by Nathaniel R
With the news that a recent stripped down experimental version of Rodgers & Hammerstein's Oklahoma! was coming to Broadway in April 2019, we thought it might be interesting to look at the "Most Often Revived Musicals on Broadway". The list is as follows:
- Porgy & Bess (8 times)
- Threepenny Opera (7 times)
- Showboat (7 times)
- Peter Pan (6 times)
- Pal Joey (6 times)
- Guys & Dolls (6 times)
- Fiddler on the Roof (6 times)
- Carousel (6 times)
- ... and Oklahoma! will be joining this list in a handful of months.
- It can't really be a top ten since a plethora of shows have been on Broadway 5 times.
More on that list and movie versions after the jump...
If we're going to redo a Natalie Wood musical shouldn't it have been Gypsy (1962) instead of West Side Story (1961)?
I was surprised that Gypsy doesn't make the list. Turns out it's had only five Broadway runs. Two of them (Bernadette Peters and Patti LuPone revivals) were within the last 15 years plus that there's recent Imelda Staunton version in the West End (the best Gypsy I've personally ever seen) that made a lot of noise but didn't transfer all of which gives the impression that it's the most revived. But it's not.
The King and I, My Fair Lady, Hello Dolly! and West Side Story have also had 5 runs. Other frequent titles? Jesus Christ Superstar has had 4 productions and Kiss Me Kate is getting its 4th on Broadway in March 2019 with Kelli O'Hara leading. Stephen Sondheim's shows aren't revived as much as you think on Broadway though they're abundant in concert versions and regional and Off Broadway productions. His most revived shows on Broadway are Company and Sunday in the Park With George (4 times) with Into the Woods and Sweeney Todd tied for second place (3 times each)
BUT WHAT OF THE MOVIE MUSICAL?
With the very successful resurrection of the movie musical genre over the past 18 years and Mary Poppins Returns settling in for a good long run in movie theaters (musicals tend to have legs), we must wonder why Hollywood isn't greenlighting more classics? Or if they are it's films that don't really need a remake like West Side Story (already sufficiently brilliant). If you stop to think about it for a few minutes, which Hollywood executives obviously should given the 100s of millions in potential revenue, you'll realize that many of those nine titles listed up top -- titles that have more than proved staying power and saleability -- don't really have definitive film versions.
Not that all of them need a new movie! Peter Pan should definitely stay grounded for another 50 years as that particular tale is now far too oft-told (particularly at the movies) and the most recent screen interpretations of the story have suggested that audiences are sick to death of it (Pan at the movies flopped and that live musical version on TV was one of the least watched / least liked of the recent wave of live TV musicals). There are other titles that don't need remakes: Fiddler on the Roof and Oklahoma!'s film versions are beloved enough that there probably isn't much point in a do over... at least not before some other classics get a fair shot at big screen glory.
But what about the other six most revived titles and their film versions? Let's discuss!
Porgy & Bess
This operatic musical tragedy would surely be a prestigious hit as a film with the right cast and creative team. Audra McDonald and particularly Norm Lewis were sensational in the most recent Broadway revival about a disabled man and the prostitute he falls for. It's a pity that Hollywood would never give them a chance at a film version because they're both gorgeous with truly sensational voices. There was a film version made in 1959 (nominated for four Oscars, winning the now defunct category "Best Scoring of a Musical Picture") but it's rarely screened and hasn't been available to the public in a long time (The Gershwin Estate doesn't think it's faithful enough). What's more, the material begs for an update in today's climate where authenticity and representation are both so rightly valued. The original, directed by Otto Preminger, starred a who's who of black stars of the time including Sidney Poitier, Dorothy Dandridge, Diahann Carroll, Sammy Davis Jr, and Pearl Bailey among others. Imagine how electric it could be with a black director and stars who didn't need to be dubbed (difficult operatic score there - most of the stars in '59 were dubbed though Davis and Bailey in supporting roles did their own vocals).
Needs a Definitive Film Version Verdict: DESPERATELY
Threepenny Opera
Hmmm, another one about prostitutes and beggars! Brecht & Weill's politically charged adaptation of The Beggars Opera is a classic with at least a couple of immortal endlessly performed songs. It was most recently on Broadway in a 2006 production starring Alan Cumming as Mack the Knife and a sensational Cyndi Lauper as Pirate Jenny (she was absolutely robbed of a Tony nomination). This one has been made into a movie a couple of times in Europe but none of the versions are famous in the US. That said it's very much a stage beast so it's tough to imagine a movie working.
Needs a Definitive Film Version Verdict: Only if someone feels very inspired about it.
Showboat
This 1927 show about the new leading lady of a performing river boat is one of the most influential Broadway musicals ever, completely changing how musicals were then constructed/perceived. And that was just for its storytelling, never mind its storyline about interracial romance and prejudice. It's already had two-ish film versions, a partial talkie in 29 followed by the classic James Whale / Irene Dunne version in 1936 and the 1951 remake but in both cases the material was compromised by Hollywood mores and casting practices of the time. The leading lady, to cite just one example, is meant to be a biracial woman passing as white, and in both cases she was played by a white woman. Helen Morgan had the role in the first two black and white versions and Ava Gardner has the role in the latter technicolor version (which clearly should have gone to Lena Horne, who wanted it). Gardner was at her peak beauty but she's dubbed when Lena Horne wouldn't have needed to be. Doesn't this classic deserve a retelling? There are hugely classic songs in its score and great roles for actors of color. I mean, wouldn't whoever played Julie and Joe have easy tracks to Oscar nods if they nailed the pathos of "Can't Help Lovin' Dat Man of Mine" and "Old Man River" respectively? It's also easy to imagine the film being an utter ravishment in the hands of a great cinematographer, costume designer, and production designer.
Needs a Definitive Film Version Verdict: Yes. It's got deep roots in American popular culture and the songs are great and it might even feel timely (as period pieces sometimes can) with the right team.
Pal Joey
You can stream this 1957 musical on Amazon Prime. It stars Frank Sinatra, Rita Hayworth, and Kim Novak (dubbed) in a love triangle about an egotistical nightclub singer and the two women he loves. It was nominated for four craft Oscars but compared to Frank Sinatra's other 1950s musicals it doesn't have that high a profile.
Needs a Definitive Film Version Verdict: This one will do for now. Let's get some other classics redone first.
Guys & Dolls
Another Frank Sinatra movie musical nominated for four craft Oscars, this one about a gambler (Marlon Brando) and a sister missionary (Jean Simmons) falling for each other. Lots of great songs but this is an awkward film version, if you ask me. Probably because the secondary couple Sinatra and Viviane Blaine (reprising her Broadway breakout role of Miss Adelaide) are gifted at the musical form and the main couple (Brando & Simmons) are not.
Needs a Definitive Film Version Verdict: Given the musical comedy's giant reputation on stage versus what we see onscreen, despite those legendary stars, we'd say sure, why not?
Carousel
One of the greatest scores ever written in musical theater but the story is such an unwieldy mess and the toxic masculinity and spousal abuse makes it a tough watch.
Needs a Definitive Film Version Verdict: Probably not. A new film version could excel in a lot of ways visually and sonically but the recent Broadway revival shows that the book feels next to unworkable still, so unless there was a major reinterpretation/rewrite.
YOUR TURN. Which of these would you really love to see new film versions of? Or do you only want newer musicals to be adapted since there are so many of them, too.