Research Paper on Adapting Stories to Broadway: Popularity with Audiences

Introduction

Since the beginning of musical theater, the adaptation of existing stories in Broadway has always been popular. Adaptations are more popular with audiences. Their popularity with audiences could be ascribed to individuals' support to stories they already love, and, thus, it is anything but difficult to perceive how the dangers and costs related with delivering a musical would imply that, from a producer's outlook, it is more secure to spend their money into something that has just been demonstrated to be monetarily fruitful and has a fan base. This reality alone would represent the pervasiveness of adaptations in musical theater. In any case, there are a lot of successful adaptations that have been based on stories with minimal commercial value or even source materials that were commercial failures. In these cases, the shows' prominence with spectators cannot be explained by individuals' affection for seeing the tales they love told in new manners, and their prevalence with writers cannot be accused of composing a show that will not be industrially practical. All things considered, there must be another explanation, or other numerous reasons, to compose a musical theater adaptation of a prior story. The purpose of this paper is to discuss the movie adaptations that have been successful and unsuccessful in Broadway.

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Successful Movie Adaptations in Broadway

The Demon Barber of Fleet Street

Tim Burton's 2007 film adaptation of Stephen Sondheim's 1979 musical thriller dates back to the 1846 publication of the penny-dreadful String of Pearls (McGill 42). When writing his version, Stephen Sondheim adapted the movie to function as a horror film and embraced it with other cinematic features (McGill 42). The adaptation was successful because of many reasons. For example, Sondheim utilized tension and suspense under spoken dialogue by using techniques that suggested a film language including diegesis, crosscutting, voice-over, dissolves and cinematic aspects of staging (McGill 42). All of these components combined with a harmonic language inspired by film composer Bernard Herrmann create an ambiance of horror (McGill 42). Thus, in terms of authorial intent, the movie adaptation was good for the stage (McGill 42).

Moby Dick

The film is viewed as one of the most unwavering adaptions of the novel and perhaps the best form of the story on the big screen (Camarillo 14). While the facts demonstrate that this form of Moby Dick remains somewhat faithful to the source material it additionally flops in deciphering the spirit of the novel (Camarillo 14). This adaptation gave more consideration to parts of the novel that oblige the film (Camarillo 14). The film consolidates early sections with late ones and changes endings just as adding additional plot lines to elevate the anticipation in the movie (Camarillo 14). Moby Dick as a musical in Broadway was successful because of good characters, stage performances, and content.

Chicago

Ebb's Chicago (2002) was the first musical to win the best picture at the Academy Awards in 1968 (McHugh 22). The original Broadway production (1975) was successful at 936 performances and had a popularity of brief staging by City Center Encores in 1996 (McHugh 22). After that, the Broadway adaptation Chicago ran continuously on Broadway making it the longest American musical in history (McHugh 22). The movie adaptation was successful because of its approach to casting. The casts of the film had theater experience as well as singing experience and ability (McHugh 22). The staggering accomplishment of Chicago (alongside Moulin Rouge! and 8 Mile) is responsible for the resurgence of the musical genre in the 21st century (Osteen 1).

My Fair Lady

My Fair Lady won eight Academy Awards and was later positioned the 91st most prominent American film ever by the American Film Institute. It was created on a spending limit of $17 million (Osteen 1). The movie adaptation has been successful on Broadway and is another adaptation that has run continuously on musical theater. The movie adaptation was successful because it had an element of triangulation in the narrative. The lyricist, Alan Jay Lerner, ensured that the plot of the adaptation was in line with the original plot (McHugh 298). According to McHugh (382), My Fair Lady was among the top screen adaptations in Box Office.

Grease

The Broadway movie adaptation Grease was successful because of the producers and script writer's efforts of staging and props. McHugh (384) asserted that much credit for the film's success was given to its capitalizing on the 1950s nostalgia craze. The set of the movie production at Broadway was responsible for its success as well. The Broadway production has colorful and cartoon-like designs and its opening number was sung over a cartoon sequence introducing the characters and actors (McHugh 384). The film adaptation of Grease has become the authoritative form of the musical (Osteen 1). The motion picture was the most noteworthy netting musical film ever at the time of its release is still thought to be probably the best film of 1978 (Osteen 1).

The Sound of Music

McHugh (18) affirmed that the Broadway production The Sound of Music was a success because of its casting actors and their singing ability. The author stated that the cast of the production was great at lip-synching and their stage roles were exemplary (McHugh 18). Robert Wise shot a great part of the film in Austria, catching all that absurdly exquisite mountain landscape in a striking color, which made a progressively vivid experience (Breihan 1). The greater part of the film seems as though it was shot during the golden hour (Breihan 1). Choreographers Marc Breaux and Dee Wood had just worked with Andrews on Mary Poppins, and they made sense of how to make each one of those move moves seem as though they existed inside that world, especially when that movement needs to include kids on bicycles (Breihan 1). Osteen (1) indicated that even though The Sound of Music was given a limited theatrical release and received a mix critical reception, it was an exceptional commercial success. It was the highest-grossing film of 1965 and by November of 1966, it had surpassed Gone with the Wind as the highest-grossing film of history (Osteen 1).

