Blog From The Bench

It seems Broadway has fallen victim to the same illness that has plagued Hollywood in recent years -- Originophobia: The fear of investing in or producing anything new or different. Granted, big budget studio films and Broadway musicals are a huge risk, with a massive investment of resources and no guarantee of any return. But isn't that the nature of art itself -- opening yourself to the creative process and allowing inspiration to guide you where it will? Art and the people who create it run counter to everything that Wall Street stands for. So why would anyone expect art could possibly guarantee financial success? Unfortunately, in order to produce what is considered to be mainstream art, we artists must jump into bed with investors and give them at least some of what they need, to ensure the feeling that their money is being well spent. It's here where we often compromise our integrity, creating this TV dinner amalgamation of entertainment -- a repurposed entrée, with a side or two of good performances, and (if we're lucky) a teeny, weeny dessert of truly inspired artistry.

Case in point, look at the "hot shows" currently running on NYC's Great White Way...

WICKED - An adaptation of the acclaimed 2003 Gregory Maguire novel

SPAMALOT - An adaptation of the hilarious 1975 film MONTY PYTHON AND THE HOLY GRAIN

THE PRODUCERS - Adaptation of the outrageous 1968 Mel Brooks' film

THE LION KING - Adaptation of the 1994 Disney animated classic

HAIRSPRAY - Adaptation of the 1988 John Waters' film, his first box office success

DIRTY ROTTEN SCOUNDRELS - Adaptation of the forgettable 1988 Frank Oz comedy

Now, this collective of theatrical experiences is not necessarily a bad thing. I have seen four of these shows and enjoyed each of them immensely. Yet while inventive in their own ways, they are built upon on someone else's work and not true original creations.

If this weren't indication of trouble enough, we've fallen down the slippery slope into the muck of another repurposed musical theatre genre. What used to be called the "Musical Revue," an evening of music from a individual artist or composer, as performed with minimal staging by a big name star or a group of unknown performers, has mutated into something that simulates real theatre, but not quite -- crafting an entire script, complete with characters, plot (so to speak), and full production values, around the same said music. It's a lot like what we used to do as kids, when you would write a number or letter on a piece of paper and then see how many cartoon faces, animals, or objects you could make out of it. Cute, but the novelty wears thin real fast.

Three such shows are currently generating somewhat respectable returns on Broadway and in touring productions around the world...

MAMMA MIA - Scripted around the music of the 1970's Swedish supergroup ABBA

MOVIN' OUT - Scripted around the music of Billy Joel

ALL SHOOK UP - Scripted around the music of Elvis Presley

While I have not seen any of these three shows, I have listened to the soundtrack for ALL SHOOK UP and scientific theory has proven my concept of Originophobia.

With a book by Joe DiPietro (I LOVE YOU, YOU'RE PERFECT, NOW CHANGE), arrangements by Stephen Oremus (WICKED), and music by Elvis, you would think there might be something to this... but there's not. Elvis was never meant for Broadway. His music demands a different kind of vocalization; a different kind of sexual energy; a 300lb bloated man, sweating profusely in a sequined jumpsuit two sizes too small. Seriously though, musical theatre actors are simply not wired to pull off the gestalt that was the King of Rock 'N Roll. I am far from being considered one of the Elvis faithful, but I do love his music and listening to this original cast album does nothing to invoke his charismatic voice or performance. In fact, you'll find yourself hitting the advance button through mind cringing renditions of "One Night with You," "Devil in Disguise," "Blue Suede Shoes," "Burning Love," and the butchered version of my personal fav "A Little Less Conversation." There is the occasional song that works, like "C'mon Everybody," but it still feels like they're aspiring to present a '50s version of RENT. Let's put it this way, if you've ever been to a theme park musical revue -- you know, Six Flags presents "Getting' Down to Motown" or "Rock 'N Roll is Here to Stay" -- you've already experienced ALL SHOOK UP. Good musical theatre actors, singing and dancing their butts off to the music of a legend now spinning in his grave... or at least suffering a blinding migraine while working the deep fat fryer at a Portage, Michigan Burger King.

I know there will be people who disagree with me, and that's okay. I'm sure the Elvis faithful will find layers of hidden value in this production. I'm sure the loyal Broadway-goers of NYC and the Tri-State area will enjoy this musical time trip. I'm sure the family and friends of my Equity brethren will thrill to their performances. To them, I say all the more power to you. I have tickets to see AVENUE Q and SPELLING BEE.