Michael Ball and cast in Hairspray. Photo:Tristram Kenton
The musical Hairspray opened on Broadway in 2002 and hasn’t changed much since. The current production at the London Coliseum, normally home to English National Opera, and the forthcoming UK tour replicate the original, as directed by Jack O’Brien and choreographed by Jerry Mitchell. And why not? If it ain’t broke, don’t fix it. And Hairspray is not only not broke, it’s as strong as Emily Campbell.
Maybe they were just glad to be back in a theatre but the roar of the audience when the curtain went up said to me that this is a musical people love and you would mess with it at your peril.
I’m sure you know the story, set in the early sixties, about a young woman called Tracy. She is determined to dance on a local TV show, despite some people thinking she isn’t thin enough. In the course of that battle, she also fights segregation and liberates her previously embarrassed plus-size mother.
The familiar songs by Marc Shaiman and Scott Wittman are an ebullient stream of jaunty tunes and fun lyrics from the opening Good Morning Baltimore to the closing You Can’t Stop The Beat.
The original 2002 production is still as fresh as a Baltimore crab cake. David Rockwell‘s set design is cartoonish and colourful, within a proscenium arch shaped like a 1960s television. There are many clever touches- the moment three different households sing Mamma I’m A Big Girl Now (a scene you won’t find in the film of the musical), the way the Dynamites girl group walk out of a poster, and the walkdown finale, crowned by a giant can of hairspray. And there are the over-the-top costumes with the outrageous hairstyles (of course) by William Ivey Long. You really wouldn’t want to change any of that.Fierstein
The show is so well known that, as a reviewer, I’m left with the cast, who are different from the original production- and can make a difference. The producers just need to make sure the cast do what’s required of them. I’m pleased to report they exceed expectations.
The part of Tracy’s mother has always been played by a man. Harvey Fierstein was the first stage Edna Turnblad. When the production opened in London in 2007, Michael Ball took on the role, and he’s reprised it for this revival at the London Coliseum.
The part of Edna Turnblad doesn’t give us the chance to enjoy his beautiful voice to the full nor even the complete range of his acting skills, but we do get to appreciate his ability as a stage performer. Through his dimpled smile, his twinkling eye contact, the sense that you are getting 100%, this man has an incredible rapport with his audience. It’s as if he has bottled up sunshine and is releasing it into the auditorium. His Edna Turnblad, transforming from downtrodden domestic to dazzling diva, is a joy.
Les Dennis gets big billing as a well known name, and his performance as Edna’s warm-hearted, ever optimistic husband Wilbur doesn’t disappoint. His duet with Michael Ball in the poignant Timeless To Me, complete with suggestive repartee and convincing corpsing, is hilarious.
Lizzie Bea and Jonny Amies in Hairspray. Photo: Tristram Kenton
Michael Ball apart, the star of the show is Lizzie Bea as Tracy Turnblad, the only fully developed character. She convinces throughout, whether swooning over heartthrob Link Larkin (Jonny Amies), standing up forcefully for equal rights, or ignoring obstacles and confidently dancing to the music she loves. One of the best aspects of this musical is the way insults and barriers are water off a duck’s back for Tracy (even when she is left alone in prison- something else that’s not in the movie). So, you are not only on her side but never- or rarely- feel sorry for her. She is an advertisement for the power of positive thinking, as is this whole musical.
Rita Simons and Georgia Anderson are the nasty Van Tussle mother and daughter, with an unpleasant line in racism and sizeism. Mary McGinlay, making her West End debut, impresses as Tracy’s gawky friend Penny Pingleton.
For a musical about equality of opportunity and opposing racial discrimination, the black characters rarely take centre stage, but Motormouth Maybelle played by Marisha Wallace is as sassy a mother and as powerful a singer as she should be. This is after all a show that turns the spotlight on the role of mothers.
Ashley Samuels makes the most of the part of her likeable son Seaweed Stubbs, Penny’s love interest. Holly Liburd, Mireia Mambo and Robyn Rose sing impressively as the Dynamites.
As I was leaving, I heard a little boy say I’m glad Lion King was cancelled or else I wouldn’t have seen this. Well, I wouldn’t want to wish any show cancelled because of Covid isolation rules, and of course The Lion King is a great show, but I do think it was that little boy’s lucky day.
Hairspray is performing at the London Coliseum until 29 September 202. A production with a different cast is touring the UK from 16 August 2021. Click here for the dates and other details.
Magical production of Wicked composer’s first musical
★★★★
Pippin at Charing Cross Theatre. Photo: Edward Johnson
It’ll be 50 years old next year but somehow I’ve never managed to see Pippin. I’m glad my first introduction to Stephen Schwartz’s earliest musical (with a book by Roger O. Hirson) was this production at the Charing Cross Theatre, first seen at the Garden Theatre in 2020. It may not be a behemoth like Shwartz’s Wicked, Godspell and The Prince of Egypt but director Steven Dexter has put together a joyous version of this uplifting, magical show.
Apparently, with eight actors, it’s much slimmed down from previous versions, making it tight and intimate. All the more so because it’s being played in this lovely little basement theatre on a traverse stage. With the front rows at stage floor level.
Consequently, this story of a young medieval Prince who rejects the establishment and tries to find fulfillment in life is very easy to relate to when he’s right next to you. That he is a Prince is not really the point. Despite obvious comparisons with another Prince, who recently rejected his destiny to become an ordinary wealthy and privileged man, Pippin really is an Everyman. This is evidenced from the very beginning when members of the cast are supposedly chosen at random to play the parts, including Pippin. In other words, it could be anyone, and at various times during the proceedings, comparisons are made to previous Pippins.
The musical takes the form of a troupe of players telling the story of Pippin’s search so he can be said to reject one destiny only to be trapped by another. The question becomes will he finally reject the story planned for him?
Ryan Anderson and Ian Carlyle in Pippin. Photo: Edward Johnson
Ryan Anderson is superb in the title role, sincere, naive, caring, angry and, annoyingly, never satisfied as he looks for this so-called fulfillment.
And he tries many things- war, power, art, working the land. Through it all, he interacts with some wonderful characters: his grandmother played with great humour by Genevieve Nicole; the woman he appears to love, Catherine, played as confident and brittle by Natalie McQueen; and the Lead Player, a Mephistopheles-like character who directs the action, and leads Pippin to a much flagged up finale, which may not be what our hero was expecting.
