Episode 8 of the Filmed Live Musicals podcast is out today! Available wherever you listen to podcasts or online here.
In this week's episode, I chat with actor and Broadway expert Kimberly Faye Greenberg all about her one woman show Fabulous Fanny: The Songs & Stories of Fanny Brice, Barbra Streisand, the technicalities of streaming a show online, creating online “events”, and more! The Associated Press declared Kimberly Faye Greenberg a "Warm, Sassy Diva!”, while she played leading roles in two off-Broadway musicals at the same time: Danny and Sylvia, The Danny Kaye Musical (as Sylvia Fine) and the solo show One Night with Fanny Brice (receiving a Patrick Lee IBTA Best Solo Performance Award nomination amongst fellow nominees, John Leguizamo, Michael Shannon and Michael Birbiglia). Kimberly's own solo show, Fabulous Fanny: The Songs and Stories of Fanny Brice, has been touring for the past 8 years with the Huffington Post stating the show brings "Fanny Brice to Fabulous Life"! Fabulous Fanny: The Songs and Stories of Fanny Brice is now available to stream on Stellar. For tickets and to learn more, visit http://www.kimberlyfayegreenberg.com. You can find Kimberly on Instagram at @kfgreenberg. Take a listen for some fun insights, and if you like what you hear, please rate and review!
Did you know you can access transcripts of each episode?
Visit Buzzsprout and click on the episode title! Past episodes include Brenda Braxton, Scenesaver with Caroline Friedman, Disney Cruise Line's Tangled with David Colston Corris, Westcoast Black Theatre Troupe with Julie Leach and more! Available wherever you listen to podcasts!
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Looking for some more historical musicals? Here are 20 filmed live musicals, most of which are available to view online or on DVD, that are based on true events and real people. Listed in approximate historical time period order.
Jesus Christ Superstar Perhaps a bit contentious to some to call this “history” (my husband Aaron calls this one “interpretive dance history”), but it’s certainly historically driven and a story about one of the most famous people in history. There are currently two filmed live productions of JCS in the database — the 2012 arena tour starring Tim Minchin (Judas), Melanie C (Mary), and Ben Forster (Jesus), and NBC’s 2018 live for TV version (one of the best TV Live! musical events of recent times) that featured a starry, and multiracial, cast including John Legend (Jesus), Sara Bareilles (Mary), Alice Cooper (King Herod), Norm Lewis (Caiaphas), and Brandon Victor Dixon (Judas). The arena tour is widely available online, and the NBC production is available on DVD. Your Arms Too Short to Box with God Written by Vinnette Carroll (the first female African American director on Broadway), with music by Alex Bradford and Micki Grant, this musical tells the story of Jesus as told through the Book of Matthew. The musical was performed on Broadway three times between 1976 and 1982. It was most recently performed by Florida’s Westcoast Black Theatre Troupe, where it was filmed live during a run that was cut short by the COVID-19 shutdown. The recording was released online for a limited time, but is not currently available to view. Wasted Produced in 2018 by Southwark Playhouse, this original “documentary rock musical” tells the stories of Brontë siblings, Anne, Emily, Charlotte, and Bramwell. An excellent archival recording of Wasted was released online for free as a result of the pandemic, and is available to view via Southwark Playhouse. Les Miserables Based on Victor Hugo’s historical novel of the same name, Les Miserables is not set during the French Revolution, but is based on the uprisings that took place a few decades later (as brilliantly described by Forbidden Broadway). Although the stories and characters in Les Mis are fiction, they are drawn from Hugo’s close observations of Paris life. The musical has been filmed live three times, the 10th anniversary concert, 25th anniversary concert, and, most recently, last year’s West End staged concert. All three versions are available on DVD, and the 25th anniversary and staged concert are available online.
