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A Chorus Line: Concept Musical Supreme
The original cast Playbill for
A Chorus Line (1975), the most successful 1970s concept musical.
The concept musical reached its peak with A Chorus Line (1975 - 6,137
the brainchild of Michael Bennett. He had Broadway
chorus dancers (known in the business as "gypsies" because they go from show
to show) share memories while a tape recorder ran. Working with these tapes, Bennett
built a libretto with writers Nicholas Dante and James Kirkwood. Concurrently,
composer Marvin Hamlisch and
lyricist Edward Kleban developed a vibrant score. The concept was a
Broadway chorus audition where a director demands that his dancers share their
most private memories and inner demons. Some dismissed this as staged group therapy,
but most found that the result was riveting theatre.
A Chorus Line glorified the individual fulfillment that can
be found in ensemble efforts. When the entire cast sang of being "One" while
dancing and singing in rigid group formation, the effect was dazzling. Veteran chorus dancers
Carol Bishop and Sammy Williams
won Tonys, as did the entire creative team.
A Chorus Line's popularity crossed all lines of age and musical taste,
smashing every other long-run record in Broadway history. Many who came of age during
its run dubbed it the best musical ever. (For more, see our special section
A Chorus Line 101.)
The "New" Shuberts
One little-noted cataclysm of the 1970s occurred when the Shubert
family's former attorneys Gerald Schoenfeld and Bernard Jacobs
took over managerial control of the still-extensive theatrical empire. Veteran producer
Stuart Ostrow later described how the atmosphere on Broadway changed when these two
men "crowned themselves heads of the theater chain"
Their reign has lasted for nearly
thirty years, during which time the amount of new musicals produced for
Broadway has been drastically reduced. Coincidence? I think not. As
landlords, they succeeded in changing the terms of a producer's rental
contract, in demanding a larger share of the proceeds, and in many
cases, in insisting on being co-producer. If you can't join 'em, enjoin
'em. The Shubert Foundation prospered, and the ranks of the independent
- Stuart Ostrow, A Producer's Broadway Journey (Westport, CT:
Praeger, 1999), pp. 105-106.
By the time the Nederlander and Jujamcyn organizations
had established themselves as owners of substantial parts of Broadway's theatrical
real estate, the damage was done. Add to that the increasing demands of
unions demanding and getting higher pay for actors, musicians,
technicians and stage crew, and the costs of doing business on Broadway
eventually quadrupled. Musical productions which had averaged approximately $250,000 in 1970
were costing well over a million dollars by decade's end, and ticket prices
Revivals: "I Want to Be Happy"
The 1971 revival of No, No Nanette
initiated a new craze for nostalgic musical revivals. The Playbill cover
features the effervescent art deco logo created by artist Hillary
In musical theatre, revivals had been commonplace ever since
the repeated success of the The Black Crook in the late 19th Century.
But as an epidemic of nostalgia swept through American culture in the
1970s, theatergoers embraced revivals with unprecedented enthusiasm.
Shows and stars of the past appealed to the growing number of older tourists who felt
alienated by the cultural changes taking place around them -- changes
all too apparent in the increasingly harsh environment of midtown Manhattan.
The surprise hit that set the nostalgia trend rolling on Broadway was
a revival of 1925's No, No, Nanette (1971 - 861 perfs).
Busby Berkeley was credited as
"production supervisor," but the show was revitalized by director Burt
Shevelove and choreographer Donald Saddler, with
Ruby Keeler leading a cast of veteran stage and
screen talent. This was not the original text, but a complete revision that overhauled
the book, removed some songs and interpolated others. "Tea For Two" and
"I Want To Be Happy" were intact, laced with snappy Charlestons and harmonic
ensembles. Theatergoers welcomed this tap-dancing soufflé with an almost delirious sense
of relief. Aside from a healthy Broadway run, the revised Nanette made millions
from national tours, foreign productions and amateur rights.
At a time when fewer new musicals were being written, nostalgia
quickly became big business, and many a neglected star was dusted off to revive an
old vehicle. Most of these productions had relatively brief runs in New York,
then turned handsome profits thanks to extensive, well-attended national tours
- Gower Champion
stepped in to turn an ailing revival of the 1919 hit
Irene (1974 - 605 perfs)
into a solid audience pleaser for MGM veteran
Debbie Reynolds. Her
colleague Jane Powell took over the
role on Broadway, then toured the show for several seasons. Due to
costly revisions, the production did not repay its investment
until the post-NY tour.