Playing this role is Ian Carlyle who is the outstanding actor in this production with a strong personality, plaintive voice and brilliant dancing. In fact, the best moment in the show was the number Right Track which he and Ryan Anderson perform together in perfect unison.
Oh yes, the dancing. This is what makes this production such a winner. Nick Winston’s choreography is always entertaining and the cast dance with skill and enthusiasm.
The costumes and set by David Shields reflect the hippy time in which it was written and its hippy message that our lives are not pre-destined, and that looking for vainglory rather than finding fulfillment in the ordinary is the devil’s work. Oh, and the songs are heavenly.
I’m In Love With A Wonderful Production of Rodgers & Hammerstein’s anti-racist musical
★★★★★
Julien Ovenden & Gina Beck in South Pacific. Photo credit: Johan Persson
I don’t think it was simply my euphoria at being back in a theatre but this Chichester Festival Theatre production of Rodger and Hammerstein’s South Pacific filled me with joy.
South Pacific was written in 1949 before Rodgers and Hammerstein settled into their, and their audience’s, comfort zone. It has all the features of the best of their work, features they in fact pioneered. One being the use of songs that reveal character and feeling and move the story on- take the many different ways, and therefore implications, in which Some Enchanted Evening is sung at various points. As was their way, the composers packed this musical with the most wonderful songs: A Cockeyed Optimist, There Is Nothing Like A Dame, Bali Ha’i, I’m Gonna Wash That Man Right Out Of My Hair, I’m In Love With A Wonderful Guy, Younger Than Springtime, Happy Talk– these songs are part of our DNA.
Another feature is realism, seen both in the characters’ behaviour and Hammerstein’s down-to-earth lyrics. Top marks to director Daniel Evans for keeping this production so grounded in reality.
But what makes South Pacific stand out is that Oscar Hammerstein II was determined to face racism head-on in this musical. You’ll remember that it’s set on a Pacific island during the second world war where American GIs and nurses interact with local people, a nurse falls in love with a French plantation owner, a lieutenant with a local girl. There may be effervescent melodies from Rodgers that fill you with warmth but there is also a story that pits love against hate, love at first undermined by acquired racial prejudice before it finally triumphs. At a time, following England’s Euro final, when we have been reminded of the overt racism that still shames our country, it was uplifting to experience this powerful anti-racist musical.
I cannot fault this production. Daniel Evans has done justice to the seriousness that underlies the musical’s ‘cock-eyed optimism’. It feels like the perfect tribute to the passionately anti-racist Oscar Hammerstein. Happy Talk is no throwaway comic song here but a poignant moment of desperation.
And the director is supported by an excellent cast and creative team.
The two leads Julian Ovenden and Gina Beck are superb in voice and acting ability. Ovenden as Emile the plantation owner, conveys both an overflowing heart and a broken heart with equal conviction. Beck also runs a range of emotions as naive Nellie Forbush from Little Rock but is never better than in I’m In Love With A Wonderful Guy which overflows with almost child-like exuberance. (From August, Alex Young will be sharing and then taking over the role of Nellie, because Gina Beck is pregnant.)
Others also deserve a mention. Joanna Ampil as a believably vulnerable Bloody Mary below the tough exterior. Of the GIs, Rob Houchen as Lieutenant Cable has a beautiful tenor voice which is more than a match for the soaring heights of Younger Than Springtime, and Keir Charles stands out as the scheming but ultimately compassionate Luther Billis. One of the qualities of this musical is seeing the Americans’ wide-eyed confidence come up against the realities of racism and war.
Gina Beck and cast in South Pacific. Photo: Johan Persson
The choreography by Ann Yee is magnificent. Sometimes she fills the stage with exhilarating choruses- in a scene that Busby Berkeley would have been proud of, the women take to the showers while Washing That Man Right Outta their Hair. Then there are the quiet moments, like the beautiful solo ballet by Sera Maehara that opens and closes the show.
The see-through revolving wooden sets by Peter McKintosh set the mood of Pacific island life, while leaving the stage open for the big numbers.
And I can’t forget the superb orchestra led by Cat Beveridge featuring the original score with some new orchestration from David Cullen. The glimpses of repeated melodies throughout the show do exactly what a musical should do, evoke complex feelings that words can’t express.
A word of praise for Chichester Festival Theatre who were terrifically well organised and made us feel safe to be back in the theatre. And from the rousing cheer that greeted the first moments, I’d say we were all pretty pleased to be there.
South Pacific is performing at Chichester Festival Theatre from 5 July to 5 September 2021. Performances will be streamed on 4, 9, 14, 18, 21, 26 and 31 August and 3 September.
Anthony Ramos & Melissa Barrera in In The Heights. Photo copyright Warner Bros Pictures
In The Heights is the most feel-good, uplifting movie I have seen in a long time.
It’s not a film of the stage show, it is a proper film in its own right, directed by Jon M Chu, who made Crazy Rich Asians. It’s packed with the most magnificent ensemble dancing build around stirring rap and Latin music and heartwarming stories about love and community. I know you may be tempted to wait to see it on your TV but I’m telling you, no matter how big your TV is, it will not do justice to the huge dance sequences nor that Latin beat.
It’s not quite sung-through but one song follows another so quickly that’s there are only short scenes of dialogue and then you’re on to another spectacular dance sequence. There’s dancing in the street, Fame style, there’s dancing in a club, Saturday Night Fever style, dancing on bleachers, Grease style, and dancing in a swimming pool- Busby Berkeley style. You can see where the $55 million dollar budget went.
And there are romantic songs, the loveliest of which is between Corey Hawkins and Leslie Grace, when they dance in a fantasy moment up the side of a building –La La Land style.
In The Heights started as a stage musical back in 2005, eventually opening on Broadway in 2008. It was Lin Manuel Miranda’s first hit, ten years before Hamilton.
Although there is a central character called Usnavi, a young man who owns the local store and is played with a delightfully shy manner by Anthony Ramos, this is the story of a Latinx neighbourhood in Washington Heights in north Manhattan. Almost equal weight is given to other members of the community, like the woman he fancies Vanessa, a vivacious performance by Melissa Barrera, his friend Benny played by the cool and handsome Corey Hawkins.
I don’t know why I’m saying he’s handsome because frankly, these are all highly attractive people. Like Nina who is the pride of the community because she has a place at Stanford University. It’s a strong performance by Leslie Grace but she’s not only the cleverest person around, she’s also the most beautiful. Her father Kevin, the taxi business owner, is Mr Cool himself Jimmy Smits, for goodness sake, and Olga Merediz is the twinkling kind-faced matriarch of the community.
