the Daily Mail (who absolutely love this kind of thing) Biggs made the suggestion due to audience members constant need to film productions.

The publication has revealed that recently, actor David Judge interrupted a performance Athol Fugard’s Statements. Why? He and Jasmine Hyde, a fellow cast member, saw a man in the front row using his phone continuously. They thought he was filming them. Turns out, he was just texting his son, who was ill.

Phones Can “Ruin the Experience” But the Audience Does Tend to Rely on Them

This lead Biggs; artistic director at Jermyn Street Theatre, where the production was based, to make the suggestion that phones should be banned in the West End. He said that phones can “ruin the experience,” for the audience, and that because of this, new measures may need to be put in place to curb mobile phone use in shows.

I get what Biggs is saying. I also think it’s highly impractical. In this day and age, people use their phones all the time, that’s just a fact. Stop them, and watch, as ticket sales plummet faster than the economy did back in 2008.

Simon Morris Suggests that Actors Just suck it up!

Simon Morris readers, I really do understand how annoying mobile phones are when you’ve invested you heard earned time and money into watching a musical in the West End. However, in modern life, you just have to suck it up and deal with it. These are some of our country’s best actors. If they can’t put up with a few mobile phones, maybe they aren’t really up to the job!

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My Top Four Movie Musical Actors of All Time

This week I want to celebrate the leading men, who have made the movie musical what it is. Here on the SimonMorris blog are my top four leading movie musical men ever!

Behind Every Great Diva is A Leading Man

We tend to focus on the women who have made the movie musical what it is. Maybe, that is because the ‘stereotypical’ movie musical audience have always admires strong divas. That’s why when we think of the genre, our minds immediately go to sirens of song such as Judy Garland, Barbara Streisand and Liza Minnelli.

But we really shouldn’t discount the men. Have you ever heard that saying, behind every great men is a great woman? Well, in this artistic field, the opposite is true. Behind every dazzlingly delightful diva is a leading man of epic proportions.

These Four Leading Men Simply Shined on Screen

Of course, not every actor was able to hold their own against the star power of icons such as Garland and Streisand. However, some matched them note for note, step for step. These four simply shined on screen:

1)      Fred Astaire: No one did it quite like Fred Astaire. Arguably one of the very first actors to make it big in movie musicals, he was a demon on the dance floor. Along with Ginger Rogers, he formed one part of tinsel town’s most memorable dancing duos, and helped make dance an integral part of the movie musical in productions such as Top Hat, Follow the Fleet and Swing Time. Every actor who came after owes Astaire a huge debt of gratitude.

2)      Gene Kelly: If Astaire was one of the first memorable movie musical lead actors, then successor Gene Kelly was arguably one of the most iconic of all time. His roles in mega movie musicals An American in Paris and Singin’ in the Rain were so monumental, they still stand as the ones to beat to this very day.

3)      Mickey Rooney: The last of the Hollywood movie musical leading men, Rooney sadly passed away this year. But what a life he had. A veritable silver screen icon, he shone in a number of movie musical roles, including Babe in Arms with Miss Garland herself!

4)      Hugh Jackman: Frankly, since the golden age of Hollywood, the movie musical has gone downhill. When it did wow audiences all over again, we tended to focus on the performances of the leading ladies. However, that changed with the film version of Les Miserables, with Hugh Jackman in the leading role. A musical theatre veteran, you could tell he’d been cast perfectly, and could very well revive the classic movie musical leading man role that typified Hollywood in its heyday. 

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My Top Five Favourite Movie Musical Actresses

The actress often makes the movie musical, and on the Simon Morris blog this week, I’ve listed who I believe are the top five movie musical actresses ever!

A Combination of Theatre and Silver Screen

There are many elements to the movie musical – score, costumes, script etc., but without the star power of a truly world class leading lady – who can bring the main female role to life – it’s bound to fail!

But it takes a lot to be the leading lady of a movie musical. You’re not dealing with a live audience – therefore, you not only have to have the skills required for the stage, but those required for a star of the silver screen – to bring a truly iconic leading lady to life.

