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Some insisted that the "Golden Age" of the Broadway musical was over, but the 1970s saw the art form thrive. There was a vigorous three-sided battle for pre-eminence between rock musicals, "concept" shows and conventional post-Oklahoma musicals. Each musical sub-genre had its virtues and flaws, and each had hits and misses. And each had its champions, bringing a new generation of composers to the forefront. From an artistic standpont, it proved to be one of the most exciting decades the stage musical had ever known.

Just when it seemed that the three way conflict was resolved, yet another type of musical came from across the Atlantic -- one that would dominate Broadway through the end of the century.

Rock Musicals: "Could We Start Again Please?"
In the wake of Hair, Clive Barnes (then the powerful chief critic for the New York Times) proclaimed that rock music was the one hope for the Broadway musical. Since rock dominated the popular music scene, this was not an unreasonable position. Intelligent rock musicals with solid production values did well –

– The Me Nobody Knows (1970 - 794) was a revue-like collage of songs based on poems by inner city children. Performed by a youthful cast, it became a celebration of the human spirit triumphing over squalid circumstances. A rave review in the NY Times sparked audience interest, and word of mouth did the rest. After seven months Off-Broadway, the production moved to the Helen Hayes and ran for twenty more.

– Broadway's first full-fledged rock opera came from two British newcomers, composer Andrew Lloyd Webber and librettist Tim Rice. Jesus Christ Superstar (1971 - 720) began life as a best-selling British studio recording. The intriguing premise was to examine the role popular fame played in Christ's fate.  At times fresh and impertinent, and ponderous at others, JCS was a world away from the rock musicals of the late 1960s. With all dialogue set to music, this work qualified as the first rock opera. Broadway audiences didn't much mind the clumsy staging, but a more effective London production ran for a record-setting 3,358 performances. With this hit, Webber and Rice initiated a new creative era for West End musical theatre. Before the decade was out, this team and their new form would be back.

– American critics were far kinder to composer-lyricist Stephen Schwartz's take on the same subject, Godspell (1971 - 2,651), which started off-Broadway on a meager budget and became a phenomenal success. The upbeat score included "Day By Day," "Turn Back, O Man" and "Prepare Ye the Way of the Lord." Unpretentious and charming, it remains a staple in schools and community theatres.

Long-Running Rockers
This Shakespeare Festival brochure offers a grand full stage view of Two Gentlemen of Verona.

The Tony Awards snubbed Hair in 1969, but the growing presence of rock on Broadway soon proved impossible to ignore.

- Two Gentlemen of Verona (1971 - 627), a multi-racial rock version of Shakespeare's classic comedy had a score by Hair's composer Galt MacDermot. Playwright John Guare solid book and lyrics veered between Shakespearean poetry and pop verse. The production took a playful approach to multi-ethnic casting, with delightful results. Like Hair, it was nurtured by Joseph Papp's NY Shakespeare Festival. After a limited open-air run in Central Park, the show moved to Broadway and received the Best Musical Tony for 1972. Despite its initial popularity, this show is rarely staged today.

The original Playbill for Grease, which opened on Manhattan's Lower East Side at the Eden Theatre before audience demand led to a record-setting run on Broadway.

- Grease (1972 - 3,388) won America's heart with a 1950s rock n' roll pastiche score and a hokey story about white trash high school kids finding friendship ("rama lama lama") and romance ("ka dingy dee ding dong!") during their senior year. It had enough low comedy and general goodwill to entertain almost anyone. After opening to good reviews at the Eden Theatre on Manhattan's Lower East Side, the show soon moved to Broadway, becoming the most commercially successful 1970s rock musical. Thanks to a low operating budget, Grease set a new record as Broadway's longest running musical – a distinction it would hold until A Chorus Line surpassed it in the 1980s. It was the only successful theatrical project by co-creators Jim Jacobs and Warren Casey. As the years went by, the New York production interpolated obscenities to amuse teenage theatre-goers, but these changes were never added to the approved script. The 1978 big screen version became the highest-grossing musical in Hollywood history, and a 1994 Broadway revival supervised by Tommy Tune ran for 1,503 performances. An ongoing favorite with community theatres and school groups, Grease remains one of the most popular musicals of all time.

- The Wiz (1975 - 1,672), an all-black retelling of The Wizard of Oz, had a score brimming with rock and soul. But the music was overshadowed by Geoffrey Holder's flamboyant production, which turned an okay show into a Tony winner for Best Musical. As Dorothy, Stephanie Mills won raves with her rendition of "Home." The Wiz was the last 1970s hit that could be called a rock musical. The over-produced movie version starring Diana Ross was a financial failure, and a 1984 revival lasted less than two weeks.

The Beat Fades
In time, Broadway producers and audiences turned against rock. This was partly because of their personal musical tastes, but mainly because too many rock musicals were amateurish embarrassments. Few rock composers had a clue as to how to write a coherent musical, or how to give a raw idea professional polish. Composer Galt MacDermot had succeeded with Hair and Two Gentlemen of Verona, but his shortcomings as a craftsman became apparent when he penned two expensive disasters that opened within weeks of each other –

– Dude (1972 - 16) was a muddled story of God and Satan battling over a man's soul. The Broadway Theatre was converted into an arena-style performance space, but this expensive gesture could not make up for Dude's amateurish book and score. Despite having most of Hair's creative team on hand, the confusing show closed in two weeks, losing over a million dollars.

– Via Galactica (1972 - 8) offered a futuristic story of social outcasts living on an asteroid. It was so incoherent that even a plot synopsis inserted in the program could not clarify what was happening on stage. Via Galactica was one of the first Broadway flops to lose more than a million dollars.

– The Lieutenant (1975 - 9) was a rock opera inspired by the 1968 massacre of Vietnamese citizens in My Lai. Some critics raved for this passionate work, but few Americans wanted a musical reminder of a long, demoralizing war. It would be another sixteen years before a musical set in Vietnam would succeed on Broadway.

Rockabye Hamlet (1976 - 7) was the most embarrassing nail in the rock musical's coffin. It was based on Shakespeare's classic drama about a fictional Danish prince avenging his royal father's death. Director Gower Champion staged the show like an all-out rock concert, and the result was such an incoherent mess that many found it hard to believe that Champion could have been responsible for it. The score included "He Got It in The Ear," and disgruntled audiences laughed when the despairing Ophelia strangled herself with a microphone cord. Bad rock and bad theatre, it closed in just one week. It was not until the late 1970s that rock and other pop idioms would again reach Broadway in an effective theatrical format.

Next: 1970s II - Concept Musicals