So what you don’t get are any horrible characters or any of the abrasiveness in relationships that can light up a movie with their sparks. It’s not that kind of movie. Having said that, the main characters have about as much depth as a paddling pool.
Arguably Quiara Alegría Hudes who wrote the book of the musical and wrote writes the movie screenplay. could have expanded on the characters because real people on stage carry you along much more easily than the close-up of people on film.
But it doesn’t really matter because the central character here is the community, one that answers discrimination by working hard and making a success of oneself. Yes, it’s a romantic ideal but it is an uplifting journey in which Usnavi, who longs to live in his homeland of the Dominican Republic, comes to realise the strengths of this little piece of Latin America in New York.
The action- and that’s not really the right word- builds up to an electricity blackout that occurs at the height of a very hot summer. And this is also the low point for the characters in the film- Nina having rejected financial help, a key character revealed as undocumented and therefore with limited prospects and the ever-present threat of repatriation, and Usnavi and Vanessa’s relationship in peril. And that’s about as much tension as this happy film generates. The blackout changes everything as the people, at first resigned, rediscover their community and the ways they can support each other.
Although there is romance, this is very much a family film with hardly a suggestion of sex. However, the three women (Daphne Rubin-Vega, Stephanie Beatriz and Dascha Polanco) who run a nail bar forced out by gentrification, are not only funny, they strut their stuff in no uncertain way. They’re almost from a Carry On film and this is just one way in which this film feels like a throwback to an earlier time. Nostalgia is sewn into its fabric.
If you want cheering up, this is just the tonic you need. I had a smile on my face throughout.
And by the way, don’t leave before the end of the credits because Lin Manuel Miranda’s character, the Piragua seller, makes a return appearance.
The Andrew Lloyd Webber Foundation recently criticised the lack of opportunity given to black and minority ethnic performers in drama schools. If we don’t have more diversity in our theatres, we miss our opportunity to see the best possible shows on stage. So, let’s celebrate the people of colour who have made a major contribution to the stage musical.
10. Eubie Blake & Noble Sissel
These days blind casting, whereby, unless the part is written for a specific skin colour, you choose the best person for the role regardless of colour, has made a huge difference to the number of people of colour on stage. But racial discrimination was rife in the past. A hundred years ago, black performers were restricted to a few slots on the Broadway stage- no more than one act per show.
Frustrated by the situation, the songwriting team of Eubie Blake and Noble Sissel, got together with some other black artists and wrote their own musical comedy Shuffle Along. They managed to hire a theatre right on the edge of the theatre district. The artists feared a reaction from white audiences against a portrayal of black people in romantic situations, but this was the beginning of the jazz age and audiences lapped up the genuine article.
Shuffle Along was a huge success running for 504 performances with many spinoffs. It launched or at least helped the careers of, among others, Paul Robeson and Josephine Baker. The biggest hit from the show was I’m Just Wild About Harry.
9. Adelaide Hall
Born in 1901, Adelaide Hall was a major star in the Harlem scene of the 1920s. In 1938, faced with a lot of prejudice in the States, she moved to the UK. A year later, just after the Second World War broke out, she took part in the BBC’s first live show to be broadcast worldwide. She became a British resident and it was here that she added musicals to her resumé. In 1951 she appeared in Kiss Me Kate and then two more West End musicals before returning to Broadway to appear in the Lena Horne vehicle Jamaica and in the premiere of Rodgers and Hammerstein’s Flower Drum Song. Live concerts and recordings remained her big passion and in 2003 at the age of 102 she entered the Guinness Book Of Records as the world’s most enduring recording artist.
8. Sharon D Clarke
Sharon D Clarke & in Caroline, Or Change. Photo: Helen Maybanks
Sharon D Clarke is one of the UK’s leading ladies. She began her West End career as General Cartwright in 1996 in Guys And Dolls. Over the years she’s been Killer Queen in We Will Rock You, Mama Morton in Chicago, Oda Mae Brown in Ghost and the star of the National Theatre production of Ma Rainey’s Black Bottom. Probably most will remember her as Rafiki in The Lion King, a musical that did much to give opportunities to black performers. Her leading role in the Chichester production of Caroline, Or Change won her an Olivier Award, one of three she’s won. In 2017 she was awarded an MBE for services to drama.
7. Gary Wilmot
Gary Wilmot is another of the UK’s greatest musical stars. His musicals career began with the lead role in Me And My Girl in the West End. One of his earliest roles was as Joe in Carmen Jones, the musical in which Oscar Hammerstein wrote new lyrics for a black cast to Bizet’s music. In all he’s taken part in over two dozen musicals and played Fagin in Oliver!, Caractacus Potts in Chitty Chitty Bang Bang and Billy Flynn in Chicago. His brilliance at comedy roles may have held him back from the more serious parts his voice and acting ability make him more than capable of.
6. Ethel Waters
After she starred in Irving Berlin’s As Thousands Cheer, there was a time in the 1930s when Ethel Waters was the highest paid performer on Broadway- that’s not highest paid black performer, that’s highest paid performer of all. She began to branch out into large and small screens and was the first African American to have their own TV Show. Her biggest hit on Broadway came in 1940 with Cabin In The Sky.
5. George C Wolfe
Bring in Da Noise, Bring In Da Funk
Director George C Wolfe has directed twenty Broadway shows from Jelly’s Last Jam featuring the music of Jelly Roll Morton in 1992 to Caroline, Or Change to the revival of Shuffle Along. Perhaps his most famous Broadway show is Bring In Da Noise, Bring In Da Funk which he conceived and directed in 1996. It tells the story of the black experience in America from slavery to hip hop primarily through the medium of tap, choregraphed by the great Savion Glover. Wolfe has received 23 Tony Nominations and won five. He also directs movies, most recently directed Ma Rainey’s Black Bottom which is up for an Oscar.
4. Paul Robeson
In the early days of Broadway, it was almost impossible for black people to get exposure on what was appropriately nicknamed ‘The Great White Way’. But some white creators of shows were determined that people of colour should have their proper place in stage musicals. George Gershwin, for example, wrote Porgy And Bess in 1935, with the bets of intentions despite subsequent criticism, and Oscar Hammerstein introduced people of colour and questions about racism into a number of his musicals.
