But I’d argue that the hits are coming faster than that now . . . and very shortly, that five year average is going to change significantly. And when it does, it’s going to change the landscape of Broadway along with it.
Broadway just got its latest megahit last year in Hamilton, just one short year after Aladdin sneaked up on us and said, “I know you didn’t expect it, but poof, I’m gonna run for a decade at least!”
6 comments:
I think that it is really exciting how Broadway is getting more and more popular and there are more big hits coming. Hamilton has changed the way people view Broadway in a very positive way. Most people who do not normally see Broadway shows have become more interested in theatre as a whole and some are expanding their theatre pallets to other shows. I am happy to know that I will soon be part of this business as it is having a boom of talent and interest. Playwrights are getting more and more creative because of the tough competition and knowledge that ideas like a history rap musical is not out of the question of being a good show. I really hope people will support the other shows on Broadway and not just the few really popular ones. The less popular shows need to be able to survive in order for the community to thrive as a whole.
I honestly love talking about this because from an economic analysis it is an important conversation to the longevity and life of Broadway. During the summer at Williamstown, we had a panel of Broadway professionals and it came up that it is such a great time to be a designer or production professional because there are so many jobs. A few of us after discussed the fact that this can only last so long. There is a strong possibility that we are coming up on a bubble for Broadway or it will continue to soar as it is now. I’d like to be optimistic and think that the latter will be true but there is a certain degree of truth in the former. To crank out a new hit musical every three years may become overwhelming for audiences. The thing about a megahit is its rarity. The article introduces the idea that megahit can come along more often as they become more prevalent but I would argue that’s not true. The megahit changes the economic landscape of the industry and the creative possibilities/standards. And in regard to latter of the two standards, I definitely don’t think that “Frozen” will be able to do that.
This is an interesting article that throws some interesting questions for readers to ponder over.
However, the core of this article - the argument that Broadway has never experienced so many mega hits in such short period of time ever before - was not supported by any solid evidence at all ( I mean, I get it. But it's a bit of exaggeration). To be honest, before motion pictures mounted challenges and competed with the stage (in 1920s), theatres had been dominent in people's entertainment life. And then because people were naturally drawn to new stuff, plus there is a list of things where movies can beat stage shows, the loss of audiences seemed inevitable. But even with that a LOT of people were still theatre-goers because they cherished the special live experience of watching shows. The Lion King, Chicago, Rent, and Cabaret happened within the 5-year span, and not to mention the Phantom of the Opera directly followed Les Misérables; and Mamma Mia!, Avenue Q, Wicked, and Jersey Boys all fell within the time span aforementioned as well.
We are all excited about the fact that recently broadway productions (or just shows in general) are exuberantly booming and bringing more audiences especially with shows like Hamilton or the upcoming Harry Potter and Frozen. I personally am so happy to see that non-theatre friends around me start to get interested in actually paying for tickets to sit in a theatre watching shows onstage. And honestly, as far as I can see, the exorbitant ticket price for Hamilton actually directs audiences to see other shows around the area. More audiences means more money, which is definitely good news for artists in the industry. Nothing creates more happiness and spirit than being paid a good amount of money to make the art you love. AND with the Final Rule coming in effect, artists will be able to create more freely without struggling to make a living.
I find it mildly dismaying that there does not seem to be one mention of "the level of quality" in regards to the hit musicals referenced or those coming down the Broadway pipeline.
I would argue that Hamilton is probably /the/ five year hit, with its exceptional cast and creative team (though the set leaves something to be desired in my humble opinion). Critics across the spectrum have raved and sung the praises of Hamilton, and understandably so. Yet I don't recall the same reaction to Aladdin nor do I foresee similar Hamilton-esq praise for Frozen or The SpongeBob musical. There's no doubt that these shows will sell- that's become the business of Broadway. This is clearly evidenced by Disney Entertainments ever growing presence and involvement on the great white way. Their shows are created to return a profit (otherwise what kind of business model would that be to throw money at something so ephemeral just to have it flop?) and they will spend years in development tweaking a show toward modern mediocrity just so that it will have plump returns and a lasting and repetitive impression on the snapshot of Broadway history (read Tony Awards).
Shows like Frozen and The SpongeBob musical are aimed at a very specific tourist audience, one that rarely attends the theatre outside of those shows on Broadway or touring from Broadway. I wouldn't consider shows that are specifically targeted at these audiences, nor shows that are routinely supported by this bass, to be "Hits!" let alone a "Five Year Hit."
I think this article took an interesting approach to its argument about the growing frequency and amplitude of hit shows on Broadway because I think that the article’s examples are representing something completely different: theater taking over culture again. The examples of existing shows, Hamilton and Aladdin, both represent shows which have become phenomenons cross culturally. Hamilton I view as an anomaly, but Aladdin contains a similar foundation as Frozen, Harry Potter, and Spongebob. All of these shows are purely building on what is already an extremely supportive and rabid fan base; therefore, I question how much of the support of the shows comes from the show itself and how much just comes from the topic of the show. I do agree with the article in the fact that in recent years, we have seen an increase in adaptations of pre-existing pieces of art or other mediums of entertainment coming to Broadway. I think that this stems from the faster and more high-stakes world that we live in. Producers seem to be more interested in supporting shows which may be in the works for a year or two that will lead to a quick profit rather than a show like Hamilton or Fun Home which had a much longer developmental process in order to create a much more interesting and powerful show. I think producers can continue to get away with this process for musicals because Broadway is just that, Broadway. A single location, New York City, which tourists flock to in order to see “the large city” and maybe some entertainment in the form of theater; therefore, there is no pressure to develop purely exquisetly meaningful theater since the majority of the audience is not acoustomed to theater and the power it can posess and put onto the audience. The straight plays on Broadway – in my opinion – are a different argument, but since the article only discusses musicals, that is what I will restrict to now.
I know its ironic for someone at theater school, and especially Carnegie Mellon theater school to say, but I sometimes forget about Broadway. Such a large percentage of our alumni stop doing theater entirely that the golden land of Broadway seems like an afterthought compared to all the other places that we are encouraged to go and work. Corporate event firms, themed entertainment, movies, cruise ships, all have more money in them than Broadway and the regional theater market. Disney doesn’t have shows on Broadway for the profits, its part of their larger brand image, and they are apparently incapable of doing things badly. At this point, im not sure if Broadway could die on its own even if there were no more mega hits. Hits like Hamilton are amazing events, and I am so glad to live while its happening, but they arnt keeping broadway floating, the other entertainment industries are.
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