Lets Conceptualise

As I'm stuck in the Shire, I've been indulging in some recordings of old musicals. Today's offering was Pippin, the music Stephen Schwartz made before he went mainstream to make Wicked. Which reminds me, what did Stephen Schwartz do during the 80s and 90s? Answers on a postcard. This got me thinking about conceptual musicals and whether, in these times of wanting mindless fun at the theatre, they can survive today?


Firstly, what is a concept musical? A concept musical typically removes a story from its perceived setting, often using a "concept" or certain idea to do this An early, not wholly conceptual idea would be Jesus Christ Superstar. Although the Jesus character was kept true to the perceived image, the setting of the title song thrusts the show in to the realms of concept. The show was brought bang up to date, using the fashion for disco, flares and the funky chicken to bring the message of the bible to the theatre going masses.


The seventies saw a string of conceptual hits, and misses, and started a trend that can still be seen today. I'm going to have a look at some of the best (and worst) concept musicals to hit the stage.

The curse of the cute leading man strikes again, mmm....William Katt...

Pippin perfectly represents a conceptual musical- both in it's book and musical, and it's staging. It tells the story of the son of Charlemagne through a travelling troupe of performers led by the eponymous Leading Player (originally played by Ben Vereen). As they tell the tale, the lines between fiction and real life start to blur as Pippin truly becomes the son of Charlemagne and the troupe turn against him. The play shows that we can change history and make love, not war, in a not so blatant as Hair way. I love the layers of concept in this show and also the fact that it can be enjoyed on so many levels, depending on how much you want to think about it. I also love that Pippin was successful and is still performed a lot regionally today.


Ragni and Rado may have taken conceptual musicals a bit too far with Dude! It was a confusing mix of Shakespeare, biblical mythology and rock music. While I appreciate their creativity, I just don't think audiences could work out what the concept was. And here lies the issue with concept musicals, if you don't give the audience enough hints or make your concept too confusing or complicated, the audience won't care about the characters or your show.

Yeah yeah, I know, sexy ladies, Fosse hands, enough already.

Although the concept musical never really went away, the movement definitely received a revival in 1996 with Chicago. Although I personally refuse to see the stage production because of its cheap stunt casting and recycling of cast members, at the time it was pretty radical, and is one of the few situations where a revival has been more financially successful than the original. the production was completely pared down to skimpy black costumes, a non-existent set and the diminutive band onstage. To the casual onlooker, there is no way a conceptual show like this would still be running but through clever marketing and an emphasis on sex, it has. Whilst I would have been interested in seeing the production when it opened in 1996, it has been cheapened by the Weisslers' incessant need to put untalented celebrities into the roles- more of an issue in the Broadway production.


But one thing I am proud of is the legacy of Chicago to allow other concept shows to believe they can succeed in the current climate. Which brings me on to American Idiot. Yes, I have already dedicated a whole blog post to it, but I feel it is relevant in the journey of the concept musical. Similarly to Jesus Christ Superstar, Idiot originated as a concept album, but this time the concept is almost supplementary to the music, just there to elevate it to another level. The only character to speak is our protagonist Johnny, and he speaks in monologue correspondence to his familiars. this was a brave thing for Michael Mayer to do as he could have easily alienated Greenday fans by intellectualising the show too much. Instead he allows the audience to piece together the story how they want, interesting both Greenday fans and theatre fanatics.

Bloody Bloody Andrew Jackson. I wish the real Andrew Jackson had looked like that.

I hope this trend will continue with the arrival of Bloody Bloody Andrew Jackson, the emo musical about a not so famous president. I have to admit I know little about the show, apart from that it did very well off-Broadway, but I'm glad that something truly original is coming to the Great White Way. If anyone sees it, let me know how it was!

American Idiot/Chemistry Genius? I Think I'm In Between The Two

Apologies for the incredibly long absence, you see I have this thing called a degree which I had completely forgotten about. Suddenly there were these things called exams and a dissertation and three vivas. I'd like the next line to be "and then I woke up and realised it was all a bad dream" but alas it is real life and I'm scarily about two weeks away from closing the doors on four years of hard work (if anyone wants to give me a job from October, that'd be great thanks!). So am I going to have to come up with a new name for this blog? As I'm not planning on staying in the science world once I'm finished. Suggestions on a postcard or, more conveniently, in the comments box below.


