The sound of musicals

People today just can't get enough of musicals. Box-office sales are soaring and those keen to see a show, either on Broadway or London's West End, need to book well in advance.

The result is more jobs for performers, a bevy of happy theatregoers and smiling promoters, who hear the cash register ring louder than ever.

Aiming to reach a wider audience, producers have expanded their horizons to the big screen.

There has been a resurgence in film versions of some of the most popular musicals.

The latest to get a Hollywood treatment is Mama Mia!, the ABBA musical.

Starring Meryl Streep and Pierce Brosnan, it raked in $120 million (Dh441 million) in its first month and put Swedish pop group ABBA's music back on the charts.

Live magic

But though the film versions of Sweeny Todd, Hairspray, Chicago and A Chorus Line have broken box-office records and created magic around the world, what the public really wants is to see a musical live.

David Grindrod, the casting director of the London-based Really Useful Theatre Company, which, at present, is producing about 16 musicals, explained: “It's a complete experience.

Audiences want to feel the excitement of theatre — the lights growing dim, the orchestra striking the first notes and the rising of the curtain.''

And if you're lucky, you can even spot some of the stars at the restaurant after the show.

Sceptics have been predicting the death of musicals for almost a century now.

Since the introduction of cinema — and then the television, the video and the DVD — there have always been those who have prophetically seen the end in sight.

But even with the Blu-ray home-cinema wizardry available, what the audience wants to see is people on the stage — acting, singing and dancing. All the more if the lead actors are famous.

In London, ticket sales for Hairspray exceeded expectations when heart-throb Michael Ball was cast in the lead role.

However, the popularity of musicals can be gauged by the number of shows available.

There were over 25 musicals in London's Theatreland, the West End, and a staggering 30 in New York's Broadway, all filling the theatres night after night.

Risky business

Though the dream of many, producing a musical is a risk. But while singing nuns, green witches and dictators' wives may not seem the usual band of moneymakers, for the producers, they were the route to success, as ticket sales soared by almost 7 per cent recently.

In fact, both Broadway's and London's musical industries are worth over a billion dollars annually and are viewed by 33 million people on each side of the Atlantic.

But of course, it's not just the faces up on stage that make magic, as was proved recently during Broadway's infamous 17-day stagehand strike.

Without these technicians who work behind the scenes, 27 of Broadway's most popular shows, including Wicked, Les Miserables and Jersey Boys, couldn't raise the curtain, leaving thousands each night looking for refunds and walking grumpily around Times Square.

It may take many people to help get a musical on stage — from the time it's conceived to the opening night — but there is only one man responsible for redefining the musical-theatre industry — Sir Andrew Lloyd-Webber.

He has become something of a legend since the time he started out as a young hopeful in the mid 1970s.

Loved the world over, his inspiration came from some of the most unlikely sources, including football, the lives of stray alley cats, the rise and fall of Argentina's First Lady Eva Perón and the Bible.

Phantom fame

In London, his much-loved Joseph and the Amazing Technicolor Dreamcoat is back with heart-throb Lee Mead in the lead role. But Lloyd-Webber's crowning glory is The Phantom of the Opera.

This gothic tale of love, music and seething ambition has been thrilling crowds since it opened in London over 25 years ago.

Laying your hands on a theatre ticket may be difficult but you are spoilt for choice when it comes to theatre locations. Today there are over seven productions on around the world, from London to New York to Sydney or Osaka.

Midas touch

With the composition of 14 musicals to his credit — and most of them hits — it has been said that everything Lloyd-Webber touches turns to gold.

Today there are musicals for all tastes and ages. Disney has made a splash in New York with The Little Mermaid, which incorporates stunning effects for the underwater scenes.

The hot savannah plains of Africa, on the other hand, are played out beautifully as the home of the lion cub Simba, the star of The Lion King.

African tribal masks served as the inspiration for faces in a world where wild animals reigned. But now there are a whole range of choices, from Mary Poppins to Shrek.

As producer Cameron Macintosh explained: “We're opening new windows and preparing for tomorrow's lovers of the musical by introducing children today to theatre.''

But the shows that appeal particularly to those under 10 years of age have been scripted in a way that lets even parents enjoy.

“There are no double entendres,'' Macintosh said. “But there are parts where kids will think: ‘Why are mum and dad laughing?'''

On Broadway, the hottest piece of news is that Megan Mullally, who shot to fame as the scatterbrained but loveable Karen in the TV series Will and Grace, has returned to play the Elizabeth in Mel Brooks's latest hit musical, Young Frankenstein. She explained why she prefers theatre to TV.

“There's nothing like rounding off a performance and hearing the deafening sound of the audience's applause,'' Mullally said.

The role of Dr Frankenstein's fiancée allows the actress to develop the character throughout the performance.

Young Frankenstein is the second of Brooks's films to go live after their 1970s screen success.

Comic element

The Producers took comedy to a new level and had both sides of the Atlantic in stitches for six years — Young Frankenstein is set to do the same.

The quirky and sometimes politically incorrect humour that Brooks is famous for seems to have struck a chord.

Brooks said: “Comedy has to catch you off
guard. But in Young Frankenstein, some of it comes from anticipation and then the relief of ‘Wow, I knew that was going to happen'.''

— Scott Adams is a Madrid-based freelance writer

Tune in to true luxury

Mandarin Oriental, New York
Within easy reach of all the theatres on Broadway, the Mandarin Oriental is situated on floors 35 to 54 of the Times Warner Building on Columbus Square in New York.

This hotel offers exquisite Asian-inspired interiors and stunning views of Central Park and Manhattan.

Floor-to-ceiling windows are a key feature of the rooms and suites. You can enjoy dinner at the award-winning Asiate restaurant before you head to the theatre.

For more information, visit www.mandarinoriental.com

Covent Garden Hotel, London

A short walk to all the major theatres and shopping centres, the Covent Garden Hotel seems more like a private country home than a hotel.

No two rooms are the same and you'll be inspired by the tasteful and imaginative decor throughout.

Spend time in the wood-panelled library filled with original works of art before going to the theatre.

The elegant Brasserie Max, with its comfortable leather chairs and arched windows, is perfect for lunch or dinner. For more information, visit www.firmdale.com

Sing along with the best

LONDON

NEW YORK

For more information, visit the websites www.londonbroadway.com and www.londonwestendboxoffice.com