There comes a point in The Musical of Musicals, The Musical where a joke are made referencing Andrew Lloyd Webbers propensity to be ‘inspired’ by previous works. The Phantom of the Opera writer has faced multiple complaints, and even lawsuits, most notably by the estate of Giacomo Puccini, that some of his most well known works are actually taken/stolen/inspired by others. The joke is funny, as are many throughout the show.
But soon after I had to question: how many know enough about Andrew Lloyd Webber and his history to get it? On opening night of TMOMTM, it’s perhaps more than most. But on opening night, those in the audience are theater lovers. They have seen the shows needed to get many of the inside jokes. But will that always be the case?
The Musical of Musicals, The Musical is very good, and quite funny, once the audience understands what may be a confusing format. Five segments, each focused on a different well-known composer, each segment with song melodies you will easily recognize but with words that you won’t. And as good parody’s do, they both poke fun at and honor the source material.
The production gets better as it moves along, especially as the audience begins to grasp the format. For this reviewer, the opening portion was difficult, having not seen Oklahoma in what has to be at least 3 decades, but the saccharine feel is easily recognizable, even if corn, yes corn, is the subject of honor.
The show picks up as it parodies shows like Sweeney Todd, Chicago, and Phantom of the Opera, and ticketholders would do well to try and see them, even if in movie form, prior to seeing the show. After all, a parody cant work if the audience isn’t in on the joke.
To that end, this is a show that requires a little preparation to grab all the jokes. But casual theater fans are not left in the dark. Some of the best jokes are telling the audience when to applaud, or whispering ‘Minelli’ at key times. And as the show moves into parodying shows casual theater fans likely have seen, like Chicago, the jokes are easy, the dancing is fun and performances are quite good.
All four performers are quite good, remembering that a parody requires some of what is essentially overacting. This is done well by Keely Baisden (Abby) and Karl Gasteyer (Jitter). The highlight of the show may have been Stephanie Stiefel Williams (June), who consistently shines in every scene.
The show is a great time and worth seeing. The experienced is enhanced if you both understand the format, and know at least half of the shows referenced, a list of which we are including below. This may be a great time to check out a show/movie you haven’t seen or haven’t seen in some time to be ready to see the show over the next two weekends.
Enjoy the show!
The segments and associated songs:
Corn!
In the style of Rodgers and Hammerstein.
Some of the pieces referenced are:
· Oklahoma!
· The King and I
· The Sound of Music
· Carousel
A Little Complex
In the style of Stephen Sondheim.
Some of the pieces referenced are:
· Sweeney Todd
· Into the Woods
· Sunday in the Park With George
· Company
Dear Abby
In the style of Jerry Herman.
Some of the pieces referenced are:
· Hello, Dolly!
· La Cage aux Folles
· Mame
Aspects of Junita
In the style of Andrew Lloyd Webber.
Some of the pieces referenced are:
· Phantom of the Opera
· Cats
· Joseph and the Amazing Technicolor Dreamcoat
· Evita
Speakeasy
In the style of Kander and Ebb.
Some of the pieces referenced are:
· Cabaret
· Chicago
· Kiss of the Spider Woman
· Liza with a Z