Pacific Overtures
Sondheim’s 1976 concept musical is set around Commodore Perry’s first visit to Japan in 1853. The musical was filmed live for Japanese television during its original Broadway run. The film has not been officially released since its initial television airing. The King and I Rodgers and Hammerstein’s sumptuous musical is based on the true story of Anna Leonowens, a Western woman who was invited by the King of Siam to Bangkok to tutor the King’s children. The 2015 Lincoln Center revival directed by Bartlett Sher, and starring Kelli O’Hara, Ken Watanabe, and Ruthie Ann Miles, was filmed during its West End transfer at the London Palladium, and is available to watch on BroadwayHD. Newsies Newsies is loosely based on the real-life events of the newsboy strikes of 1899 in New York City. The 1992 movie musical directed by Kenny Ortega and starring Christian Bale was a cult classic, and in 2011 Disney adapted the title into a stage musical. Although originally not intended to be a Broadway musical, the show also became an audience favorite, playing just over 1000 shows on Broadway before embarking on a national tour. The tour was filmed live in Los Angeles, and is now available to view on Disney+. Ragtime Based on E.L. Doctorow’s historical fiction novel, Lynn Ahrens and Stephen Flaherty’s epic musical is about the United States coming into its own, told through the stories of three different families in New York at the beginning of the twentieth century. The International Festival of Musical Theatre production was filmed by the BBC in 2002, but is unfortunately not available to view. Ernest Shackleton Loves Me This multimedia musical that tells the story of Brooklyn-based avante-garde composer/artist/mom who finds inspiration in the early 20th century explorer, leader, and hero Ernest Shackleton. Filmed live during its off-Broadway run at Second Stage and is available on BroadwayHD. Funny Girl Another biographical musical, Funny Girl is a slightly-fictionalized account of real-life vaudeville star Fanny Brice. With music by Jule Styne, lyrics by Bob Merrill, and book by Isobel Lennart. Barbara Streisand created the lead role on Broadway, and starred in the 1968 film adaptation. The acclaimed Menier Chocolate Factory production starring Sheridan Smith was filmed live during its run at the Manchester Palace Theatre in 2017 and is available on Digital Theatre and BroadwayHD. Golden Bricks and Ruby Shoes Still in development, this original song cycle by British writers Gillian Pencavel and Patrick Moore, was inspired by a news report about the FBI assisting in the recovery a pair of stolen ruby slippers made famous for their appearance in The Wizard of Oz. The song cycle was performed at a scratch night at Belfast’s Accidental Theatre and streamed live. Allegiance Actor George Takei was reportedly moved to tell his own story after watching Lin-Manuel Miranda’s first Tony Award winning musical (and Broadway debut), In the Heights. As a child, Takei and his family were among the 120,000 Japanese-American citizens incarcerated in camps on American soil during World War II. Although Allegiance is told through fictionalized characters, the events and stories are inspired by true events. Allegiance was briefly available to stream on Broadway on Demand in June this year, and is also available on a collector’s edition DVD. V for Victory Still in development, V for Victory explores the lives of a group of friends in the resistance against the German occupation of Jersey during World War II. The plot and characters are an amalgam of true stories and events which writer Dries Janssens wanted to share after learning of Jersey’s little-known part in the war. V for Victory was performed at the Stockwell Playhouse in 2018, and is currently available to view on YouTube. The Rat Pack: Live from Las Vegas This British musical recreates a performance featuring Frank Sinatra, Dean Martin, and Sammy Davis Jr, at the Sands Hotel in Las Vegas in the early 1960s. The Rat Pack was filmed live during its West End run and is available on DVD (region 1 & 2). Fun Home Based on cartoonist Alison Bechdel’s best-selling graphic novel/autobiography of the same, Fun Home is a re-telling of Alison’s grappling of her own self-realization as a lesbian in relation to her father’s not-so-secret, though unspoken, homosexuality. With a book by Lisa Kron and music by Jeanine Tesori, the Broadway production was the first to win a Tony Award for Best Original Score with an all-female writing team. Victory Gardens Theater in Chicago released an