Simon Morris’ Fabulous Five Leading Ladies

It’s rare that an actress- no matter how talented – can make the transition one way or the other, but in my opinion, Simon Morris readers , these top five movie musical leading ladies were more than capable of tackling the task at hand:

1)      Judy Garland: Judy Garland is the quintessential movie musical leading lady. From Wizard of Oz to Summer Stock to A Star is Born, Garland typified the versatility required of a leading lady to take on the movie musical genre. Every actress sees Judy as the one to beat.

2)      Barbara Streisand: And she has a fierce contender in arguably the most famous musical theatre actress of all time, Barbara Streisand. Bab’s has taken leading lady roles in a number of movie musicals including Funny Girl, Yentl, and a remake of Garland’s own A Star is Born. Her killer vocals, effortless charm and sheer likeability, make her the perfect movie musical leading lady.

3)      Julie Andrews: Is there anything this woman can’t do. Easily one of the most successful actresses to ever come out of the UK, Andrews is possibly most remembered for her iconic turns in movie musicals The Sound of Music and Mary Poppins. The enduring popularity of both productions, shows just how suited Andrews was, and always will be, to the role of movie musical star.

4)      Liza Minnelli: In every way, she really is her mother’s daughter. Minnelli proved that she is every bit the movie musical leading lady her mother was in 1972’s smash hit Cabaret.  Her haunting vocals, infectious presence and intriguing performance make her a star among movie musical leading ladies.

Angela Lansbury: Few have had a career as distinguished as Angela Lansbury, and she’s certainly proved that she’s capable of the title ‘movie musical leading lady’ in her time. She famously starred alongside Garland in 1946 western movie musical The Harvey Girls, and has since taken heralded roles in a number of others, including Bed knobs and Broomsticks, Blue Hawaii and Sweeney Todd.

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Simon Morris on Everything You Need to Know About this Year’s TONY Awards

The TONY Awards have once again come and gone, and if you missed out on the best night in musical theatre, you’re in luck, as this week Simon Morris is here to give you the low down.

The 68^th Annual TONY Awards

The TONY Awards are to the musical theatre world what the Grammy’s are to music and the OSCARS are to film; the one night of the year where players in this world get the recognition they deserve for their stellar work over the past 12 months.

This year’s TONY Awards (68^th) once again took place at the Radio City Music Hall, one of the most renowned and prestigious venues in the  whole of New York City. That alone should let you know what kind of night it was; a truly spectacular one filled with epic wins, disappointing losses and grand performances that had the hair standing up on the back of just about everybody’s next.

A Night of Many Performances

So what happened; let’s start with the performances. Every year stars from some of Broadways must successful productions take to the stage to belt out their signature number, and this year’s awards saw the tradition continue. Tracks were performed from the productions of Les Miserables, After Midnight, Aladdin and If/Then, among others.

Neil Patrick Harris Sizzled on Stage

There were two that I believed stood out. The first was the performance of ‘Sugar Daddy’ from the revival of 90’s classic Hedwig and the Angry Inch. This musical has seen resounding success this year, and went on to win the TONY for the best revival of a musical later in the night. Neil Patrick Harris sizzled and delighted in equal measure in the role of an East German transgender rocker.

As Good as it Was Ten Years Ago

The other performance that stood out to me was the performance of ‘For Good’ from one of my personal favourites, Wicked. Performed in honour of the game-changing musical’s tenth anniversary, it struck a chord with perennial Wicked lovers such as myself, for managing to achieve the same sense of heart-warming melancholy it did ten years ago. There is no greater compliment than that.

Best Actor/Actress

Now onto the winners in the three main categories (who really cares about stuff like best lighting anyway.) Best actor in a musical went to Neil Patrick Harris; as I’ve already mentioned, he was phenomenal and it was totally deserved. Best actress in a musical to Audra McDonald for the role of Billie Holiday in a production about the life and times of the icon; Lady Day at Emerson’s Bar and Grill. It was a no brainer, she shone in the role.

Drum Roll Please… And the Award for Best Musical Goes To?