Back in 1927, Hammerstein co-wrote Show Boat with Jerome Kern which was a groundbreaker, not only because it told a serious story but because it was the first musical to feature a mixed black and white cast on stage together. The part of Joe, a stevedore, was expanded as a showcase for my Paul Robeson. Unfortunately, he was unavailable to take part in the Broadway premiere but when the show opened in London he took his rightful place in the cast. The show became the Theatre Royal’s most profitable production of the 20th century.
At a time when black actors were mainly playing servants, Robeson brought a much needed dignity to black acting, taking on major roles in cinema and on stage, including a legendary Othello.
3. Lea Salonga
Lea Salonga in Allegiance. Photo: Matthew Murphy
The Filipina soprano Lea Salonga was the original Kim in Miss Saigon for which she won an Olivier Award. She reprised the role on Broadway and became the first Asian woman to win a Tony. It launched her career on Broadway where she also played the roles of Eponine and Fantine in Les Miserables. She has continued to play leading roles on Broadway and in the Far East including Mrs Lovett in Sweeney Todd.
Notably, she had a starring role in 2015 in the musical Allegiance which explored the internment of Japanese Americans during World War 2.
2. Audra MacDonald
Audra McDonald in Ragtime
Audra Macdonald is the first and only performer ever to win six Tony Awards.
Trained as an operatic soprano, her Broadway successes include her performance in the revival of Carousel back in 1994, Ragtime in 1998, 110 in the Shade in 2007, Porgy And Bess in 2012. Perhaps her greatest role was as Billie Holliday in Lady Day at Emerson’s Bar And Grill in 2014.
1. Hamilton
We started in 1921 with a musical that brought the first all black cast to Broadway. A hundred years later, the biggest show on Broadway and the West End is another groundbreaking musical featuring a cast almost exclusively of people of colour. Thanks to its creator, Lin-Manuel Miranda, Hamilton has set a new standard for colour blind casting by employing mainly non-white actors to play people who were historically white. This casting provides a real and metaphorical illustration of the contribution of people from immigrant backgrounds can make to their adopted country, both in the USA but also here in great Britain. The number one is not one individual but all the casts that have made Hamilton a showcase for the talent of people of colour.
Two To Watch For
Here are two young people of colour destined to be major musical stars.
Miriam-Teak Lee had just left drama school when she blew everyone away with her performance in the Open Air Theatre production of On The Town. Then she got a part in the ensemble of original London production of Hamilton, followed by the lead role in the jukebox musical & Juliet, again giving a jaw-dropping performance for which she rightly for which she won an Olivier Award.
American Eva Noblezada has already played Kim in the 2014 London and subsequent Broadway revivals of Miss Saigon. She follows in the footsteps of Lea Salonga 25 years ago when she originated that role and has also followed her in playing Eponine in Les Miserables. Recently she played Eurydice in Hadestown to much acclaim. Hopefully we won’t lose her to the screen but her starring role in Yellow Rose was unforgettable.
You can see performances by many of the artists featured by visiting the YouTube channel One Minute Theatre Reviews and clicking on Playlists where you’ll find Top 10 People Of Colour in Stage Musicals.
The Box Office Radio podcast My Top Ten People of Colour in Stage Musicals presented by Paul Seven Lewis is available on mixcloud.com
Tinuke Craig brings concert version of The Color Purple alive
★★★★
The Curve production of The Color Purple is billed as a concert version of their staged production from 2019 but that gives a false impression. The cast don’t just stand in a line and sing. They are in costumes, and with director Tinuke Craig at the helm again they move around and mime, so it feels staged and very well staged, I might say. It helps that it has a strong cast who can both sing and act.
You might know the story, which is based on Alice Walker’s novel and Stephen Spielberg’s film, with a book by Marsha Norman. It centres on a black American woman in the early 20th century who suffers much abuse but eventually meets some strong women and finds love and self belief. As in the best musicals, the music which is written by Brenda Russell, Allee Willis & Stephen Bray tells the story.
What you essentially have in this production of the Color Purple is a fairly empty stage with the vast emptiness of the auditorium around it. But it feels far from empty. Thanks to Tinuke Craig’s direction, the stage is filled with characters from the central unassertive Celie to her abusive father and husband to the strong women who inspire her. And the cast move with purpose and vigour.
The lighting by Ben Cracknell is like an additional actor enhancing each time. Even the camera editing adds to the experience by cutting in time to the music, and a restrained use of the superimposition of one face upon another. You hardly notice the lack of touching in a musical in which physical contact- both abusive and loving- is actually an important part.
T’shan Williams is terrific as Celie. Before our eyes, she transforms from submissive to assertive, from doubt to confidence, while retaining an essential gentleness. And it is a joy to see her change from someone who describes sex as like her husband is going to the toilet on her and whom he undermines with the description ‘you black, you poor, you ugly and you a woman’. It’s a great performance.
The music begins in a gospel style in which the horrors of her life seem to go hand-in-hand with the domination of the church. Then light breaks through as Shug arrives, a joyous performance by Carly Mercedes Dyer, and with her some lively blues. Shug reassures Celie with a showstopping song Too Beautiful For Words and shows her for the first time that life can be about love rather than suffering.
I’d like also to pick out Karen Mavundukure as the forceful and funny Sofia, Danielle Fiamanya as Celie’s heroic sister Nettie, and Ako Mitchell who plays Mister, the husband who begins as abusive but eventually sees the error of his ways, he being very much a product of society, and finds redemption.
I myself am not so interested in the questions raised about whether God is to be blamed or thanked for the situation the characters find themselves in, even if I do share his apparently favourite colour. Nevertheless, I was happy to be carried along by this ultimately uplifting musical.
The Top Ten Bestselling Stage Musicals as featured on Box Office Radio
The Phantom Of The Opera
This top ten doesn’t go by the money the productions have taken at the box office or length of run or all the different productions added together. This list is based on the number of tickets sold worldwide by the same production. TIt’s not completely reliable because the figures tend to be supplied by the producer. All the entries date from the 1980s onwards because very long runs are a relatively modern phenomenon, starting really with the megamusicals of Lloyd Webber and Cameron mackintosh. To give you an idea, one of the greatest musicals of all time, Oklahoma! which back in the 1940s held the title of the longest-running Broadway musical had a mere 2212 performances. By contrast, the first megamusical Cats had 8949.