archival recording of their 2017 production during the COVID-19 shutdown for a limited time. Taboo Set during the New Romantic period in 1980s England, Taboo interweaves autobiographical elements from the lives of Australian artist Leigh Bowery, and music sensation Boy George. The original London production was filmed live in 2003 and is available on region 2 DVD. Fela! Fela! was based on the biography Fela: This Bitch of a Life! by Carlos Moore. Fela Kuti was an influential Nigerian musician who created Afrobeat, politically and socially driven music that blended African harmonies and rhythms with jazz and funk. Sahr Ngaujah originated the title role on Broadway, and reprised his role for the London transfer at the National Theatre. Fela! was filmed live and broadcast in cinemas as part of NT: Live in 2011. It is not currently available to view. Keating! the Musical This satirical Australian musical follows the political rise and fall of “the Placido Domingo of Australian politics,” of Paul Keating, who was Prime Minister of Australia from 1991 to 1996. Filmed live at the Seymour Centre in Sydney, the musical is available on DVD. Everybody’s Talking About Jamie Inspired by the BBC documentary Jamie: Drag Queen at 16, Everybody’s Talking About Jamie tells the story of a gay teenager who lives in a Yorkshire council estate and dreams of becoming a drag queen. The musical was filmed live on the West End and broadcast in cinemas. It is not currently available to watch. Passion Project in Concert Composed by performer and songwriter Angela Sclafani, Passion Project is a song cycle about twelve unsung women from history who sing to their great loves, the object of their careers. The women represented include an aviator singing to her airplane, an acrobat to her tightrope, and an astronomer to her comet. Filmed live at NYC’s Green Room 42, Passion Project is available to view on Facebook. In case you somehow missed it, one of the most vaunted musicals in history, Hamilton was released on Disney+ on July 3rd. While Hamilton is not the first Broadway musical to be streamed online, its prominence and undeniable success may finally be shifting some very deep seated views that filmed live theatre can’t adequately capture the live experience, and that filmed live theatre should exist at all. In an unprecedented move, it was announced earlier in the month the yet-to-officially-open Broadway musical Diana, would be filmed (without an audience) and broadcast on Netflix.
Many people know by now that Disney acquired the distribution rights for the filmed live production of Hamilton for approximately $75million (the final figure was adjusted due to the pandemic and the decision to release it online rather in cinemas). Much like Hamilton and Burr, you gotta be in the room where it happens to get the figures on how much Hamilton is bringing Disney financially, but it seems to bode well. As reported in Variety, early data suggests the musical had a significantly larger audience than any other single program across Netflix, Prime Video, Hulu, Apple TV+, and Disney+ in July. Much like Hamilton and Burr, you gotta be in the room where it happens to get the actual figures on how much Hamilton is bringing Disney financially. At the end of June, just prior to the release of Hamilton, Disney+ reported it had 54.5 million subscribers (for comparison, Netflix currently has about 190 million subscribers worldwide). According to Variety, in comparison to the four weeks prior, the weekend of Hamilton’s digital release saw a 74% increase in Disney+ app downloads within the United States, and 46% worldwide. At the beginning the August, Disney+ reported it had 60.5 million subscribers. These numbers do not include subscribers who purchased subscriptions through packages or where Disney+ is included in existing apps. Going forward, there are still many questions for producers for consider: when to release filmed live productions, who gets access (due to copyright or union agreements, films may not be able to be released worldwide), if viewers should pay to access streams and for how much, how to fairly compensate cast/crew/creatives, and what platforms to use. With all that in mind, here’s a look at existing models for distributing filmed live musicals online: Free Online video platforms like YouTube and Vimeo have made it easier than ever to just upload existing footage. During the pandemic big names like Andrew Lloyd Webber and the National Theatre have released content for free online. Companies such as Southwark Playhouse, Chichester