Remembering the Musicals of Neil Simon

Remembering the Musicals of Neil Simon

Mark Robinson
Music That Makes Me Dance

This weekend we received some incredibly sad new in the theatre community: the death of one of America’s most prolific and beloved playwrights, Neil Simon. Simon mixed humor with humanity, honesty with insanity, and always connected with the individual in each of us. Many of his plays remain well-regarded in theatre circles the world over. Titles such as Barefoot in the Park, The Odd Couple, Chapter Two, The Star-Spangled Girl, Plaza Suite, The Gingerbread Lady, The Prisoner of Second Avenue, The Sunshine Boys, Brighton Beach Memoirs, Biloxi Blues, Broadway Bound, and Rumorscontinue to be as poignant and funny as they were when they were first written. Simon won a Pulitzer Prize for his 1991 play Lost in Yonkers.

Though often celebrated first as a playwright, Simon was also an adept collaborator when writing books for Broadway musicals. Over the years, he was responsible for the librettos behind a handful of musicals, meeting varying degrees of success for his efforts. Here is a stroll down memory lane, taking a look at the musicals for which Simon provided the book. 

Broadway Hits That Were Even BIGGER Hits in London

Broadway Hits That Were Even BIGGER Hits in London

Mark Robinson
Music That Makes Me Dance

Last week, I wrote a piece on Broadway musicals that were hits in the United States, but that just didn’t have the staying power in London. This week, I thought I would look at the musicals that were hits on Broadway, but ran even longer on the West End. Obviously, musicals like 1776 and Fiorello! were going to have a limited appeal with British audiences due to their inherently American themes, but just what shows did outrun their American productions when they crossed the ocean? 

Why the Hate For Musicals Based on Films?

Why the Hate For Musicals Based on Films?

Mark Robinson
Music That Makes Me Dance

In the last ten years or so, there have been a great many musicals opening on Broadway that are based on movies. I have also noticed a wave of disgust for these adaptations, people citing that we need more original story ideas. Though I often find myself frustrated with the results of these adaptations, I can’t necessarily say that I am opposed to musicals being the basis for a Broadway musical. After all, we have received many quality musicals that were based on films: Waitress, The Band’s Visit, Dirty Rotten Scoundrels, Applause, Carnival!, Sunset Boulevard, The Full Monty, The Producers, Nine, Billy Elliott, Spamalot, Silk Stockings, Dogfight, Grand Hotel, Grey Gardens, Kinky Boots, A Man of No Importance, Promises, Promises, Shrek, and Woman of the Yearare all fine examples. So, why all sour faces and crinkled noses (mine sometimes included) for the influx of musicals based on films? 

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