Now the big one, best musical. In the end, despite stiff competition, A Gentleman’s Guide to Love and Murder walked away with the night’s most prestigious award. I’m not going to give the plot away, all I’ll say is; I’m really not surprised.

There you have it Simon Morris readers; this year’s TONY’s were yet another night of amazing performances, spectacular wins and devastating loses; I so can’t wait for next year!

By Simon Morris

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Why Are We All Reading the Book of Mormon?

Broadway musical The Book of Mormon is a runaway success, and this week I wanted to get to the bottom of its momentous popularity, and ask, just why are we all reading the Book of Mormon?

Tomorrow is a Latter Day

It tells the story two young Mormon missionaries who are sent to a remote village in Northern Uganda to spread the good word. When they get there however, they find the locals less than receptive, as they have far too many problems of their own to deal with and subsequently, the young men see their own worldview challenged.

With a stunning soundtrack boasting soon to be classic show tunes such as ‘Orlando,’ ‘You and Me (But Mostly Me),’ and ‘Tomorrow is a Latter Day,’ a riveting plotline and dollops of side-splitting humour, it went on to become a critical and commercial success, even bagging the TONY Award for Best Musical.

The Controversy of the Portrayal of Religion

So why are so many people into it? On the face of it, it shouldn’t work. Religion is always a tricky topic to tackle, and most musicals that do attempt to climb this hill, like Jesus Christ Superstar and Joseph and the Technicolor Dream Coat play it safe. They stick to biblical truth.

Quite simply they do this because of the sheer righteous indignation that rains down on an artist when they dare to challenge the established cannon is terrifying. All you have to do is look at the fierce outrage the film The Last Temptation of Christ provoked back in the day, to realise why most creatives shy away from this kind of thing.

Simon Morris on a Changing Religious Landscape

However we aren’t back in the day, we’re in the modern era and we’re living in a time where experts have found a noted trend in the western world; people are turning away from religion. Innovations such as the internet are fostering a tendency to question religion more than ever before.

And The Book of Mormon ultimately seeks to answer some of those questions. It’s a fascinating exploration of the indoctrination of religion, and what happens to the indoctrinated when they’re released out into the real world.

The Book of Mormon works because it taps into the current zeitgeist. Whilst it’s phenomenal all on its own, people are into it because it asks the questions they want answered, and tackles the issues they care about. This is the hallmark of many a timeless musical.

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The Versatility of the Musical Theatre Heroine

What fascinates me about the role of the heroine in musical theatre is that it comes in so many shapes and sizes, speaking to the audience on an array of differing levels, which is why on the Simon Morris blog this week, I want to explore the versatility of the musical theatre heroine.

The Societal View of the View of Women

To play a heroine on the musical theatre stage is no easy task. Women often get the hardest, most vocally challenging of numbers, the most elaborate of costumes, the most strenuous of dance routines. Technically, it’s an exhausting job.

However there’s also the added pressure of societal views of women to contend with. Society has a complex relationship with its perceptions of the female gender, with old stereotypes clashing dangerously with modern beliefs in the power of the strength of women. Often, heroines (especially in older productions) need to communicate both to the audience to fully capture their imagination, and this takes a truly gifted actress, no matter the type of heroine they’re playing.

Simon Morris Explores Every Shade of Heroine

There are several types of heroine that demand talent to truly communicate their complexity, and I want to examine a few to show the true versatility needed to play the role of a heroine:

·         Elphaba: Your classic modern woman in green skin, Elphaba is a sympathetic take on an archetypal villain and the trick to nailing the role is to balance the innate goodness of the character with the pain that allows others to perceive her to be the Wicked Witch of the West.

·     Mary Magdalene: A woman often damned and hailed in equal measure, Magdalene in Jesus Christ Superstar is both selfless and selfishly in love, and any woman taking on the role needs to be able to communicate the full spectrum of this most complex of emotions to make her even slightly believable.

·         Maureen: If Elphaba is the modern woman, Maureen is the post-modern one, all brash rebellion and pure intentions, an idealist and a dreamer. However the trick to getting Maureen right is to balance her bravery with the faint vulnerability that lies underneath and drives her insecurity.