Festival Theatre, Wise Children, and Wales Millennium Centre, and independent artists like Dave Malloy and Angela Sclafani, have also made filmed live musicals freely available. The quality of free recordings varies greatly. From productions staged in black box theatres filmed with a camera on a tripod located behind the audience like Beardo, to slick captures like the arena production of Jesus Christ Superstar. Sometimes recordings were made for archival purposes, like Only the Brave and Wasted. Archival recordings vary in quality, but thanks to digital cameras, recent captures make for decent viewing. The length of time free streams are available can vary. Some are placed online indefinitely, such as The Room and Passion Project. Others, like titles from the National Theatre at Home, The Shows Must Go On, or Wise Children, have a limited window ranging from 48 hours to several weeks. Unless the producers/creatives uploading material for free are covering the cost of paying artists for use of their work on screen, cast, crew, and creatives are less likely receive any income from free streams. The exception to this is new platform SceneSaver, which encourages viewers to donate the cost of an average ticket, and shares 95% of donations directly with artists (for more info, take a listen to episode 2 of the Filmed Live Musicals podcast for an interview with SceneSaver founder Caroline Friedman). Especially during the pandemic, viewers are often encouraged to make a donation to the theatre company, or to a selected charity or organization. Paid There are several kinds of paid options: one-off payments, subscriptions, and passes. One-off payment Viewers make a one-time payment or purchase a “ticket” to gain access to the stream. The stream is often played at a scheduled time, and then is available on demand for a limited time. These films usually have a set period of availability, and are sometimes are also limited to a specific number of streams. Occasionally, as in the case of 21 Chump Street: The Musical, the payment provides indefinite access. Companies using this model include Westcoast Black Theatre Troupe, Broadway on Demand, and Streaming Musicals. Like free streams, the quality of content can vary. Particularly during the pandemic, when companies and artists are desperate for cashflow, archival footage not intended for mass consumption has been distributed. The pricing for one-off payments ranges, though is usually between $10 - $30 USD. Although it is not common, instead of a set price, viewers are sometimes given the option to make a donation, or pay-as-you-like. Subscriptions Following the Netflix model, subscriptions provide access to a catalog of shows. In the subscription model, like Netflix, titles are usually available for longer periods of time, and can appear and disappear. Most subscriptions run for a year, though some also provide month-to-month payments at a slightly higher rate. BroadwayHD, Stage, PBS, and Disney+ all currently use the subscription model. Passes Passes work in a similar way to a subscription, but often for a limited time. Prima, a theater in Lancaster, Pennsylvania, have created passes as varying price points for viewers to gain access to online content. As have SheNYC Arts, a female led organization running online festivals based in New York, Los Angeles, and Atlanta over the summer. Combinations Some companies use a combination of models. Broadway on Demand offers some content for free, some content for a one-off fee, and also plans to offer a subscription in the future. Streaming Musicals hosts free premiere nights, and titles are available to rent or buy through one-off payments. Digital Theatre offers an all-access yearly subscription, or the option to rent individual titles. While BroadwayHD offers monthly and yearly subscription models, throughout the pandemic they have been hosting free watch parties in partnership with Playbill, Roundabout, and the Rodgers and Hammerstein Organization. As live theatre online becomes more and more mainstream, and as we learn more about the number of views and profits from ticket sales, it will be interesting to see which models are adopted. With the pandemic came a plethora of filmed live theatre content being released online. Many in the industry were genuinely surprised that audiences wanted to watch theatre on screen, and even pay for it! As discussed with Caroline Friedman - CEO of the new theatre streaming service Scenesaver - in this month’s podcast, we have been recording live theatre since the invention of the moving picture.
