All in Music That Makes Me Dance

Ten Best Musicals That Started as Films … and Three That Surprisingly Didn’t Make the List

Nowadays, it has become the go-to fashion on Broadway to adapt films for the musical stage. Such movies asMoulin Rouge!Back to the Future, and The Lion King have proven to be hits of this ilk. Most, however, have been terrible, pale replications of their screen counterparts. A handful, however, are truly amazing: artistic re-thinkings that improve upon their source material. This article is a celebration of the 10 best musicals that started as films … and three that surprisingly (for some of you) that didn’t make my list.

Cast Album Review – Assassins (The 2022 Off-Broadway Cast Recording)

Stephen Sondheim’s score for Assassins has always impressed me for how the late composer-lyricist captured the flavors of Americana: Sousa-like marches, barber shop quartet, folk ballad, and soft pop music, in telling a story that is inherently American. Quibble if you must about the musical’s themes, but there is no other musical more relevant in the post-Trump era than Assassins. Some have called it anti-patriotic, and others have erroneously stamped it as glorifying the work of psychotic, would be (and sometimes successful) killers of Presidents of the United States. Assassins is, in fact, a lament of the American dream and how its false promises and failure to deliver have driven individuals and, metaphorically, society as a whole, to the edge. One of the song’s in the musical is titled “Something Just Broke,” a reaction to the assassination of John F. Kennedy. In reality, Assassins digs deeper than mere mourning, challenging our blind patriotism and posits the theory that the United States of America has been breaking since its inception. What better way for Sondheim to convey the generations of unrealized American dreams than to say it with the music that made America?

Film Review – Does In the Heights Hit the Heights?

When audiences sat down in their seats at Broadway’s Richard Rodgers Theatre in the spring of 2008, many were not quite ready for the electrically-charged piece of musical theatre they were about to witness. The then relatively unknown team of Lin-Manuel Miranda (music and lyrics) and Quiara Alegria Hudes (book) delivered several jolts of adrenaline into the arm of the American musical, infusing the more traditional form of this theatrical storytelling with the contemporary sounds of hip-hop and rap, as well as crafting a bilingual score (English and Spanish) of poignancy and potency. Director Thomas Kail staged the musical with a palpable urgency and an emotional thrust that propelled the show through its climax, and choreographer Andy Blankenbuehler provided movement that seemed to defy gravity and lift the show off the stage floor and into the ether. The musical I am referring to is of course In the Heights which has made its transition from the stage to screen some thirteen-years since it’s Broadway berth, under the direction of Jon M. Chu (Crazy Rich Asians).