Megamusicals WTF? The art and economics of Hamilton and Les Mis

Ask most people what they think of when they think of theatre and they'll probably point you towards Les Miserables, Wicked, The Lion King or Hamilton. In other words, musicals. But these aren't just musicals, these are megamusicals.
In his 2009 book, Theatre & Globalisation, Dan Rebellato argues that we can view such work in the same way we might view the opening of a new fast food restaurant, using the phrase McTheatre.
In this video essay, I seek to explore some of the current debates surrounding Broadway and West End mega musicals and McTheatre including what the effects might be for the ephemerality and "liveness" of contemporary theatre.
If you've enjoyed this video then please do check out the rest of my channel. I generally put out new videos every Tuesday and Friday discussing theatre and playwriting from the perspective of an aspirant and (some might say) emerging playwright, theatre maker and academic.
Twitter: @Tom_Nicholas
Website: www.tomnicholas.com
Thanks for watching!

[@hollywilliams8148]

Fab video. I think this is so relevant and SO apparent in the current MT industry. When working professionally I found it increasingly frustrating how new talent was expected to "fit in to the shoes" of the previous actor playing the part. It feels like there is very little room for creative input from the performers in the process of rehearsal when commercial musical theatre is being produced. I would go as far as saying all "well paid" jobs are prescribed with little wiggle room for artistic licence - something that is very frustrating when you have crippled yourself financially simply to "unlock your creative potential" at a high end drama school... *sigh. I think its down to the fact that people want to spend their money on something that they can get satisfaction from and by buying into a brand you are in the comfort zone of satisfaction. Personally I don't think that is what theatre is about. Leaving a theatre hating a production but having a meaty chat about the piece is so much more constructive than "well that was fantastic!" - "Yeah, well we knew it would be" Why are theatre companies doing this? - look at who owns these productions. MT is becoming another branch of the Hollywood tree, a cash cow with a worldwide audience willing to throw their monies into the pot to distract themselves from progressive independent thinking. I hope I don't sound too cynical lols.

[@Tom_Nicholas]

Thanks Holly! Yeah, I would find it really interesting to see a really different take on one of the classic musicals. Like, Les Mis or Oliver with a massively different set and/or direction. I understand that the relative consistency of those shows is why they're so much more accessible to those who might not go to the theatre regularly though. I think it particularly interesting to see how Disney have begun to use musicals as a way of continuing the brand of a film further in to the future. For The Lion King, for example, it must give a continued revenue stream that would be less apparent if they were just trying to sell the DVD or Blu Ray again and again!

[@fabiansturman7404]

Yeah I get what you are saying, but ultimately I'd argue that theatre is there for relaxation, enjoyment and peace of mind. Personally I'm a fan of opera, which is always interpreted differently. Yet I like to go to something I know will be good, e.g. ENOs famous Mikado or Opera North's Kiss me Kate (not an opera obviously). It gives peace of mind and ultimately what's the problem with a fabulous production that you knew would be fabulous? You enjoy it and that's the point! Ultimately I think watching big brand west end shows is enjoyable and great, but one should branch out and not just watch the same stuff. I started with Gilbert and Sullivan, then branched out to other romantic era composers (Strauss for example) and then to musicals. Now I'm a Hamilton fan. I think it's important to see lots of different shows and find yourself lots of new music and perspectives. And I don't think big brand musicals is that bad. You have a reliable product, and if you want to, you can tinker with it and make your own small production, but why bother? It's a formula that works, so don't change it. If you've read this far, I am grateful and slightly concerned 😂 oh and Fantastic video btw

[@j.w.2865]

This is a very interesting video… I'm so glad I stumbled upon it! I actually just saw a touring production of Hamilton today, and have been thinking about the subtle differences from the performances of the Philip tour versus the original Broadway cast and the videos that I've seen on KZbin. Of course these actors put their own flavor onto the role, but you're right… The patrons including myself come to see Hamilton based on what we've heard about it, on the album, and with some expectations built in, so over all we are happy to see The show that we expected! That said… As you can well imagine, I am not from New York and I don't have a big background of seeing live theater… So I probably don't have the same appreciation or expectation that a diehard or hard-core musical theater fan might with regards to variations in performance. Still, it is an interesting concept and will keep it in mind...thanks!

[@Tom_Nicholas]

Ah, you’re so lucky to have seen it. I missed the initial sale of the London production so am still just entering the lottery every so often! Glad you enjoyed the show!

[@tomkibbe2124]

I have room in my heat for both. I certainly was blown away by John Doyle's version of "Company" very different and for me more exciting than the original. There are more I could list like this one.

[@paulineboullanger1620]

great content, clear speach! I was shocked by the number of views you definitly deserve more!

[@Tom_Nicholas]

Thanks Pauline, I really appreciate you saying so!