10= Starlight Express (25 million tickets worldwide)
Andrew Lloyd Webber’s Starlight Express would have been much higher but for its relatively short run on Broadway. On the other hand, it’s been greatly helped by its run at the Starlight Express Theatre in Bochum Germany where it’s been seen by 17 million people. A romance featuring railway trains may seem a strange subject for a musical but behind that and the roller skating spectacular, there are some great songs.
10= Jersey Boys (25 million tickets worldwide)
Jersey Boys is the second most successful jukebox musical ever. It’s based on the story of Franki Valli and the Four Seasons and it’s a cut above the typical musical biography with each of the four band members telling a section of their story from their point of view.
9 Chicago – 1996 revival (31 million tickets worldwide)
Chicago made little impact when it premiered in 1975 but when it was revived in 1996 it became a huge hit. It is not only the longest-running revival in Broadway history but its longest-running American musical. (Incidentally, there are only 4 American musicals in this top 11.) The revival while still using the basic Bob Fosse choreography stripped down the design- and the women. So while the original female performers wore showgirl and flapper outfits, now they were in what was essentially sexy underwear. And it was marketed with striking black and white images that emphasised its erotic qualities. Souvenir programmes were snapped up by theatregoers who clearly appreciated the quality of the photography.
7= Miss Saigon (35 million tickets worldwide)
Miss Saigon is the first of two entries from writers Alain Boublil and Claud-Michel Schoenberg. No prizes for guessing what the other is. Based on Puccini’s Madam Butterfly, Miss Saigon is the story of a mother’s love and sacrifice.
7= Disney’s Beauty And The Beast (35 million tickets worldwide)
Beauty And The Beast marked Disney’s first foray into live musicals, apart that is from the mini shows they would put on in their theme parks. In fact the director Robert Jess Roth came from the theme parks but he stepped up to Broadway as if born to it and his production was both faithful to film and a proper stage musical. Linda Woolverton who had been the first woman to write a Disney animated feature screenplay, adapted and expanded her script for the stage show. Tim Rice added lyrics to six new songs composed by Alan Menken who had written the songs for the original film with the late Howard Ashman. Then the stage musical became a movie.
6 Wicked (55 million tickets sold worldwide)
Wicked by Stephen Schwartz is based on a book called Wicked: The Life and Times of the Wicked Witch of the West, which was both a prequel and a sequel to The Wizard Of Oz. The main character is Elphaba and, if you haven’t twigged, L F B are the initials of L Frank Baum, the author of The Wizard Of Oz. The story of a young woman who rebels against the system and is labelled a wicked witch was immediately popular with the teenage girl market but there was a much wider appeal to anyone who identifies with an outsider fighting for truth and defending liberty (and who doesn’t?).
Before I move on to my top 5 best selling stage musicals, I’d just like to mention a couple of other contenders who didn’t make the list.
5 Mamma Mia! (65 million tickets worldwide)
Mamma Mia! is the best selling jukebox musical of all time. Unlike Jersey boys, it’s not a biography but the kind of jukebox musical that takes a songbook and turns it into a story. In this case, it no doubt helped that the songbook belonged to ABBA but much of the credit goes to writer Catherine Johnson. She made the songs seem like they’d been written for this fun tale of a girl who is getting married and wants to meet the three men who could be her father.
4 Les Miserables (70 million tickets worldwide)
It’s back to Cameron Mackintosh and Boublil and Schoenberg with help from English translator Herbert Kretzmer for our number 4 best selling stage musical Les Miserables. This story of atonement is the West End’s longest running musical ever with over 14,000 performances.
Andrew Lloyd Webber’s Cats is the musical that led the British invasion of Broadway in the 80s. It began as a song cycle before Cameron Macintosh took it by the scruff of the neck and helped transform it into a fully fledged musical. It’s the ultimate tourist attraction, offering spectacle and memorable songs without much of a plot. That’s not to put it down, it did win both Tony and Olivier Awards for Best musical. And the spectacle was impressive. It was not only the first megamusical, it began the phenomenon of identical productions playing throughout the world. In Germany, it had over 6000 performances and in Japan over 10,000.
It’s interesting that back in the 70s and 80s the Arts Council of Great Britain undertook a ‘housing the arts’ programme that involved large sums of money being spent on building or refurbishing large scale theatres to enable the country to see the very best opera and ballet. But it wasn’t long before commercial theatre companies saw the opportunity to recreate their magnificent London productions before very large regional audiences.
2 Disney’s The Lion King (100 million tickets sold worldwide)
The Lion King is the only non-British musical in the top 5. Disney had seen the success of the megamusicals and decided to pull out all the stops when they mounted their second stage musical. The Lion King by Elton John and Tim Rice was already Disney’s most successful animated feature. The company made the bold move of employing a director whose previous experience was mainly in shows involving puppetry. Julie Taymor put on what amounted to a huge puppet show but the gamble paid off. Taymor won Tony Awards for both her direction and her costume design. The show is still running both on Broadway and in the West End and it is the number one musical for worldwide box office income- an extraordinary eight and a quarter billion dollars.
1 The Phantom Of The Opera (130 million tickets worldwide)
What has made Andrew Lloyd Webber’s The Phantom Of The Opera so popular? For a start, whereas his earlier shows used songs which are often pastiches of various musical genres, in Phantom Lloyd Webber went into full operatic mode. It’s sung-through so it is the music that really tells this melodramatic story. You feel the disfigured opera lover’s obsession with Christine, and the romantic young love between Christine and Raoul. And all the while, there is a real sense of danger, with Lloyd Webber using that dramatic Phantom motif of the descending notes Dah – da da da da dah at key moments to send a shiver down your spine, very much like the dum-dum-dum- dum signalling the arrival of Jaws. Lloyd Webber has never done better, nor indeed has anyone else. Of course, we can’t rule out the chandelier as an element of its success. It occupies centre stage as the show opens and famously crashes down at the end of the first act. It is probably the all-time greatest coup-de-theatre.
Oh Calcutta! clocked up 5959 performances on Broadway which puts it in at number 8 in the top ten longest running Broadway musicals. It’s interesting that this British show which was staged to celebrate the end of theatre censorship in Britain should have proved so popular with the Americans. It was described as an erotic revue and, as well as songs, featured sketches by among others Samuel Beckett and John Lennon, plus a lot of nudity.
Blood Brothers didn’t make the worldwide top ten of best selling musicals but it did notch up over 10,000 performances in the West End, making it the third longest-running musical in West End history. Blood Brothers had had one run in the West End before Bill Kenwright relaunched it, after which Willy Russell’s story of twins separated at birth ran for 24 years. Which is why Blood Brothers is also the longest-running West End revival.