Despite the fact that the first live broadcast of a musical took place in 1939, and even with the release of Hamilton last month, the theatre industry as a whole is still not savvy to the history, magic, and importance of filmed live theatre. In a recent interview for The TheaterMakers Studio, CEO and Editor-in-Chief of BroadwayWorld, claimed that “very little” has happened in the world of filmed live theatre despite decades of discussions. The nearly 200 musicals in the Filmed Live Musicals database heartily disagree! And that doesn’t even include the hundreds, possibly thousands, of operas, plays, ballets, and classical concerts that have been captured and enjoyed by literally millions of people around the world! After the release of Hamilton, Jon Kamen, CEO of RadicalMedia, reportedly claimed that with the filming of RENT: Live on Broadway in 2008, RadicalMedia had "developed the nomenclature and a whole style of filming it in a very cinematic fashion.” Again, the producers of Pacific Overtures (filmed live in 1976), Into the Woods (filmed in 1991), and the cinematographers for the Met Live in HD, founded in 2006, all might have something to say about that. We still have to answer questions of when to release films, and how to fairly pay the cast, crew, and creatives, but these should not be obstacles to documenting theatre. Filming live theatre provides access to theatre for people who may not be able to see a production due to geography, cost, or disability. It is an incredible educational tool, not just for students, but for historians, industry folks, and the wider public. Digital technology has made captures easier, more dynamic, and more watchable than ever. All of this is why I started Filmed Live Musicals. As a place to catalog the musicals that have been legally captured for the screen and publicly distributed, to provide a space for people to find that content, and to show the historic value of filmed live musicals. Ultimately, it is a way to capture ephemeral moments in time so that we may enjoy them, learn from them, and remember the musicals, even when the bodies inside the now-disintegrated costumes have turned to dust. Filmed Live Musicals now has a podcast! We will talk about the world of filmed live musicals, interview creatives, actors, producers and industry folks, look at the research being carried out on filmed theatre, dive into some history, and, of course, talk about the musicals themselves! In our first episode, host Luisa Lyons and guest host Al Monaco take a look at firsts in filmed live musicals. In episode two, out on August 3, Luisa chats with the founder of Scenesaver, Caroline Friedman. Scenesaver is a new platform making performances from the world's off-Broadway, off West End, small theatres, and emerging artists available to everyone online. It's free to register and watch with over 150 shows of all genres from around the world available now! Subscribe on your preferred podcast app and join us for the Filmed Live Musicals podcast! "And when our children tell our story..."
Today is Memorial Day, a day where we remember and honor the people who died while serving in the United States Armed Forces. I don’t personally have loved ones who served for the United States, but my grandparents were liberated from Japanese occupation in the Philippines by American troops. I think it is poignant that seventy years later, a Filipino actor, Lea Salonga, would depict a Japanese-American civilian interned on American soil in the Broadway musical Allegiance. Loosely based on actor George Takei’s experiences, Allegiance depicts the terrible treatment of Japanese-American citizens in the US, and the Japanese-American soldiers who fought for the US, during World War II. The musical opened on Broadway in 2015, and was later screened in cinemas around the US. It is now available on (a rather expensive) DVD, and from May 29 will stream for a limited time on Broadway on Demand. Similarly set during the Second World War, Bandstand tells the story of Donny Novitsk, a musician who has returned from the war traumatized, but with the desire to re-build his life following the death of his best friend. Opening on Broadway in 2017, the musical was the first theatrical production to be certified by Got Your 6, a veteran’s advocacy organization whose work includes promoting the authentic portrayal of the military in entertainment. Bandstand was filmed live during its run and broadcast in cinemas across North America. To commemorate Memorial Day, the musical is available to stream for a small fee ($6.99 US) on Broadway on Demand from May 25th at 7.30pm, until June 2. Also set on American soil, though two centuries earlier, the worldwide mega-hit and possibly the most-anticipated filmed live musical ever to be released, Hamilton, tells the story of Founding Father Alexander Hamilton, and covers battles in the Revolutionary War. Hamilton, filmed live on Broadway in 2016, will be released on Disney+ on July 3. Returning to World War II, and moving to the southern hemisphere, Rodgers and Hammerstein’s 1949 musical South Pacific, was the first Broadway musical to explore stories of race and war. White characters Nellie Forbush, a nurse from Little Rock, Arkansas, and Lt Cable from Princeton, New Jersey, learn to overcome racial prejudice when they fall in