[@TheMagicLlama2]

Great video, Tom, thanks for taking my suggestion! One of my teachers at drama school is doing some work on a huge musical right now - one that originated overseas then came here to Australia. He was telling us about just how regimented and pre-determined everything is. It's odd to me that theatre in different places in the world can almost be a carbon-copy of itself, but the point you made about everyone getting access to the same level of quality is a good one. Here in Australia we've also got a touring production of Headlong's recent 1984 by Duncan Macmillan and Robert Icke. That's the same thing apparently, the Australian production employed a director and whatnot, but they're contractually not allowed to change a thing. Rather just ensuring that everything that was there in the original production is there again, or making tiny tweaks to make things work. Which, it seems to me, would be a hard job to do. I'd feel really restricted. I was actually just about to mention John Doyle and his Sondheim productions before I saw Brian's comment. Seems that the big artistic changes seem to come when the work is revived. Which usually only happens after it's become a classic work already. I guess you're unlikely to see two vastly different productions of a new work in separate parts of the world. I'm definitely going to pick up a copy of Theatre&Globalisation, sounds very interesting! Looking forward to the next video! :)

[@Tom_Nicholas]

+Jamie Hornsby No worries, always nice to have some suggestions as it helps me know that what I'm putting out is useful or enjoyable in some way! I saw that 1984 when it was on tour in the U.K. By that point it had done the original production, the West End and quite a lot of tour dates and was looking a bit tired. I think it must be so hard to feel an organic part of a production (as director or cast member etc) when you've had absolutely no part in its creation. Actors hate being given a line reading at the best of times but to essentially be told exactly how their performance should go from beginning to end...? It's a good read. There's some bits that I disagree with but it's a very readable book.

[@remind0001]

Tom your face is TOO ADORABLY CUTE in this!!!

[@brianbernhard1697]

Great video! I for one have always been a musical apologist, though the buck usually ends with most mega musicals, as I do feel those which allow for vast reinterpreting hold as much merit as many modern plays; look at most of Stephen Sondheim's works, for example. There's a vast difference between the original Hal Prince production of Sweeney Todd, the John Doyle revival, and the Tooting Arts Club production; each one delved into the material in its own way and each found great success! As for future videos, have you thought about doing one on extremely long plays or plays with multiple parts? Angels in America, Gatz, Cursed Child, Torch Song Trilogy, and many of Eugene O'Neill's works come to mind. I've always found the idea of a marathon-length theatrical experience to be intriguing and a great way to fully engage an audience in a deeply detailed play and would love to hear your thoughts on the format!

[@Tom_Nicholas]

+Brian Bernhard Thanks Brian! I actually really enjoy lots of these big musicals, I certainly don't think it's a case of apologising for them. But they do throw up a really interesting question of what theatre is. I'm going to see Angels in America over the next couple of weeks so perhaps will do a video on durational work. I'd love to catch Gatz at some point. Never had the chance though. Also, I'll be the first to admit I don't have the world's longest attention span!

[@MrsSeverusSnape123]

this helped me with my dissertation! thank you!

[@Tom_Nicholas]

Ahh, I'm glad! Best of luck with it!

[@paulsidhuUK]

Very interesting. I am going to see Hamilton in Birmingham later in the year and I actually value that every attempt will be made to make it as close as possible to the Broadway version so I can get to have that experience without having to travel to New York (or London). However there are other plays where a given production results in a very different version where the difference are of great value. The analogy to McDonalds is very apt. I may be in the mood or find it convenient to have fast food that I know will be reliably of the same standard and taste. On that occasion I may choose to have a McDonalds. On the other hand on another occasion I may want to try something different and unique that carries a greater risk but potentially a greater experience. On that occasion I may choose to sample the wares of an independent restaurant. Both are valid and have their place.

[@HrafnkelHarthrathi]

I absolutely love the term McMusical

[@limesquared]

Do you think revivals should have the same choreographer ? Thinking of Cats. They made the decision to replace Lynne when she was not in the room.. Granted Blankenbuehler said he would still base it on Lynne but still very disrespectful.

[@5014eric]

If you only see the mega-productions, they might all look the same as each other, while once you get to the amateur productions, there won't always be the same set, choreography, costumes etc. Size & shape of performance space plays a part, size of the chorus may vary. Words & music are mostly fixed, as words are in a non-musical play, meaning the musical has one extra major prescribed factor. But I think the sameness you describe may be best ascribed to musical megaproductions rather than any subset of musicals. The only production I've seen of Les Mis was at my school. I'm look forward to when amateur companies are allowed to produce Hamilton. It may not have the turntable on the stage.

[@Tom_Nicholas]

Yes, that is true that once you get to amateur productions the production elements I speak about here will change. It's certainly unlikely that many schools are going to have a revolve available for either Les Mis or Hamilton! Economically, these amateur productions work in a very different way too with the focus being not on the selling of tickets to audience-members but the selling of rights and scores etc to amateur orgs and schools. For many reasons, I think the reception of amateur productions is almost an entirely different question altogether and, as you point out, isn't something I cover here.

[@scottalbers2518]

I am a fan. I am planning on watching everything you present.

[@Tom_Nicholas]

Thanks Scott, hope you enjoy the rest of the videos!

[@peterfom]

I‘m sorry to say that, but unfortunately you don’t understand the difference between megamusical and standard version staged musical. Megamusical is a specific term applied to the vast expansive huge productions of 1980s-1990s, like those of Cameron Mackintosh, Andrew Llloyd Webber, Hal Prince and some others. Among those are Phantom of the Opera, Starlight Express, Les Miserables, Miss Saigon and others of that era. They usually had grandiose huge production with some „magic“ incide, complicated machinery, rich costumes, huge cast. It is generally considered, that the last megamusical was Wicked. Hamilton is by no means a megamusical. It’s just a standard version staged musical, that is replicated in very new location or on every tour (usually in light, more economical version). A possibility to replicate the currently used version of musical is an important feature of modern musical Theater, but that’s not the characteristic of megamusical. It should be clear stated.

[@maisiebogitch5290]

why r u screaming at me....