Jay McGuiness & Kimberley Walsh in Sleepless. Photo: Alistair Muir
If you’re worried that a musical couldn’t do justice to the classic film Sleepless In Seattle, don’t be. Sleepless does pretty much all you would hope from it and more.
Okay, Jay McGuiness and Kimberley Walsh are not Tom Hanks and Meg Ryan. However what makes Hollywood stars great is their ability to convey their thoughts and feelings through their faces in close up. The composer Alan Menken said songs in a musical substitute for close ups when it comes to revealing character. And the songs by Robert Scott and Brendon Cull are both charming and do the job.
Jay McGuinness and Kimberley Walsh perform well, especially the latter as Annie who is the full package of acting, singing and dancing. Jay McGuinness as Sam is also impressive and very likeable but I felt his inexperience as an actor showed a little bit in the more emotional moments.
Now, you’ll remember the plot but just in case… A widower in Seattle can’t sleep and his son gets him on a late night radio show to talk about his situation. He’s heard by a journalist in Baltimore and she is one of many thousands who are moved by what he said. He receives a letter from her. She invites him to meet her at the top of the Empire State Building on Valentine’s Day. If you haven’t seen the film, I won’t give away the ending (and best not look at the production photo).
That subtitle A Musical Romance is interesting because this is not only a romantic musical, it’s a romance about musicals. Nora Ephron’s movie, although set in 1993, harks back to the films of the 1950s and in particular An Affair To Remember starring Cary Grant and Deborah Kerr (or it Carr, as the characters keep saying). So does this show. It is a tribute to the musicals of that time. Just as the film has a soundtrack of songs from the swing jazz era, the songs here are a homage to the hits of that time- you can almost hear Frank Sinatra singing some of them. The costumes by Sue Simmerling are technicolored. There is a joy in language in Michael Burdette’s book.
You may be aware that I’ve been doing a podcast History of Stage Musicals for Box Office Radio so I’ve been steeped in the very best of the so-called Golden Age Of Musicals. While it may not plumb the depths of South Pacific or hit the heights of Gypsy, Sleepless is an uplifting musical and the creators’ love of that period really comes across.
Where Sleepless falls down is that it sticks too closely to the plot of the film. The first half is all about setting up for the second half. While that’s quite normal, Sam probably wouldn’t have had his problem with sleeplessness if he’d watched this first act late at night. It really needed an additional subplot or at least some dancing to spice up the proceedings. I was probably naïve to expect the show to be sprinkled with dance numbers but it does star two Strictly Come Dancing alumni. Also, it’s a long time since I went to a musical that didn’t feature lots of dancing.
There’s plenty of smooth jazz style walking from the chorus and the odd moment of where emotion is expressed through movement. That includes a comedy duet between Sam’s son and his friend. The only ‘proper’ dance is during the curtain call when our two stars show that they still remember their Strictly moves.
There is good support from Daniel Casey as Annie’s dull fiancé Walter and the splendid Harriet Thorpe as her domineering mother. Tania Mathurin as her extrovert friend Becky and Cory English as Sam’s friend Rob (a new character) inject a healthy dose of comedy.
The set designed by Morgan Large evokes Sam’s job as an architect by using back projections of architectural drawings. In the same vein, the skeleton of a multi-purpose structure dominates centre stage with lots of vertical and horizontal lines. Morgan Young directed this most enjoyable show.
Finally a word about the producers Michael Rose and Damien Sanders. I can’t praise them highly enough or indeed thank them enough for giving audiences starved of live theatre the chance to see this lovely musical, even though at 30% capacity because of social distancing they can’t possibly be making any money out of it. And well done to the Troubadour for their exemplary Covid-19 safety precautions.
Hamilton was filmed during the initial Broadway run. The recording of the live show was meant to saved for later but with theatres dark, the creator Lin-Manuel Miranda decided to make it available now. After some intense bidding, it was Disney+ who secured the rights.
So, these are the questions: If you’ve already seen Hamilton, is this film of the Broadway show worth watching? If you haven’t seen Hamilton, does the film do justice to the stage production? Finally, if you’re not interested in Frozen II and Star Wars, is it worth subscribing to the Disney+ streaming service just to see Hamilton?
The answers, in my opinion, are ‘yes’, ‘yes’ and ‘oh yes’. I’ve been quite critical of live recordings of large scale stage shows as removing the excitement of theatre while being too theatrical for film but, if anything, this is better than the stage show. Of course, you can’t being ‘in the room’ with live actors but here you’re able to appreciate every aspect of this great musical. You can watch a dance sequence from the best seat in the circle, then see the faces of the performers as if you’re in the front row of the stalls.
It doesn’t harm that you get to see the first and quite possibly the best cast, including the writer Lin-Manuel Miranda as Alexander Hamilton. His character is driven to make a difference in the world at all cost to his personal life (“I’m not going to waste my shot”). He helps lead the American revolution, which is over before the end of act one, then is one of the founding fathers of the American republic. His single-mindedness makes him enemies leading to political fights that drive the second half. His flaws, as in any great tragedy, lead to his downfall. Thanks to the music, his story is told with excitement, passion, and humour.
There are two other characters who develop through the course of the show. Aaron Burr, beautifully sung and played by Leslie Odom Jr, is the narrator and ‘damn fool who shot him’ as he says of the end of his difficult friendship with Hamilton. He starts off uncommitted but, in a moment of tremendous excitement, realises that the important decisions are being made behind closed doors and he needs to be ‘in the room where it happens’.
Hamilton’s wife Eliza, played with poignancy and the sweetest voice by Phillipa Soo, changes from a love-struck girl through pain to a powerful woman.
There is an excellent supporting cast including Renee Elise Goldberry as Angelica, Eliza’s intelligent, sensual sister who is Hamilton’s love, if not lover. Daveed Diggs is the Marquis de Lafayette and later Thomas Jefferson, both larger than life and played to great comic effect.
The background is the birth of the United States and the midwives are immigrants or the offspring of immigrants. Hamilton himself is an immigrant from a poor background. To underline the point, a mainly non-white cast play the rebels and their musical numbers are Hip-hop, the music of the disadvantaged.