love whilst stationed in Polynesia. The 2005 Carnegie Hall benefit production starring Reba McEntire, Brian Stokes Mitchell, and Alec Baldwin is available on DVD. The 2008 Lincoln Center revival directed by Bartlett Sher, and starring Kelli O’Hara and Paulo Szot, was broadcast on American television on Live from Lincoln Center. It is not currently officially available to view. Staying in the Asia-Pacific region, but moving to a later conflict, Miss Saigon tells of the ill-fated love between a young Vietnamese woman, Kim, and an American G.I., Chris. An adaptation of Puccini’s Madame Butterfly, Miss Saigon first opened in London in 1989 (starring the aforementioned Lea Salonga), and ran for ten years, becoming a worldwide sensation. To celebrate the musical’s 25th anniversary, producer Cameron Mackintosh revived Miss Saigon in the West End in 2014. The production was filmed and broadcast in cinemas, and is now available on Amazon (UK) and BroadwayHD. Again returning to World War II, but this time in Europe, An American in Paris tells the story of a young American soldier who falls in love in Paris at the end of the war. Based on a film, which was based on George Gershwin’s “tone poem,” the stage production premiered in Paris at the Théâtre du Châtelet in 2014, before transferring to Broadway in 2015 and the West End in 2017. The London production was filmed live and broadcast in cinemas around the world, and is now available on BroadwayHD. The lesser-known musical YANK! also tells the story of soldiers falling in love, depicting the gay world that “thrived just beneath the surface of the US Army in the 1940s.” The musical was a hit of the NY Musical Theatre Festival in 2005, and had a successful off-Broadway run in 2010. Below 54th hosted a 10th anniversary concert earlier this year, and the video is currently available on YouTube. Apart from war, one of the recurring themes across all of these musicals is love. We honor and remember with love, and that is the story that will continue to be told. The following interview was originally published in the July edition of the Filmed Live Musicals Patron newsletter. When you become a patron, you will be supporting the running of this site, and original research into the ever growing field of filmed live musicals. Previous newsletters include content on upcoming screenings, new movie technology, and 360º captures. Star Patrons also gain access to filmed live musical reviews. To gain access to Patreon-only content, become a Patron today! British actor and writer Carrie Sutton has performed in many West End musicals including Sister Act: The Musical, Chitty Chitty Bang Bang, Little Women, Cabaret, Imagine This, and Kiss Me, Kate. She also worked as a dresser on the recent West End musical The Wind in the Willows. You can catch Carrie performing as Laurey in Oklahoma! later this month at the Gordon Craig Theatre in Stevenage. Imagine This, Kiss Me, Kate, and The Wind in the Willows were all filmed live. I recently chatted with Carrie about her experiences working on these filmed live musicals. What difference is there between acting for camera and acting on stage? How does that translate when you’re filming a live stage show? You’re still giving a theatrical performance, but there is an awareness of the camera. It’s a different scale. I aimed for the middle of the audience rather than the back, and in close-up moments, I tried to be still. The audience is recorded too, and that energy translates on camera. For “Kiss Me, Kate” and “The Wind in the Willows,” we did pick-ups after the performance. For example, a mic went down during the show, so afterwards we re-recorded some scenes out of sequence. You knew Kiss Me, Kate was going to be filmed from the outset. Did you rehearse for the stage or for the camera? We rehearsed it as a piece of theatre, and it was filmed as a piece of theatre. In fact, John Wilson [the conductor], told us to “chip your teeth on the words” because Royal Albert Hall is so big. You really have to work hard to make yourself understood in that space. So we definitely worked for the live performance of it. We had rehearsals at the Town Hall in Belsize Park, and then the camera guys would come in and see the work. They would check angles and close-ups, and compare it to marked-up scripts. There is a lot of back and forth between the director, the DP [director pf photography], and the choreographer. It’s very much a group effort. "Kiss Me, Kate" aired during prime time on Christmas Day. That was so exciting for me. A real bucket list item. Stage musicals are sometimes altered when the cameras come in. What aspects of Imagine This were changed for the filming? Some slight blocking changes were made to accommodate the cameras, but from the actors’ perspective very little was changed. What was it like working as a dresser on “Wind in the Willows”? It was filmed over three days. We had a dress rehearsal for close-ups, and where they got pick-up footage for when things go wrong in live filming, like a child screaming in the audience, or costume failure. The costumes had to be immaculate — it has to be perfect for film. What passes on a regular show won’t pass on a recording. Socks have to be level, ties have to be straight. There is extra attention to detail on quick changes because all the clothes use