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cover of episode From Critics at Large: After “Wicked,” What Do We Want from the Musical?

From Critics at Large: After “Wicked,” What Do We Want from the Musical?

2024/12/17
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Alexandra Schwartz
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Naomi Fry
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Vinson Cunningham
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Vinson Cunningham:百老汇音乐剧目前处于不稳定状态,原创作品稀少,大部分是翻唱音乐剧或热门IP改编。 Naomi Fry:她个人并不喜欢音乐剧,但也有例外,对《Wicked》电影版评价褒贬不一,认为其过长,但演员表演出色,电影也有一些感人的瞬间。 Alexandra Schwartz:她年轻时很喜欢音乐剧,并参与过一些音乐剧演出,对《Wicked》电影版评价不高,认为电影过长,剧情停留在无聊的学校场景,但肯定了演员的表演,尤其称赞Ariana Grande的喜剧表演和Cynthia Erivo的歌喉。 Vinson Cunningham:他认为《Wicked》电影版成功地将音乐剧的逻辑转化为影像,并利用景观和意象来表达情感,认为《Wicked》的成功在于它能够引发观众强烈的情感共鸣,并认为《Wicked》和《汉密尔顿》等音乐剧的歌曲风格趋于同质化,并认为这种风格可能由《Wicked》开启。 Naomi Fry:她认为《Wicked》的成功在于它能够引发观众强烈的情感共鸣,并认为迪士尼音乐剧在塑造人物身份认同和表达欲望方面做得很好,并认为《Wicked》也具备类似的元素,认为《Wicked》宣传中对Glinda和Elphaba关系的解读是错误的,并提到Ben Shapiro对电影的正面评价。 Alexandra Schwartz:她认为音乐剧的“人工性”是其魅力所在,并认为一些生活中高度戏剧化但真实存在的情感可以用音乐剧的形式表达,她表示自己对《Wicked》的评价与主流文化观点不符,并分享了她喜欢的另一部音乐剧《Kimberly Akimbo》

Deep Dive

Key Insights

Why is 'Wicked' resonating with audiences in 2024?

Wicked resonates with audiences due to its big emotions, themes of friendship and love, and its ability to evoke strong feelings. The film's memorable songs, especially 'Defying Gravity,' and the strong performances by Ariana Grande and Cynthia Erivo contribute to its emotional impact and popularity.

Why are jukebox musicals and IP grabs common on Broadway today?

Jukebox musicals and IP grabs are common on Broadway because they bank on audiences' nostalgia for old hits and capitalize on the popularity of beloved movies and stories. These productions are often seen as safer financial bets compared to original ideas, which are riskier and less frequent.

Why does 'Wicked' feel so long to some viewers?

Wicked feels long to some viewers because it runs for two hours and 40 minutes, which is considered excessive by many. The film's pacing and the inclusion of many slower, less engaging scenes contribute to this perception.

Why does 'Joker: Folie à Deux' fail as a musical?

Joker: Folie à Deux fails as a musical because it lacks energy and feels joyless. The songs, mostly covers of older tunes, do not integrate well with the plot, and the film's overall tone is unengaging. The addition of musical elements does not enhance the story but rather detracts from it.

Why is 'Emilia Pérez' an interesting contrast to 'Wicked'?

Emilia Pérez is an interesting contrast to Wicked because it deals with serious topics like cartels and gender transition, and it uses music to heighten the emotional and dramatic aspects of the story. Unlike Wicked's more traditional musical approach, Emilia Pérez incorporates the everyday sounds of Mexico City into its songs, creating a unique and immersive experience.

Why have musicals evolved from review-style shows to story-driven productions?

Musicals evolved from review-style shows to story-driven productions to provide deeper character and plot development. This shift began in the late 1920s with shows like Showboat, which tackled serious issues like race and social inequality. By the 1940s, musicals like Oklahoma integrated songs more closely with the narrative, making them crucial to character and plot development.

Why is 'Hamilton' considered a significant innovation in musical theater?

Hamilton is considered a significant innovation in musical theater because it combines diverse musical styles, including hip-hop, rap, and traditional show tunes, to tell a historical story. Its ability to engage young audiences and create a sense of excitement and community in the theater is unparalleled, making it a cultural phenomenon.

Why are some critics concerned about the homogenization of musicals?

Some critics are concerned about the homogenization of musicals because many contemporary productions, including Wicked and Hamilton, feature a similar style of R&B-influenced vocals and slick harmonizations. This trend can prioritize vocal acrobatics over storytelling, leading to a lack of diversity and innovation in the genre.

Why are R-rated musicals like 'A Strange Loop' and 'Teeth' seen as the future of the genre?

R-rated musicals like A Strange Loop and Teeth are seen as the future of the genre because they push boundaries and address mature, complex themes. These productions challenge traditional norms and offer a deeper, more realistic engagement with contemporary issues, making them a potential vanguard for the evolution of musical theater.

Chapters
The podcast hosts discuss the unexpected success of the "Wicked" movie adaptation, exploring audience reactions and its cultural impact. They analyze the film's emotional resonance and its implications for the broader state of musicals.
  • Wicked's movie adaptation is a two-part film.
  • "Wicked" is taking up a lot of cultural oxygen.
  • Audiences are loving "Wicked Part One".

Shownotes Transcript

The American musical is in a state of flux. Today’s Broadway offerings are mostly jukebox musicals and blatant I.P. grabs; original ideas are few and far between. Meanwhile, one of the biggest films of the season is Jon M. Chu’s earnest (and lengthy) adaptation of “Wicked,” the origin story of the Wicked Witch of the West that first premièred on the Great White Way nearly twenty years ago—and has been a smash hit ever since. On this episode, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss why “Wicked” is resonating with audiences in 2024. They consider it alongside other recent movie musicals, such as “Emilia Pérez,” which centers on the transgender leader of a Mexican cartel, and Todd Phillips’s follow-up to “Joker,” the confounding “Joker: Folie à Deux.” Then they step back to trace the evolution of the musical, from the first shows to marry song and story in the nineteen-twenties to the seventies-era innovations of figures like Stephen Sondheim. Amid the massive commercial, technological, and aesthetic shifts of the last century, how has the form changed, and why has it endured? “People who don’t like musicals will often criticize their artificiality,” Schwartz says. “Some things in life are so heightened . . . yet they’re part of the real. Why not put them to music and have singing be part of it?”

This episode originally aired on Critics at Large, December 12, 2024.