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How Spamalot could save broadway. 
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Post How Spamalot could save broadway.
Well, i'm here, so i might as well actually talk about broadway, eh? Here's how. Because spamalot isn't so much of a musical based upon the movie, they've actually used it as a parody of "let's take a movie/artist/pop culture reference and turn it into a musical". who else but the pythons to not take what they're doing seriously, even when it's redoing thier own stuff.

This is exactly what's wrong with broadway. instead of having a majority of original musicals that were meant to be musicals and succeed because of thier merits as a musical, we have all these talented writers and composers wasting all of thier time on things tat take the popularity of something else, throw in a run of the mill score, and once in every show, have a song that starts a little slow and ends up with a kiss. There are exceptions to the rule; Les Miserables for example, where instead of stilting the musical on the premise that people will go because they liked the book, made the musical stand tall on it's own right. this is a sharp contrast to all these musicals that take a singer's greatest hits album and turn every song into a song and dance number. and that's exactly what spamalot mocks. they realise that taking a popular movie like Monty Python and the Holy Grail and turning it into a musical is completly absurd, and they capitalize on that fact.


Fri Nov 10, 2006 1:59 am
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I don't know whether I missed your key point but how could Spamalot save Broadway? Don't get me wrong. I love Python and the show. Just don't understand what you're saying.

As a point though, I think the key reason for all these musicals based on films or jukebox musicals is because when trying to attract audiences, it's a lot easier to get them interested in something they know/are familiar with.

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Thu Nov 23, 2006 4:24 pm
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Ehhhh... I dont think I agree. I do think they are using the publicity of the holy grail. I mean people applaud the second a character comes on because they know who it is. I think this is better than most shows of its type, but shows like High Fidelity and Legally Blonde need to be stopped


Thu Dec 07, 2006 4:21 pm
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I think Spamalot is a show that is extremely entertaining but not deep. At all. The problem with Broadway is that its being extremely dummy-downed. I think all of these new shows that are extremely, well, blond is that they take the example from Spamalot. They may feel: "Spamalot is a successful musical based on a movie thats a comedy, it won a Tony, therefor if I made a comedy musical based on a movie IT will win a Tony and be successful." Spamalot was written to entertain, which is never bad, but accidentally helped spark a trend of musicals written to entertian. Entertainment is great but they should write musicals to make you think and feel emotion as well.

Basically, I think Spamalot showed people funny, not deep, movie turned musicals can be successful, especially in the Tony world, and accidentally sparked the trend of Legally Blondes and Wedding Singers.


Mon Dec 25, 2006 8:46 pm
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benjivaudeville wrote:
As a point though, I think the key reason for all these musicals based on films or jukebox musicals is because when trying to attract audiences, it's a lot easier to get them interested in something they know/are familiar with.


But, how did Tim Rice and Andrew Lloyd Webber become famous?

How did R&H become famous?

What about Johnathan Larson?

Stephen Sondhiem or Stephen Scwartz anyone?

All these people had something original to offer theatre goers... WHO DIDN'T KNOW THE STUFF!

My friend and cowriter Gerry and I are trying to do the same thing, yet people will NOT look at our work. Why? Becasuse no-one wants to take a risk with our stuff!

I have a strong belief that the GASM musicals and operas can and will make it to Broadway, the West End, Toronto, etc. We just need someone to take a chance with us.

That's the problem with Broadway. No ORIGINAL (and I daresay, long-lasting) musicals have come out since Rent... even that is based on La Boheme. But, it has original songs, concept and has lasted for ten years or more on Broadway.

I think SPAMALOT could run that long, but time will tell.

Andy.

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Tue Dec 26, 2006 8:43 pm
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^ =D>

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Tue Dec 26, 2006 8:45 pm
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I tell it like it is.

Thank you.

Andy.[/u]

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Tue Dec 26, 2006 8:48 pm
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I completely agree with you. All these movie and jukebox musicals are jokes. The problem with them too is that they're either hit or miss. You either have monstrous hits like Spamalot or The Producers, or flops like Billy Elliot and perhaps Legally Blonde.

What really sucks is that all these original artists and composers and their material has no chance of getting onto Broadway because the Great White Way is filled with all of these musicals.

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Sun Dec 31, 2006 12:20 pm
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Mr_X wrote:
You either have monstrous hits like Spamalot or The Producers, or flops like Billy Elliot


Billy Elliot? Here in London it's the top musical. I think it's silly that they take it to Broadway - as it's a very, very British musical - and not even a lot of people in the UK get the socia-cultural points made in Billy Elliot.

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Wed Jan 10, 2007 2:58 pm
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jcstar wrote:
That's the problem with Broadway. No ORIGINAL (and I daresay, long-lasting) musicals have come out since Rent... even that is based on La Boheme. But, it has original songs, concept and has lasted for ten years or more on Broadway.

I suppose Wicked can be considered original. It's based on a novel (in the old tradition of Broadway musicals) with original songs. What makes it interesting to audiences is its connection to the well-known and much loved The Wizard of Oz. It's a good "hook" to bring audiences in.

The Light in the Piazza is based on an obscure film and novella. The songs are original and at least to me seems to be a slight departure from your typical Broadway musical. It barely lasted for a year and is now on tour. It deserved a longer run but at least that meant I could see it sooner when it was on tour.

Bat Boy, The 25th Annual Putnam County Spelling Bee, and Avenue Q are very original with original songs.

I haven't seen Spamalot yet but I've seen clips and have heard the cast recording. I'm not overly impressed with it and I think the shows I listed above do much more to "save" Broadway (and yes I include Wicked).

But what does it mean to "save Broadway"?

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Wed Jan 10, 2007 3:39 pm
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The sad fact is that broadway has become so business like and expensive is that the producers are scared to put original things on. Ever noticed how musicals nowadays have more producers than cast members? The Producers had 18 producers - all who want a hit on their hands. Dirty Rotten Scoundrels had even more, I think.

So - there will never be an "Original" musical on broadway. General theatre going audiences don't like stories they aren't farmiliar with as a rule of thumb - of course, there are exceptions.

I don't get the qoute on Spamalot saving broadway - but it certainly has been popular - but there are more popular shows out there.

I saw it here in London and I enjoyed it - but it's just an adult pantomime really. What makes me sad is that most of the songs are so short. Looking at the CD - there are 4 or 5 songs in a row that are less than one minute long. The show only holds two big show stopping numbers...3 if you want to include "The Song That Goes Like This", which - whilst is a great song - is just a joke going round in a circle for 3 and a half minutes.

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Wed Jan 10, 2007 3:51 pm
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Just to be fair, all musicals are meant to entertain in some way or another. That's why they're musicals. If their sole purpose was to simply get a message across and inspire thought then (and it pains me to say this) they would be better written as simple plays.

PS: Spamalot does leave an inspiring message of sorts, albeit somewhat of a clichéd one: that whole "Find Your Grail" bit about completing your goals and following your dreams

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