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| re: Brantley offers a (semi-)defense for jukebox musicals | |
| Posted by: downtownlw 12:28 pm EDT 09/04/19 | |
| In reply to: re: Brantley offers a (semi-)defense for jukebox musicals - singleticket 09:12 am EDT 09/04/19 | |
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| I don’t see what the problem is. People forget that there was an era when show tunes were the popular tunes of the day. Recording artists were rushing to record the next hit from Broadway. That’s where some of the best song writers worked. It’s just the other way around now. I love to see a brand new, original musical but if they keep doing shows like Moulin Rouge, I’m there! | |
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| re: Brantley offers a (semi-)defense for jukebox musicals | |
| Posted by: Michael_Portantiere 12:38 pm EDT 09/04/19 | |
| In reply to: re: Brantley offers a (semi-)defense for jukebox musicals - downtownlw 12:28 pm EDT 09/04/19 | |
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| "I don’t see what the problem is. People forget that there was an era when show tunes were the popular tunes of the day. Recording artists were rushing to record the next hit from Broadway. That’s where some of the best song writers worked. It’s just the other way around now." I understand your point, and I don't completely disagree. But of course, there is a fundamental difference between (1) songs that were originally conceived to be part of the storytelling of golden-age musicals and wound up becoming pop hits also, and (2) pop hits that were written as stand-alone songs and are now being shoved into musicals, with plots written around them. (I'm not talking here about the bio-musical sub-genre, which is a different matter.) Some people would argue that this is where the problem lies. |
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| re: Brantley offers a (semi-)defense for jukebox musicals | |
| Posted by: ashleylm 02:16 pm EDT 09/04/19 | |
| In reply to: re: Brantley offers a (semi-)defense for jukebox musicals - Michael_Portantiere 12:38 pm EDT 09/04/19 | |
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| pop hits that were written as stand-alone songs and are now being shoved into musicals, with plots written around them. While we're splitting hairs (fun!) there's also, to my mind, a big difference between writing plots around Abba or Billy Joel's greatest hits (Mamma Mia, Movin' On) or writing plots around any song from anybody at any point in time, so long as it works for the plot (Moulin Rouge). In one case you have to uncomfortably contort your plot/characters to fit, but in the other case you can easily pick useful, appropriate songs--if I remember correctly, Moulin Rouge ranged from Offenbach to Nirvana. |
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