Unsuccessful Movie Adaptations in Broadway

Breakfast at Tiffany's

The movie was never officially opened in Broadway (Bailey 1). However, the movie previews began on 12th December 1966 (Bailey 1). The previews were 4 and the loss accumulated to $1 million (Bailey 1). Broadway legend David Merrick amassed a top selected cast of partners for this adaptation of Truman Capote's novella and Blake Edwards' 1961 movie: the book was by Edward Albee (Who's Afraid of Virginia Woolf), music and verses were by Bob Merrill (Funny Girl), the director was Joseph Anthony (The Rainmaker) and the cast included Richard Chamberlain, Sally Kellerman, and Mary Tyler Moore as Holly Golightly (Bailey 1). In any case, the away tryouts (under the first title, Holly Golightly) were a fiasco; Merrick rejected the whole book (which was initially composed by Guys and Dolls recorder Abe Burrows), cast individuals much of the time got revamps insignificant hours before blind, and the show regularly ran almost four hours (Bailey 1). According to (1), the adaptation of the movie on Broadway was unsuccessful because of poor reception (Rooney, 2013). The creation, however, never at any point made it to premiere night after four New York reviews, Merrick unceremoniously took out an advertisement in the Times to clarify that he would not like to "subject the dramatization pundits and people in general to an unbearable and boring night" (Bailey 1).

Dance of the Vampires

The movie opened in Broadway on 9th, December 2002 and closed on January 25th, 2003 (Bailey 1). The number of previews was 61, had 56 performances, and had a loss of $12 million (Bailey 1). This 2002 failure was roused by The Fearless Vampire Killers, Roman Polanski's 1967 horror and comedy that is predominantly recalled these days as the film on which he met his doomed spouse, Sharon Tate (Bailey 1). Started on the German stage, the show's New York debut was first made arrangements for the late '90s, until it turned out to be evident that Polanski could not move with it (Bailey 1). The show, in the long run, chose a couple of rather unpracticed directors and an October 2001 opening, which was pushed back after 9/11 (Bailey 1). Rehearsals and previews were supposedly nightmarish. Michael Crawford had barely any fans among the cast and group. A new director was acquired, content changes were made, and the harmony between humor and enormous Broadway numbers was misaligned (Bailey 1). The adaptation of the movie failed because it lacked focus, style, and craft. When it opened in December 2002, Steinman had everything except abandoned it, declining to go to premiere (Bailey 1).

Nick and Nora

The adaptation of the movie opened in Broadway on December 8th, 1991 and closed on December 15th of the same year (Bailey 1). The total previews were 71 and performances were 9 (Bailey 1). Until Spider-Man: Turn off the Dark tagged along, the record-holder for longest Broadway see period was this 1991 musical, adapted from the Thin Man films (Bailey 1). Writer Charles Strouse did Bye Bye Birdie and Annie, lyricist Richard Maltby Jr. was hot off Miss Saigon, and the book was by the incomparable Arthur Laurents (Bailey 1). Besides, Barry Bostwick and Joanna Gleason were thrown in the title jobs, yet by and large, Laurents did not know anybody could have played them (Bailey 1). In his book, Original Story by, he conceded not completely getting a handle on how altogether the jobs had gotten unavoidably related to William Powell and Myrna Loy. He additionally deduced that the long review period set the New York tattle machine against the play, a complaint made by Spider-Man's makers. The surveys were likewise horrible. The adaptation failed because of different plots in the original and adaptation (Hischak 243). Time's William A. Henry III called it crotchety and discretionary as a romantic tale, dreary and futile as a homicide secret.

Urban Cowboy

The movie adaptation, Urban Cowboy, opened in Broadway on March 27th, 2003 and closed on May 18th, 2003 (Bailey 1). The total previews were 26 and total performances were 60. After the achievement of the 2000 Broadway adaptation of Saturday Night Fever, the producers decided to transform the John Travolta motion picture into a show (Bailey 1). They chose his 1980 film Urban Cowboy, not understanding that in contrast to Fever, which was a social and musical marvel alone, without Travolta Urban Cowboy was essentially only a Travolta vehicle, with little memorable features (Bailey 1). However; when it opened, no under thirty composers and lyricists were credited for the show's blend of new musicals and models, including Charlie Daniels and Clint Black (Bailey 1). Although it was assigned for two Tonys, it shut after under two months (Bailey 1). The adaptation of Urban Cowboy failed because of the lack of artistic elements.

Conclusion

Some movie adaptations have failed in Broadway because of poor planning and deprived artistic features. When choosing a source text for adaptation in Broadway, producers and directors need to have a good reason even if it is the passion to focus providing inspiring moments for the audience. Without a doubt, execution is important to ensure that the adaptation is delivered. Besides, producers and directors need to consider the scope of the story and the pace, which it follows for the adaptation. The directors and producers need to ensure that the plot of the original text aligns with the adaptation to capture the audience. Furthermore, the quantity of action, emotional content, vivid characters, and tone c...