·         Evita: If the first three are heroines with a shade of villainess, Evita is a villainess with a shade of heroine. The very definition of ambition, her actions are questionable and self-motivated but any effective Evita makes her believable by providing that balance that suggests that beneath the glaring blonde ambition lies at least some convoluted form of altruism.

What I hope to have shown you here, Simon Morris readers, is that there is no straightforward modern heroine. No black and white, good or evil, rather there are shades of all, and that is why the musical theatre heroine is the most versatile of roles any actress could ever hope to take on.

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RENT: A Story That Resonates Even Today

Is RENT as relevant today as it was when it first hit the Broadway stage back in the mid-90s? That is the question I seek to address today on the Simon Morris blog. Is this classic modern musical still relevant?

This is a problem that every musical theatre production faces at some point or another, as does every piece of art that has ever been created. Art often depends on the societal trends of the day to make an impact, however it is its ability to rise above its own cultural environment and tap into common human emotion that makes great art timeless.

RENT: The Tale of One Group of Friends in Alphabet City

The show itself chronicles a year in the life of friends as they struggle with love, loss, addiction, desperation and so much more. Classic tunes from the show include fan favourites such as ‘La Vie Boheme,’ ‘Seasons of Love,’ ‘I’ll Cover You,’ ‘Take Me or Leave Me’ and ‘Without You’

The general story sees these friends meet, connect, fall in love, struggle with issues such as heroin addiction and AIDS, deal with the death of one of their own (Angel) and survive, coming together in Mimi’s hour of need and saving her from following Angel to an early grave.

A Musical That Taps Into the Very Essence of Humanity

On the face of it, RENT has endured because the issues that plague its characters are ones still very present in modern life. Many people still suffer from drug addiction and AIDS, LGBT rights, which are skilfully explored in the production, are more prevalent than ever and the excesses that so typified the 1980’s backdrop of the piece still reverberate in 2014.

However, I would suggest that this is an overly simplistic explanation of the enduring popularity of RENT. Yes, many of the issues it explores are more prevalent than ever in today’s society, but it’s the musical’s ability to tap into common themes in human emotion that made it, and continue to make it, a massive hit with audiences across the musical theatre loving world.

So, Simon Morris readers, if this little analysis has taught you anything, it should be that a musical works when it resonates with audiences. Only through the exploration of complex human emotion can audiences gain that window they need to form a connection with the characters up on that stage and, ultimately, grow to love them!

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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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What I’d like to see from Elaine Paige’s New Chat Show

Musical theatre geeks cheered this week as the news was announced that legend of the genre, Elaine Paige, is set to front a new musical theatre inspired chat show. What’s coming up and what would I like to see from this new show?

Elaine Paige is a genuine musical theatre icon; the woman’s a powerhouse on the West End Stage. She famously originated the roles of Eva Peron in the West End original production of Evita and Grizabella in Cats. She’s also had notable roles in productions of Hair, Chess, Jesus Christ Superstar and Grease.

So she’s perfect to front such a new show. A show like this, which brings the best in the modern industry and sits them down for a chat, of course has to be fronted by such a presence in the industry. This is because of the nature of the chat show formula.

A chat show, at its heart, is a show designed to provide a unique insight into the guests’ lives and character. Only someone who they respect, who they have long admired and looked up to, could handle such a task. Paige’s authority in industry circles uniquely positions her for such a task.

The show is slated to appear on the Sky Arts channel, so it’s very clearly centred towards a niche audience and this could prove a true boon to true fans of the genre. It’ll allow Paige to speak to the guests on a level that provides true insight. She won’t have to dumb it down for the general public who naturally have very little frame of reference.

Paige herself has said of the opportunity that "I look forward to welcoming some of my friends and colleagues to the show and singing not only some new songs but some of my all-time classics."

From this we can gather that it’ll be a mixed format; that part of the chat show experience will involve belting out some classics that provide a snapshot of that performers experiences and how they have lived their lives. That’s exactly what I want to see from a show like this; true insight. Also if it yielded collaboration of the Judy Garland/Barbara Streisand variety, then I’ll truly count it a success!