We’re always aware that we are looking back from today. This is emphasised by the use of a narrator and by other asides to the audience. ‘Who lives? Who dies? Who tells your story?’ is a question asked by the musical, because our view of history changes with each generation. Miranda has said that this is ‘the story of America then told by America now’. We notice the parallels with today. One song says: ‘Immigrants- we get the job done’ to a cheer from the audience.
Lin-Manuel Miranda‘s music is clever, subtle and catchy. It’s no wonder millions have bought the soundtrack who haven’t even seen the show. Hip-Hop dominates but he plunders other genres as needed. For example, when Jefferson returns from France, he sings a jazz song, thus showing that he not only missed the War Of Independenceshows but also a change in musical taste. The love songs exude the pain of love.
Hip-Hop is a terrific dance music and, in the poetic language of rap, Miranda has found the perfect form to tell a story and communicate the thoughts and feelings of his characters.
The original director of the Broadway production Thomas Kail directs the film which means he knows exactly what he wants to put across. Every change of shot, whether a close-up or the whole stage, seems to come at exactly the right moment. I never felt I wanted to be looking somewhere else.
The show looks great too, thanks to set designer David Korins and Paul Tazewell‘s costumes. What a clever idea to remove the female dancers’ voluminous dresses and show off their moves in 18th century underwear.
Well worth a month’s subscription to Disney+ and you get to see Frozen II as well.
Hamilton is streaming on Disney+. When theatres re-open, the British production can be seen at Victoria Palace Theatre, London.
How musicals came to dominate theatre for 90 years
Hamilton. Photo credit: Joan Marcus
Musical theatre has dominated Broadway and West End stages for nearly a hundred years but there are five musicals that shaped the modern musical. In choosing these five musicals what I’ve tried to look at is not their quality or success at the box office but the way each one brought something innovatory to the musical.
The modern musical followed the footsteps of the European tradition of opera and Gilbert & Sullivan style operetta but it was born in America.
Song-and-dance shows in one guise or another had been produced in New York since the 19th century. These included the racist Minstrel Shows, popular variety shows in which white entertainers ‘blacked up’.
By the late 19th and the early part of the 20th century, Broadway was awash with revues. Many of these spectacular song and dance entertainments were produced by Florenz Ziegfeld under the recurring title of The Ziegfeld Follies. It was an era immortalised by films like 42nd Street and revisited by Stephen Sondheim in his musical Follies.
There were also Musical Comedies. Successors to and to some extent popular rivals to the more middle class operetta, this genre originated in late Victorian London but soon became a staple of the New York stage. They offered lightweight, often banal plots punctuated by brilliant singing and dancing. Think Fred & Ginger movies. It’s a format that’s never completely gone away.
In the Twenties The Jazz Age took hold, inspiring a range of talented composers. Jerome Kern, Irving Berlin, Richard Rodgers, Cole Porter and, perhaps the greatest of all, George Gershwin were all part of the Broadway scene, penning songs for revues and comedies. It was probably the most prolific period in Broadways’s history. In 1927 alone, fifty musicals were launched.
One of them launched what we know as the modern musical, or musical theatre. It was the first major musical show to feature a proper drama- and incidentally it was Florenz Ziegfeld who brought it to Broadway.
1. Show Boat
From 1912 onwards, Jerome Kern had written many musical comedies into which he brought more complex believable plots, but what he needed was a lyricist to match his vision. Then he met Oscar Hammerstein II. In 1927 they wrote Show Boat and set the template for the next 90 years of so-called ‘book musicals’, that is to say, musicals with a believable narrative and realistic dialogue. And this certainly was a serious story: it encompassed alcoholism, racism and marital conflict.
Thus the musical became a vehicle to support and enhance drama, just as opera does. As Leonard Bernstein said: ‘Music can name the unnameable and communicate the unknowable.’ As well as covering racial themes, Show Boat was the first musical show in which both black and white performers appeared and sang on stage together. And the first to feature an inter-racial marriage.
Songs drove the drama and included Ol’ Man River and Can’t Help Lovin’ Dat Man.
Other weighty musicals followed. Of Thee I Sing, a political satire from 1931 by George and Ira Gershwin, won the Pulitzer Prize. Four years later, the Gershwins along with librettist Dubose Hayward created Porgy And Bess. George Gershwin decided it would be appropriate to use African-American folk music- spirituals and folk songs with a jazz-like feel. The use of popular music and the way the music ran continuously through the work meant, although it was technically an opera, Porgy And Bess had a significant influence on musicals. And, unusually for Broadway, it featured an all African-American cast.
Oscar Hammerstein had some fallow years after Show Boat but when Jerome Kern turned down an idea he had to make a musical from a play called Green Grow The Lilacs, he got together with Richard Rodgers. Rodgers had been looking for a new lyricist to replace the unreliable Lorenz Hart and, coincidentally, had also been interested in Green grow The Lilacs. Together they produced a revolutionary musical, possibly the greatest of all time: and the first to fully integrate music, drama and dance.
2. Oklahoma!
It was 1943 and, in the midst of war, Americans were ready for a celebration of American values. They found it in Oklahoma! When Alfred Drake sang those opening lines Oh What A Beautiful Mornin’ unaccompanied off stage, musical theatre changed forever.
First, there was the music. Nothing said ‘the music element matters’ more than by giving the parts to singers who could act rather the common practice of actors who could sing.
Then, there was the drama. Oklahoma! was the first musical in which every element served the characters and furthered the story. And, for the first time, that included the dance sequences. Agnes de Mille choreographed expressive dances so challenging that professional dancers were required for some of them. Songs included People Will Say We’re in Love, Surrey With A Fringe On Top and the rousing title song.
Rodgers and Hammerstein were the perfect partnership: contrary to the usual pattern, both liked to get the lyrics first and set them to music. There followed a succession of great musicals: Carousel, The Sound Of Music, The King and I, South Pacific and doznes more. Other composers took inspiration from them and created a Golden Age of the Musical with Irving Berlin’s Annie Get Your Gun, Cole Porter’s Kiss Me Kate, Lerner & Lowe’s My Fair Lady, Frank Loesser’s Guys And Dolls…. the list goes on and on. And all these shows made the journey from stage to the big screen to create the so-called ‘Golden Age of the Hollywood Musical’.
Dance played a part in enhancing the drama of Oklahoma! and many subsequent musicals but the final building block of the modern musical came in 1957 when dance came into its own.