velcro, ties are stuck on with velcro, shirts do up with velcro, it has to be exact or it doesn’t look right. How do contract negotiations work for filmed live musicals? All the negotiations are done through the producer. For “Imagine This” we were given a fee for filming, or perhaps we waived it, and were bought out for the broadcasts. “Kiss Me, Kate” was all done prior and we just signed a standard BBC contract. If you had a step out, you received extra. You get reimbursed for royalties. It’s all worked out with the cast and crew and everyone is allocated points based on how much you work during the rehearsals and during the show. Like in “The Wizard of Oz,” we ended up distributing points based on word count. The female ensemble had a lot more to do in that show, so we were given more points. EPKs [Electronic Press Kit] are included in new contracts. We spend around a day in the theatre shooting scenes for promotional copy. The scenes are different from what’s in the show, we learn new blocking that works better for the camera, like a dance will be more spaced out, or the angles will be slightly different. “The Wizard of Oz” were on Children in Need. We did a montage specifically for that show. It was covered in the EPK as “reasonable promotion.” What do you think of filmed live musicals or filmed live theatre in general? It’s both theatre and film. It’s a record. It is important to have records of shows. People who would otherwise never be recorded are able to have a record of their work, especially ensemble members. It creates revenue for the production. It brings art back to the people. It makes the West End accessible to people who are far away. Do you have a favorite filmed live theatre event? The entire Kenneth Branagh season. I saw it filmed live, and I watched the films. I loved the Royal Ballet’s “Alice in Wonderland.” I felt really involved in the production, even though I was watching it in the cinema. Also the RSC’s “Henry” plays. Why are filmed live musicals important? The “Imagine This” DVD potentially gives that show a future life. It honors the work of the all the people that create the show, all the creatives, and the cast. The level of work that went into the show is incredible. Everything was handmade for the production, and every moment of work is captured. It was just a flash in the pan, but all the work, and commitment, and artistry, it isn’t lost. Learn more about Carrie at www.carriesutton.com and http://www.londonvoiceover.com/carrie-sutton/. This site is financially supported by the generosity of patrons
Mercedes Esteban-Lyons, Jesse Rabinowitz and Brenda Goodman, and David and Katherine Rabinowitz. Become a patron today and support original research into filmed live musicals. Critical reviews carry a lot of weight, despite being the opinion of just one person, who is usually white and male. Positive reviews can generate hype and ensure a show’s success, while negative reviews can quickly close shows. In addition to providing contemporary audiences with (hopefully) educated opinions, reviews also serve as a public historical record of the theatre. When it comes to filmed live musicals, the critical analysis and historical record is rather thin. At the end of the day, very few filmed live musicals are being critically reviewed. Is it that theatre critics don’t review films? Or that film critics don’t review theatre? Perhaps it is a lack of critics who understand both theatre and film, and more importantly, the hybrid that is formed when the two come together in a filmed live theatrical event. Or perhaps it is simply the fact that filmed live musicals are not taken seriously as an art form. Filmed live musicals on television are sometimes reviewed for inclusion in “What’s On” guides. Prime time specials like Jesus Christ Superstar Live also draw a lot of attention, but these are the exception rather than the rule. Filmed live musicals that are consistently reviewed are those that are released on Blu-ray. The official Blu-ray site, www.blu-ray.com provides outstanding reviews of filmed live musicals that analyze the content of the film, as well as technical aspects, such as image and sound quality, of the Blu-Ray. There are currently only 7 filmed live musicals in the database that have been released on Blu-ray. A rather dismal number for the review situation. Social media, particularly Twitter, is useful for anecdotal reviews. It can provide an insight into fan-base reactions to filmed live content, but these “reviews” may not be widely read. The ever increasing frequency of filmed live musical events, encore screenings, and the prevalence of bootlegs, show audiences want filmed live musical content. Official critical responses will help increase the legitimacy of filmed live musicals, and give them their rightful place in the history of theatre. This site is financially supported by the generosity of patrons
