2014 Hailed as Broadway’s Most Lucrative Year Ever

Following the recent announcement that Broadway saw its most lucrative year ever in 2014, this week on the Simon Morris blog I wonder; what does this say about the Great White Way?

The Centre of the Musical Theatre World

From the time he first gained the ability to say the word ‘Broadway’ out loud, a young Simon Morris dreamed of going to see a production in the most famous theatre district the world has ever seen.

Broadway is the centre of the musical theatre world. Think of a major musical theatre production. It’ll have played on Broadway at some point. Indeed, many of the shows that you love the most i.e. Wicked were first brought to the attention of the world because they were brought to the Broadway stage.

Broadway Rakes in $1.362 Billion in 2014

Now it appears as though more people than ever feel the way I did as a young boy, as according to the Guardian 2014 was the highest grossing year in Broadway history. Broadway League data suggests that productions raked in box office takings of $1.362 billion in 2014, a rise of 14% from the year before.

Meanwhile, 13.3 million people attended shows on the Great White Way last year, an increase of 13% from 2013. Extra data goes on to show that Broadway racked up its most lucrative seven days ever in the week of New Year. NYC’s most noted theatre district amassed $42.8 million that week alone with 37 shows running at 94% of theatres’ total capacity. In other words, 346,913 people made the effort to attend a show on Broadway over this seven day period.

Audiences Seem More Enthusiastic About Long-Running Favourites

The executive director or Broadway League, Charlotte St Martin, commented on the release of the figures. She noted that the box office takings increase “demonstrates that our producers are giving audiences a variety of plays and musicals to please many tastes… In addition to long-running favourites, audiences are enthusiastic about the new shows too.”

Yet audiences seemed far more enthusiastic about the long-running favourites than any of the newer shows that have recently graced the Broadway stage. That same week saw perennial favourite Wicked recorded the highest grossing eight-performance week in Broadway history, raking in $2,740,642. Meanwhile The Lion King reaped $2,514,994 and The Book of Mormon earned $2,224,280.

The Ultimate Tourist Attraction

In other words, Broadway’s record breaking performance throughout the course of 2014 was supported by its fan favourites. This suggests that the Great White Way is transforming into a tourist attraction more known for its classic productions, than for its ability to light up the world of musical theatre by introducing new ground-breaking shows to a mass audience.

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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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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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We’re Off to See the Wizard!

Greetings Simon Morris readers, last week reports suggesting that JK Rowling has agreed to the development of a Harry Potter theatre production set tongues wagging everywhere. Potter fanatics across the world wept with joy.

Growing up as a kid in the 90’s, of course I was a Harry Potter fan. I was obsessed. I remember the first time I got Harry Potter and the Prisoner of Azkaban, I read it non-stop until I finished (it took me two days) and I practically made my mum drive me to Waterstones at midnight to collect my pre-ordered version of Harry Potter and the Order of the Phoenix. Like any real Potter fan, I felt as though a hole had formed in my heart at the end of Harry Potter and the Deathly Hallows.

The Story of Lily and James

Naturally therefore, the news that my favourite book could be being brought to life via my favourite is probably the best news I’ve heard all year. The downside is that as far as we know, it’s not being turned into a musical. I can forgive that, because it’s freaking Harry Potter!

So what do we know so far? Initially, not much, but there are some things we do know. The leading choice for director for the project is John Tiffany, an accomplished professional whose production of The Glass Menagerie on Broadway clinched seven TONY award nominations.

We also know that this play won’t tell the story of Harry Potter. We’ve already done that and it seems that Rowling has no desire to retell an old favourite. Rather, she is going to go back to his parents’ generation. She is going to tell the story of Lily Evans and James Potter.

Simon Morris on Lily and James

In my opinion, Simon Morris readers, this is an inspired decision. There’s always been a curiosity about Lily and James in the Harry Potter fandom. We’ve never really known much, with the exception of a couple of scenes witnessed by Harry in the books, and a window into the lives of the people who created the Boy Who Lived could be a fine edition to the Harry Potter canon.

This once I’ll reluctantly forgive the fact that it isn’t going to be a musical (imagine the epic love show tunes you could get out of James years’ long pursuit of Lily). This hasn’t been confirmed but if it is, this play should be the stuff of legend and I’ll do all I can to be there opening night!

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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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Fiddler on the Roof: A Revival

With the news hitting Broadway blogs and columns last week that seminal classic ‘Fiddler on the Roof’ is to be revived on Broadway next year, I thought I’d take a look at the musical theatre classic. Why has it endured?

For anybody who doesn’t know, Fiddler on the Roof is a classic musical which first appeared on a Broadway stage in 1964. The production was such a hit that not only did it enchant audiences everywhere; it was nominated for ten TONY awards, was turned into a hit movie musical and has sparked numerous revivals.

The musical itself is based on ‘Teyve and His Daughters and Other Tales’ by Sholem Aleichem. Set in Tsarist Russia in 1905, a period of terminal decline for the regime, the musical tells the story of a Jewish family; a father and his daughters. The production chronicles the family’s attempts to honour their Jewish heritage as outside influences alter the way they live their lives.

The production itself is an intelligent exploration of what Jewish people faced at the time under the repression of Tsar Nicholas II. It produced musical numbers that have become standards of the genre, most notably ‘If I Was A Rich Man’ and it became so popular it was the first musical to reach the 3,000 performances mark. No wonder they want to revive it in 2015.

So, apart from the aforementioned reasons, why has it remained enduringly popular? Part of the credit for this sustained success has to go to the movie version of the musical. Released in1971, it was so good that one of its stars, Leonard Frey, received an OSCAR for best supporting actor.

However most of the credit has to go to the stage production itself. Fiddler is an immense musical that will make you weep and laugh in equal measure, and when done right, it can really capture the imagination. It also takes a grand theme such as the repression of the Jewish community in Tsarist Russia and frames it through the lives of ordinary people. This is, I believe, its ultimate key to success.

Audiences don’t tend to react well to grand themes that are beyond their ability to relate to. By framing the narrative through this village bound Jewish family, audiences can see how such prejudices play out in normal life. They sympathise with the characters and grow to support them in their struggles. It’s a similar way of framing a story to how the AIDS struggle was framed through the Alphabet City community of New York in ‘Rent.’

Fiddler on the Roof is a classic that has endured because despite the time it is set in, it tells a story that everybody can relate to. I have no doubt, Simon Morris readers that the 2015 revival will be just a big a hit with audiences as the 1964 original production was.

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