3. West Side Story
The musical’s credentials were great: the book was adapted by Arthur Laurents, the music was by Leonard Bernstein and the lyrics by Stephen Sondheim, but it was the role of Jerome Robbins as the director that was crucial. He was the preeminent stage choreographer of his time, which meant West Side Story not only incorporated dance into the narrative but let it take the lead. The famous finger snaps say it all.
A writer in Time magazine found the dance and gang warfare more compelling than the love story and noted that the show’s ‘putting choreography foremost, may prove a milestone in musical-drama history.’ He was right. That the show ended tragically was also groundbreaking. Memorable songs included Maria and Tonight.
Many more musicals followed as the Golden Age rolled on, not least another contender for greatest musical of all time, Julie Styne, Stephen Sondheim and Arthur Laurent’s Gypsy. The longest running musical ever, The Fantasticks by Harvey Schmidt and Tom Jones (not the singer) opened in New York in 1960 and closed 42 years later.
Tastes in music changed: rock rather than jazz now dominated the charts and perhaps audiences were getting bored with the formula of the book musical. Whatever the reason, by the mid-1960s the first Golden Age of the Musical came to an end. Musicals continued to be written and performed but not so frequently or spectacularly as before.
The time was ripe for the arrival of the concept musical, in other words, a musical where the idea or theme takes precedence over the narrative.
4. Company
Stephen Sondheim’s Company in 1970 wasn’t the first concept musical. As early as 1947, Rodgers and Hammerstein created Allegro. Interestingly, a very young Stephen Sondheim worked as a production assistant on this musical. A year later, Alan Lerner of Lerner and Lowe fame teamed up with Kurt Weill who wrote The Threepenny Opera and they created Love Life. Both shows had linear plots but these were disrupted by songs that commented on a theme.
However Company was the first significant concept musical where the narrative was virtually abandoned in favour of a theme, in this case, an exploration of relationships in songs like The Ladies who Lunch and Being Alive. Other concept musicalss followed including Chicago, A Chorus Line and Cats, as well as many more by Sondheim such as Follies and Sunday in The Park With George.
Hair was another concept musical of sorts but it’s more memorable for bringing rock music into the previously jazz-based world of musicals. It’s arguable that rock is a genre better suited to the individual song than to carrying a whole narrative or theme but there’s no arguing with the success of Hair, Godspell and the early Lloyd Webber-Tim Rice collaborations like Jesus Christ Superstar.
One trend of the last few years has been the jukebox musical which recycles existing popular songs around a story: it’s not exactly new- the film musical Singin’ In The Rain uses an existing songbook but the genre has been unstoppable in the last few decades- the most successful is Mamma Mia! featuring the music of ABBA. Early examples were Return To The Forbidden Planet and Buddy- The story of Buddy Holly. Others include We Will Rock You featuring the music of Queen, Jersey Boys which tells the story of the Four Seasons and, last year, the wonderful & Juliet showcasing the songs of Max Martin.
And, having made films out of so many stage musicals, Hollywood has repaid the compliment in recent years by providing the inspiration for Little Shop Of Horrors, Disney’s The Lion King, The Producers, Spamalot, Billy Elliott and many more.
Talented writers have created musicals that continue the tradition of exploring serious themes: Rent, Blood Brothers and The Book Of Mormon to name but a few.
The mid 1980s saw the arrival of the mega musicals where the sets became as or more important than the content- and Britain led the way, revitalising this great American genre, just as The Beatles had revitalised American rock’n’roll in the sixties. In what could be described as a second Golden Age, there are two landmarks – Andrew Lloyd Webber’s almost operatic Phantom Of The Opera and Cameron Macintosh’s production of Les Misérables.
Alain Boublil and Claude-Michel Schonberg’s musical may be, as The Observer put it when it opened, “a witless and synthetic entertainment” but its popular appeal is undeniable. With its rousing story of doomed revolutionaries and its uplifting tale of a man who pays back a debt with heroic charity, Les Misérables is now the second longest running musical ever. It’s certainly a musical I could see again and again. However, although this musical is about revolutionaries, it’s not actually revolutionary.
We had to wait 45 years after Company before we got another genuinely revolutionary musical. In fact, in 2015, you could argue we got two in one year.
Fun Home was the first show on Broadway to have a lesbian protagonist- some 30 years after La Cage Aux Folles focussed on male homosexuality. It showed that musicals can tell complex stories about women and indeed lesbian women, who are not often represented in the mainstream, and that musicals written by women can be successful on Broadway.
Lisa Kron and Jeanine Tesori were the first all-female writing team to win the Tony Award for Best Score, as well as Best Musical. But is it revolutionary simply because women take centre stage? I would argue, in the male dominated world of musical theatre, that it is, but I have to admit there is no new musical form here.
However there was another musical that also started off-Broadway in 2015 that has found a new form.
5. Hamilton
Hamilton by Lin-Manuel Miranda (streaming on Disney+ channel from 3 July 2020) does everything the best musicals do in terms of taking an engaging subject and combining it with music and dance. Miranda plundered a number of musical genres but what makes Hamilton look like the future of the musical is its use of hip hop or rap music in songs like Yorktown (The World Turned Upside Down) or Right Hand Man. Rap is the music of revolution, because it expresses the angry feeling of the underprivileged. But more than that, just as the jazz sound was used by Jerome Kern, the Gershwins, Cole Porter, Richard Rodgers Oscar Hammerstein and the other greats of the first Golden Age of the musical to create dance tunes and complex lyrics, hip hop rhythm is great for dance and rap’s poetic use of language make it the perfect music for lyrics.
Stephen Sondheim put it this way: “Of all the forms of contemporary music, rap is the closest to traditional musical theater… both in its vamp-heavy rhythmic drive and in its verbal playfulness.”
Ninety years previously Show Boat was the first musical to put black and white performers on stage together. In 2015, there has been deliberate casting of non-white actors in Hamilton as the mainly white Founding Fathers and other historical figures. It is, as Miranda put it, ‘the story of America then told by America now’. Hamilton has found a way of making what we’ve been calling the ‘modern’ musical for nearly a hundred years actually work for a modern audience.
It remains to be seen whether more rap-based musicals with such wide appeal will emerge but the signs are good. One of the best new British musicals I’ve seen in the last couple of years is Poet In Da Corner by Debris Stevenson which features grime music.
What Stephen Sondheim said about Hamilton could apply to any of the five musicals I’ve chosen: “What it does is empower people to think differently. There’s always got to be an innovator, somebody who experiments first with new forms.”