Mercedes Esteban-Lyons, Jesse Rabinowitz and Brenda Goodman, and David and Katherine Rabinowitz. Become a patron and gain access to bonus content! With the introduction of sound on film, cinema underwent an identity crisis. What to call these new fan-dangled talking pictures? In 1928, film trade newspaper Exhibitors Herald and Moving Picture World led a campaign to try and come up with a new name. Common labels included “talkies,” “soundies,” “lispies,” “synchronized pictures,” and “audible pictures.” Suggestions ranged from “audien,” “cinelog,” and “dramaphone,” to “pictovox,” “viewvoice,” and, my personal favorite, “vivavox.” For the purposes of this site, I define a filmed live musical as a stage musical that has been legally captured and distributed to the public. The deeper question I would like to look at today is, what is the final product that is distributed? Is it theatre? Is it cinema? Filmed live musicals are distributed and advertised under different names, including “filmed live theatre,” “live cinema,” “transmission,” “HD transmission,” “cine-cast,” and “live capture.” Makers and distributors of filmed live theatre, including The National Theatre and Digital Theatre, describe filmed live theatre as a hybrid of theatre and cinema. “Filmed live” can be a confusing label. How do we distinguish between a musical that is broadcast live, and an encore screening of that live broadcast? Is it still “live” if the screening takes place months, or even years, after the actual event? I would love to find a new name for filmed live theatre that reflects this hybridity. Several studies show that audiences see attending filmed theatre at the cinema as an equally authentic way to experience live performance as going to the theatre. Recent studies also suggest that audiences have more emotional responses to filmed live theatre than they do in the actual theatre. As evidenced by the success of National Theatre Live, Met Opera Live, the growth of theatre streaming services like Digital Theatre, and BroadwayHD, and the persistence of bootlegs, audiences are craving filmed live theatre content. We need to clearly define filmed live theatre, and label it, to make it accessible and searchable. For now, “filmed live musicals” is the term I’m going with (hence the name of the site!), but I think it would be fun to come up with other terms that help filmed live musicals reach new audiences. What do you think? Share your suggestions on the Facebook page or on Twitter! Filmed Live Musicals is financially supported by the generosity of patrons
Mercedes Esteban-Lyons, Jesse Rabinowitz, and David and Katherine Rabinowitz. Become a patron today and support original research into filmed live musicals.
When you consider the hundreds of musicals that have been nominated over the course of the Tony Awards’ 72 year history, it is easy to see that very few Tony Award nominated and winning musicals have been legally filmed live for public consumption.
Broadway is an immensely influentially and highly coveted corner of the musical theatre world. Despite this, Broadway is inaccessible to millions of people around the world due to cost and, importantly, geography. This year’s Tony Awards broadcast worked to include some of those Broadway lovers around the world with the initiative #TonyDreaming. On Twitter, I wrote that filmed live musicals are an amazing way to help fuel the dreams of aspiring thespians.
What better way to reach out to millions of theatre lovers, aspiring actors, technicians, writers, and directors than by making legally filmed high quality captures of Broadway shows available to those people? Yes, the New York Public Library Theatre on Film and Tape Archive exists, but it is only available to people who live in New York, and each capture is only available to view once.
We have come to expect cast recordings as normal for Broadway shows, I dream of the day when filmed live recordings are also a standard occurrence. As I looked at in a previous post, filmed live releases of Broadway shows do not negatively affect ticket sales. It doesn’t mean a filmed live recording needs to be released on opening night, or that every single musical should be recorded, but there is a hunger for Broadway, and we need a better solution to combat bootlegs. Of the 25 filmed live Broadway shows currently in the database, 20 are available to view, either in the cinema, on DVD, or online. As shown below, you can use the database to search for musicals and learn more about where to watch them. The great thing about filmed live musicals is that they are not limited to Broadway. Several Broadway productions have been filmed whilst on tour, such as the original production of Sweeney Todd or more recently, Disney’s stage version of Newsies. The database has plenty of musicals such as An American in Paris, Billy Elliot, and The Phantom of the Opera which have played on Broadway, but have been staged elsewhere and filmed live for public consumption. From this year’s Tony batch, I’m keeping my fingers crossed that Live from Lincoln Center will film the gorgeous revival of My Fair Lady, and the capture of Once on This Island’s Tony Awards performance demonstrates that theatre in the round is ready to be filmed live. With Daddy Long Legs producer Ken Davenport at the helm, perhaps we will have another Tony Award winning revival to view on screen. Given that all the nominations for Best Musical were all based on movies, we can hope that filmed live musical versions of those musicals will also be possibilities. Congratulations to all of this year’s nominees and winners, and let’s hope we will see more of them filmed live and available on a screen near us soon! |
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