The early 2000s launched a series of unforgettable films that left catchy songs and choreographed steps stuck in our heads for weeks. The popularity of Chicago (2002) provided the sultry reintroduction of the stage to the screen, raising an interest in musical theater that extended beyond the panting NYU students lining up for rush tickets each Sunday morning. Once again, a seemingly location–and–monetarily exclusive art became accessible to everyone in a neatly wrapped package, one that included our favorite stars.
Of course, Hollywood execs are not a group to let a successful trend go unexploited. Queue Rent (2005). This adaptation became an instant hit and further showed the world that musical theater isn’t all about the simple dramas of an immature female lead and the dance numbers that ensue. Rent had drama that more people could respect: sex, drugs, illness, poverty. On the flip side, the yuppy world of musical–consuming high school girls were walking around singing about heroin addictions and prostitution.
These two successes ignited a buzz of musical films that held their own both in the box office and with the critics. Respected actors, such as Matthew Broderick, Nathan Lane, John Travolta and Christopher Walken, took on light–hearted roles in The Producers (2005) and Hairspray (2007), respectively. Sweeney Todd (2007) and Dreamgirls (2006) secured even more positive reviews and multiple Oscar nominations. Megastars shocked us with their singing ability, and it seemed as though the gift of song and dance just kept on giving.
However, all good things must come to an end. Nine (2009) seemed to cut short the chain of critically acclaimed musicals. The incredible cast was unable to redeem the poorly executed adaptation of a musical not well–known enough to gain an audience. Whether it is the production, the choice of show or the timing to blame, the failure of Nine has seemingly scared producers away from the genre. Or was it just a hiatus?
Footloose, coming out tomorrow, could be Hollywood’s next attempt at securing a steady musical genre. However, the cast clearly directed at tweens has received mixed reviews — see ours above. Does another musical disappointment mean the genre should be placed on the back burner for a while? We certainly think so.
Currently, plans for adaptations of Spring Awakening, American Idiot and other shows are in the works. It's not that we’ve given up all hope, but it's going to take a lot of redeeming to get us back into the theater. The next in line should tone down the theatricality and engage the adult drama that attached us to some of the darker films.
We just hope the sexually frustrated teenagers of Spring Awakening and the too–punk–for–their–own–good stars of Green Day’s Rock Opera aren’t too much like the rebellious Footloose kids.
Until we decide to give musicals another shot, “Cell Block Tango” will remain stuck in our heads. Pop. Six. Squish. Uh–uh. Cicero. Lipschitz!