For musical theatre fans, Elaine Paige’s new show provides a unique opportunity to know more about the people behind the characters and it’s something you absolutely shouldn’t miss, Simon Morris readers.

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A Reflection: We Will Rock You!

Musical theatre junkies were forced into mourning last week as it was announced that beloved West End staple‘We Will Rock You’ is set to close after 12 years. In tribute to the game changing show, I wanted to take the time to reflect on what made ‘We Will Rock You’ such a fan favourite.

After 12 years, ‘We Will Rock You’ is closing. The show was originally written by Ben Elton and is a jukebox musical; a production framed around the songs of a popular music act. In this case, it was obviously Queen.

 It became the longest running show at the Dominion Theatre and was one of the biggest West End exports of the last decade. People everywhere love it (I’m not going to reveal how many times I’ve been to see it, let’s just say it runs into the double figures.) So what was it about the show that so entranced audiences?

For anyone who’s being living under a rock, the show tells the story of a dystopian future where all music everywhere is banned. As a band of true bohemians lead the struggle to restore fashion, live music and freedom of thought to the world in which they live, we watch the characters learn, love and grow.

Not surprisingly as a jukebox musical of a band of which some members survive, two of those members, Brian May and Roger Taylor soundtracked the production. It meant that we got Queen classics such as ‘Another One Bites the Dust,’ ‘Radio Gaga’ and ‘Bohemian Rhapsody’ in musical theatre form.

It’s been phenomenally successful; it’s been seen by an estimated 16 million people. However it was actually never a favourite of the critics. When it was first released the Mirror famously declared that “Ben Elton should be shot” for ever putting pen to paper.

So why has it proved so enduring? The plot certainly plays a part in it. As human beings, we have a certain attachment to music; it brings out something in us that nothing else does. The idea of it being taken away seems gut wrenching and it makes us connect with the characters.

However this is one case where I would say the music outshines everything. Those Queen songs are loved by so many people and I think ‘We Will Rock You’ was so successful because it provided the audience with a new way of listening to and interpreting them.

‘We Will Rock You’ reminds us of the power of the jukebox musical. Like ‘Mama Mia’ before it, people went in wanting to be entertained in a new way by the songs they’ve loved for years. That is why everybody is so sad that the sun has finally set on ‘We Will Rock You.’

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Ethel Merman: The Original Broadway Baby

Few people have had the impact on musical theatre that Broadway icon Ethel Merman has. This is why, Simon Morris readers, I make the case for Merman as the original Broadway baby.

Merman is a giant of the industry; ask anybody performing today if she was one of their biggest inspirations and almost 100% will be quick to assure that ‘of course she was.’  Musical theatre greats from Barbara Streisand to Patti Lu Pone and Bernadette Peters have credited Merman as an influence; even 90’s rock band Green Day did.

So what made her such a legend? Touted universally as the premier Broadway star of the day, Merman is best remembered for her belting voice, precise enunciation, unique personality and the longevity of her illustrious career.

Originally from humble beginnings, Merman, born in 1908 in Queens, New York, came to symbolise a generation of musical theatre performers over a career that spanned decades. Primarily she is known for the iconic 13 roles she originated on Broadway between1930 and 1959.

When making the case for Merman as the original Broadway baby we have to look at the show tunes she was most associated with. These most notably include ‘You’re the Top,’ ‘I Get a Kick Out of You,’ ‘Roses Turn,’ ‘Anything Goes’ and the tune that became her signature song ‘There’s No Business Like Show Business.’

These are big brassy numbers that represent the height of Broadway’s heyday. They take a big personality to bring them to life and reviewers both past and present have universally agreed that she managed to do so in spades. She did such a good job that they’re still overwhelmingly popular with audiences and artists alike in the modern day.

We also have to look at the actual shows that she was in, many of them original productions that are still performed on Broadway today. These include iconic productions such as ‘Girl Crazy,’ ‘Anything Goes,’ ‘Annie Get Your Gun’ and ‘Hello Dolly,’ each masterpieces in their own right.

