In this provocative new book, edited by Clare Chandler and Gus Gowland, and subtitled ‘Out of the Darkness’, the British musical theatre landscape is considered through a number of shows and viewpoints, covering the years 2010-2020.
Intended to look beyond the traditional ‘West End’ musical, or any single composer or trend, Contemporary British Musicals celebrates the diversity, innovation and faith of a new generation of young producers and creators.
Identifying the British musical can be difficult. We have a long heritage in the art form, and musicals remain must more widely popular than drama or dance, but have often been eclipsed by the neon lights of Broadway.
Although we are in a rich creative period where even large subsidised venues have taken risks on shows (the National Theatre with London Road; the Royal Shakespeare Company with Matilda), it is true that the visibility and access beyond the afficionado is still small.
However, audiences are becoming more discerning and creative in terms of the amount of titles they are likely to have experienced and also the types of musicals they will anticipate and enjoy.
Contemporary British Musicals highlights producers such as Katie Lipson and Adam Lenson as examples of where bright young minds can contribute to a whole new perception of what’s going on in theatre. Arguments are made in favour of a new and exciting new British musical. It isn’t all about big budgets, it’s about big stories.
Consider Sheffield and Standing at the Sky’s Edge, a more localized story, but still with wide appeal. You might consider all the revivals taking place at the Curve Leicester, which are tried and trusted productions, but made in new ways.
What I found particularly interesting in this book was the interviews that were dotted throughout from practitioners, performers and producers.
The emergence of digital theatre throughout the Covid lockdown is discussed in the case study of Flowers for Mrs Harris, which was produced by the Chichester Festival Theatre. In this way new audiences can be reached if ticket prices or other factors prevent them from attending a live show.
The book also looks at musical influences on people of colour, disability and feminism. Queer theatre and perspectives are also explored.
In Matilda, the character of Miss Trunchbull as negative role model and a malevolent force in the panto/drag tradition is explored. The act of casting a man in this role offers strength to the portrayal of Matilda as strong young woman.
The musical Departure Lounge, with its negative depiction of teenage masculinity; and the gender-fluid issues in LIFT are both given scope for discussion, as are racial considerations in Bend It Like Beckham and the casting of SIX.
Disability representation in The Grinning Man and the rise in verbatim, politicised theatre is also discussed. These are exciting areas where the British stage excels in providing visibility and stories.
Contemporary British Musicals emphasises regional diversity and the importance of being innovative, truthful and brave in genre production. It speculates on what the modern British identity may mean.
Finally, it discusses opportunity and the space to fail. The need for small spaces and initatives like BEAM, MTFest, Signal and Page To Stage to nurture new talent, while presenting opportunities for the next Operation Mincemeat to progress to the main stages.
Contemporary British Musicals stands as a companion to Adam Lenson’s recent book Breaking Into Song: Why You Shouldn’t Hate Musicals as a text that should speak to genre devotees.
it remains a fact that general audiences continue to flock to West End shows almost exclusively, with smaller shows remaining under the radar.
This extremely readable book casts an eye beyond the big players and casts an eye towards a bright future.
Perhaps one omission in this text is the emegence of fan bases like ‘Corn Nuts’ (Heathers) and ‘Mincefluencers’ (Operation Mincemeat) to propel and grow shows from an audience perspective.
You can purchase Contemporary British Musicals, published by Bloomsbury, now from all major stockists.