As we all know, musicals today feature scores inspired by numerous types of music, such as classical, pop, rock, contemporary, hip hop, and many others. However, there are some genres (or even sub-genres) that may not be as popular on Broadway at the moment but could lend themselves to some truly gorgeous scores. For me, I've been listening to some Nightwish lately, and I think their kind of style of symphonic metal could sound great if integrated into a musical score, particularly songs that sound like this one. (I love the over-the-topness of this song, the almost operatic quality to the whole thing.)
Are there any types of music that you'd love to hear integrated into a Broadway score, whether it hasn't really been done yet or it exists and just isn't done much in the musical theatre world at the moment?
"Was uns befreit, das muss stärker sein als wir es sind." -Tanz der Vampire
"Are there any types of music that you'd love to hear integrated into a Broadway score, whether it hasn't really been done yet or it exists and just isn't done much in the musical theatre world at the moment?"
You do have that. Unfortunately, many tone deaf people - critics and theatergoers alike - tend to ignore or dismiss them for status shows or those whose music is inferior to that which is dismissed.
Mr Roxy said: "You do have that. Unfortunately, many tone deaf people - critics and theatergoers alike - tend to ignore or dismiss them for status shows or those whose music is inferior to that which is dismissed.
"Tone deaf etc....why do all your posts have to include some negative criticism Roxy. You must be one miserable bloke.
The genre I'd personally love to hear more of in new musicals is that still often most associated with musical theatre: early-mid 20th Century popular songwriting.
Having said that, I completely respect that what made so many classic Broadway scores so right was that they were composed in the style of their time. And, by the same token, for current musicals to remain a valid theatrical form their scores generally need to reflect current musical styles.
I'd love to see more musicals where the performers play. Like in Once, where the actors could really improvise and put themselves and what they were feelings as the character into the music. That lends itself to some other genres, including pop and country, but could also work well for hip hop - could you imagine Hamilton if it wasn't as scripted and they had to freestyle differently every night? It might be a mess, but it might also be fantastic.
I kind of wonder if that kind of popular music that's not bubblegum pop and not entirely dance music either could ever work in a musical or if it's too inherently abstract and vague and repetitive. It's not the best storytelling music. Would it always end up being Hit List? Maybe performers that are already more theatrical like Florence Welch or Ellie Goulding or that guy from fun. could make it work.
Ever since I heard about bright star I've been thinking it would be great to see more bluegrass/folk/country. I was listening to O Brother Where Art Thou? And I'd love to see that made into a musical.
I'd definitely love to see on stage some country like what T-Bone Burnett did with the first season of Nashville. I love the music from that show and I was not a country fan prior. (Not can I really call myself one now but I'm more open.) And speaking of Nashville, we know now Laura Benanti can sing country...
When I was in London a few years back I arrived just after the shuttering of THE HARDER THEY COME, a musical adaptation of the Jimmy Cliff-led reggae film. I have never seen a reggae musical but imagine that, if an interesting and entertaining one were possible, that would have been a great candidate. I wonder if anyone saw it (or has seen any other productions of it?)
I also would love more roots/bluegrass/folk music. Genres with rich traditions of narrative music that have been under-utilized in theater.
And, frankly, I think "rock musicals" too often skimp on actual rock arrangements and are often more traditional than not. HEDWIG had an authentic sound, and SPRING AWAKENING has "Totally F**ked" and a few other moments but the majority of Sheik's score is more of a dark, alternative chamber pop. I have sometimes daydreamed of a stage adaptation of Drive-By Truckers' Southern Rock Opera, which I like to think would kick ass and take names in the theater world.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.