However for me her most enduring contribution to musical theatre has to be her creation of the main character Rose in Sondheim smash ‘Gypsy.’ An opportunity that came toward the latter end of her own personal golden era, it perhaps her most acclaimed role and that has been emulated by greats such as Bernadette Peters and Patti LuPone.

The measure of an icon is the influence she had on her successors and the legacy she left behind. In Merman’s case both were profound and that is why in my opinion she is clearly the original Broadway baby.  

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Why Andrew Lloyd Weber is a Genius

I wanted to take the time this week musical theatre enthusiasts to argue a point to the converted. Andrew Lloyd Weber is a genius, despite his many idiosyncrasies.

Simon Morris readers if you are really musical theatre enthusiasts you must know about Andrew Lloyd-Weber. Even people who don’t like musicals know him. He’s the man responsible for some of the greatest musical productions in history. He’s the man responsible for my own personal favourite, Evita.

However he isn’t universally praised. There are a lot of people, both in the industry and out in the public, who have a less than favourable view of the musical theatre icon and this has, in some eyes, tarnished his reputation. This is for two reasons.

The first is how difficult his productions can be on their stars. Patti LuPone played the original Evita and she had a lot to say about the production’s creator. She often said that he must hate women to make a part that difficult; a part that required so much singing and dancing and provided no relief whatsoever.

So the first criticism is that he doesn’t consider the needs and capabilities of those people attached to his projects. There’s certainly been evidence over the years to support this type of claim.

The second reason is that he is very hit and miss. He created the masterpiece that is the Phantom of the Opera; a musical that has gripped minds and hearts throughout every single land in this world. The Phantom of the Opera is often touted as one of his best works and many think that it will live on long after his death.

However he decided to write a sequel for this much loved production. The sequel, Love Never Dies, was the biggest flop of his career. It was unbelievably awful. Nobody, not even his most ardent of fans could stand it. It was so bad it was actually offensive.

So does this make Andrew Lloyd-Weber as maligned a figure as his critics would have him? No, I don’t think it does, He certainly has his faults but all the best artistic geniuses do. You don’t reach perfect without screwing up. You don’t reach perfect without playing it safe.

That’s the key to Lloyd-Weber’s success; he doesn’t play it safe. It means that whilst he fails and does so drastically, when he succeeds, he creates something that is destined to entrance audiences for generations to come. 

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Why Celebrities Shouldn’t Take on Broadway

One of my pet peeves is when a classic musical production decides to do a little stunt casting and ropes in a celebrity. It infuriates me. This is why this week, Simon Morris readers, I want to take the time to rail against celebrity stunt casting.

Don’t get me wrong, it really can work and when it does it’s amazing. Hugh Jackman, for example has taken to the stage numerous times and it works; he’s a genius when it comes to musical theatre. Same with Neil Patrick Harris; he’s born for the stage. Even Nicole Sherzinger’s two day turn as Maureen in Rent is one I liked.

But that’s because these people were trained in musical theatre. They spent years learning their craft and it’s often where they started out their careers. This means that even though they are now famous for other areas of their career, they have the talent and charisma to take on these iconic roles and make them their own.

However there are so many instances of celebrity casting where the celebrity in question does not have the acting ability or the vocal chops to take on the role in question. It’s clear that they’ve been casted purely to draw people in and I believe that this damages the integrity of the production.

Take Vanessa Hudgens of High School Musical fame as an example. Even in that she was terrible and then she was assigned the role of Mimi in the two day production of Rent at the Hollywood Bowl in LA. Complete disaster. She should be ashamed of herself for the performance she gave.

Then there are the timing issues. These celebrities don’t have a lot of time in their calendar. Most musical theatre stars spend months, if not a year or two in the role. This is good because it allows them to settle into the role and make it their own.

However celebrities are known for only staying in these roles a short time. Take Martine McCutcheon, who won the role of Eliza Doolittle. Her performance rate was 48%, it was pathetic. Despite rave reviews it’s clear she couldn’t commit to the role and this left many patrons disappointed.

There are some celebrities who can take on a musical theatre role and make it their own. However there are some that really can’t. These people should never again darken the stages of some of our most beloved productions. 

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