This season is even more difficult (and potentially more prone to ugliness, or worse, no reaction at all) because for the first time in awhile there are no real standouts in any of the four main categories: Best Play, Musical and revival of each. I can't remember the last time that critics were so, um, kind, to so many shows. None got universal raves and, except for Bye Bye Birdie in the fall and The Addams Family in the spring, none got across the board pans. The result is every show has something going for it, but no show is extra special in the good department, according to the critics, at least. Theatregoers are having their say, to be sure. Good luck getting a decent seat in the Lunt-Fontanne cave where The Addams Family is, but pity the fool that pays full price to any of the nominees (that are still running) in the Big 4 categories. I hope the nominations at least bring a bump in the BO for these shows...
But the real problem is that the musical has become relevant in this country again, but probably in a way that Broadway never dreamed. The movie musical, thanks largely to Chicago, is back in vogue, even if the hit to failure ratio is about 50-50. But who would have thought that the musical would make a comeback on television - regular, not cable, television, at that! And on the smallest of the big 4 TV networks. Why is this a problem? If you are reading this blog, you probably think it is a blessing.
It is a problem because this season's Best Musical is Glee.
It has the best score - the ultimate jukebox musical score that is. Writers of future jukebox musicals should be taking copious notes. Why this works, because they are usually thematically-driven, and they are given clever AND meaningful context, which is why it works 99.9% of the time.
It has the best actress - Lea Michele (Rachel) who is simply an amazing triple-threat. Who knew our little Wendla was so bombastic. Please come back soon...
Best choreography, by far... every show features stunning all out production numbers and even better upclose numbers and montages that make the hair on your neck stand at attention.
Best orchestrations, by far... anyone who can "mash up" two or three totally unrelated songs so that they blend together gets my vote!
Then there are the nods to Broadway that make it truly special. What other show has its star-crossed lovers meet at the Stephen Sondheim section of the school library, which includes the vocal score to Company. Or the inside of the diva's bedroom with rotating Playbills and show cards on her walls - last night there was Rock of Ages, Wicked and the Alfred Molina Fiddler on the Roof (which Michele appeared in). I'm surprised there hasn't been a Spring Awakening seen yet. And what other show features angst-ridden teens wallowing in self-pity while the underscoring of "Hello Twelve, Hello Thirteen" plays in the background?
And so producers of Memphis, Fela!, American Idiot, and Million Dollar Quartet, which ever one of you gets the silver medallion, just remember, you still aren't the best musical of 2010.
(Photos from FOX)
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