- Jule Styne added some
new songs to his 1948 hit Gentlemen Prefer Blondes, re-named it
Lorelei (1974 - 320 perfs) and made it a semi-new vehicle for
original star Carol Channing,
who toured in it for more than two years.
- Gypsy (1974 - 124 perfs) returned in a
powerhouse revival imported from London. It brought
Angela Lansbury her third
Tony for Best Actress in a Musical and proved the show could
succeed without original star Ethel Merman.
Merman was not amused ("The only thing I'd follow her with is
a shovel!"), but audiences were thrilled, keeping Lansbury
touring the road for years.
- A handsome 20th anniversary My Fair Lady (1976 -
384 perfs) featured original Pickering Robert Coote and
veteran character actor George Rose in a
Tony-winning performance as Alfie Doolittle. Original Higgins Rex
Harrison starred in a less successful revival five years later.
- Hello Dolly made two brief but well received
returns starring Pearl Bailey
(1975 - 45 perfs, limited run) and
Carol Channing (1978 - 152 perfs)
both productions cleaned up on extended US tours.
- Zero Mostel
made his final Broadway appearance playing Tevye in a revival of Fiddler
on the Roof (1976 - 168 perfs), receiving a record-setting
salary and playing to packed houses across the country. His
uncontrolled scene-stealing behavior delighted audiences and
infuriated the cast.
Richard Kiley returned in
a handsome revival of Man of La Mancha (1977 - 127 perfs),
winning fresh standing ovations. The score and book still received critical disdain,
but audiences adored "The Impossible Dream" just
as they had a decade earlier.
- Arguably, the most successful revival of the decade was
The King and I (1977 - 807 perfs) starring
Yul Brynner in his Tony and Oscar winning
role. This lavish production recaptured the excitement of the original, with
Brynner more commanding than ever. He spent the next eight years touring the
world with the show, racking up more than 4,600 performances as the
King. By the time Brynner made
a farewell return to Broadway (1985 - 191 perfs),
dull direction and the physical effects of this lifelong smoker's battle
with lung cancer made the old lion rather hoarse. Brynner died
four months after the run ended, and was featured in a chilling
posthumous public service television ad in which he said, "Now
that I'm gone, I tell you: Don’t smoke. Whatever you do, just
Fresh Looks & Fumbles
Other revivals did well by taking an innovative approach
- Hal Prince
restaged Leonard Bernstein's
unsuccessfu1 1956 operetta Candide (1974 - 740 perfs) as a wacky
Off-Broadway farce, underplaying the grander aspects of the score and stressing
physical comedy. This rollicking production delighted the critics, moved to
the Broadway Theater and ran for two profitable years.
- Songs from the long-forgotten Princess Theatre musicals were
re-hashed into a well-received version of
Jerome Kern's 1915 hit
Very Good Eddie
(1975 - 307 perfs). The staging invoked the intimate spirit
of the original, adding spirited new choreography by newcomer
Dan Siretta. After debuting at Connecticut's Goodspeed Opera
House, this charming production enjoyed a Broadway run and became
a favorite with amateur groups.
- An all-black Guys and Dolls (1976 - 241 perfs) ran
for several months despite uneven reviews. The glorious
Frank Loesser score was adapted to
gospel, soul and disco rhythms audiences enjoyed the results, but
the Loesser estate was not amused. Future productions left the
songs in their superb original formats.
Despite these successes, the revival trend was far from foolproof.
Some notable failures:
- Bi-racial casting could not ignite an otherwise unremarkable
revival of The Pajama Game (1973 - 69 perfs).
- Alan Jay Lerner and
Frederick Loewe adapted their 1958
screen classic Gigi (1973 - 110 perfs) for Broadway. Despite the
stellar presence of Alfred Drake,
Maria Karnilova and Agnes Moorhead,
the production suffered from pedestrian direction and lost a fortune.
- A lavish revision of the 1927 college football hit
Good News (1975 - 51 previews, 16 perfs) with
Alice Faye and
Stubby Kaye toured for more
than a year. Sensing trouble, the producers extended Broadway
previews for seven weeks, but a merciless critical barrage forced the
show to close in a matter of days.
- A luscious Houston Grand Opera production of
Porgy and Bess (1976 - 126 perfs) wowed critics but proved a
tough sell with ticket buyers used to lighter fare. Thanks to the high cost of
staging an opera eight times a week, this handsome revival soon closed at a loss.
And what about new book musicals? The form came back with a vengeance
in the late 1970s a time when new forces set the future course of the musical
Next: 1970s IV - New Book