Of course, weeks of revision have allowed for weeks of procrastination and whilst I haven't had the chance to write anything or see much theatre, I've had plenty of opportunities to ponder the theatre world and watch a lot of YouTube.

The amazing set of American Idiot

My favourite new show of the Broadway season, despite having not seen any of the shows in any media but videoclip, is American Idiot, the Greenday based rock musical. Not only does this choice probably surprise you dear reader but also myself. When I first heard about the idea, I though "how on earth is that going to work?" and I was then taken back to my teenage years at my rural community college where Greenday were the band to like- we even had a school tribute band. I guess you could say I wasn't the most popular girl at school (tubby, glasses, short, brainy, you get the picture) so I never really got into the group then.


Fast forward five years, I've changed completely, lost the weight, started drinking, grown my hair long. I feel like I'm reliving those teenage years I never had- drinking Bacardi Breezers and dodgy perry, chilling in the park. I guess rediscovering Greenday was the next logical step.


By now I've hope you've all realised I'm not the greatest supporter of the jukebox musical-  it cheapens the art form and stifles the growth of any new talent or original shows. But there are a few jukebox shows that I really enjoy on an artistic level as well as a purely entertaining level; American Idiot is one of them and I've been trying to work out why.


Firstly, lets look at American Idiot the CD- a hugely popular, millions-selling almost concept  album. And there is the key phrase: concept album. Billie Joe Armstrong himself has explained that in writing the album, it was intended to tell a story and take music to another emotional and creative level, just as a musical does.


Each song is encapsulated in its own style and self contained story. We have an opening number in "American Idiot" - a rock anthem in a similar but better vein to the title song from Rent but without feeling so dated. Wake Me Up When September Ends has long had a connection with theatricality; its video is a mini epic telling of a teenage love ripped apart by war. Letterbomb was apparently always written for a girl to sing, again revealing the intention to take the album to the world of theatre.

Ooo, its snowing! And they're all angsty

In the show, American Idiot is still the opening number but ramps up the anger and tension with increasing intricacies of harmony, flashing lights, blaring TV screens and short, sharp shocks of choreography. Wake Me Up When September Ends becomes a heartfelt ballad sung by the three leads on acoustic guitars. excitingly Letterbomb is a female cry of hatred for the opposite sex with some brilliant dancing on top of a hydraulic lift (see Wicked, you aren't the only ones with a lift).


From what I've seen American Idiot does the complete opposite to what I'd expect from a jukebox musical- it takes the music to a completely new level. What could just be a song you happen to dance to really reaches into your emotions and makes you feel that angst the characters feel. And that's what a good musical should do. The fact that an album by a rock band can do the same is a credit Greenday and their creative vision.

Gotta say, I'm a sucker for an air guitar

So why do I find myself liking this show but not most jukebox musicals? And an even greater mystery: why do I like Rock of Ages? Rock of Ages should be the my most hated show- taking some 80s power ballads, adding a ridiculous story and camping it up. The key is creativity. Rock of Ages knows it is being silly but it takes some songs I never knew and presents them in a completely unexpected way with some real musicality. Whilst many musical theatre purists find it puerile and something for tourists and beer louts, I think its actually been very clever by lovingly mocking the musical theatre art form in a way that only theatre fans would understand, to a tourist or beer lout this is just a fun show. American Idiot, I find, also has something to offer musical theatre fans on a separate level. Greenday fans will go for the music whilst theatre fans will go for the entire thoughtful but showy spectacle. We can all appreciate good choreography and a decent (if flawed at times) story which I think both shows have.


Whats the moral of this story? Well, if you're going to write a jukebox musical, make sure you understand the art of musical theatre even if you don't like the music. Whilst a straightforward jukebox musical will put bums on seats (and be made into a box office smash film...), it will always be known as the so and so music show rather than a musical in its own right. And can a jukebox musical ever be accepted in the theatre world? Yes, as long as it accepts the theatre world.