This chapter discusses musicals of the 1980′s. I think a good thesis for this chapter is the following: “The megamusical bears the distinct stamp of the 1980′s in many ways.” It also talks about megamusicals that were not embraced by critics or audiences. The state of musical theater in general in the ’80′d is also discussed.
Sternfeld supports this thesis by discussing various megamusicals and their impressions on the public. On the other hand, some musicals, such as Blondel, was a commericial failure and never made it to Broadway. Tim Rice’s Chess made it to Broadway, but only for 68 performances. Starligh Express was a musical that was meant for kids. In the ’90′s, it was revived and became the second-longst-ruming musical in London. In addition, more musicals were created in the ’80′s and ’90′s, such as Sondhiem’s West Side Story and Cole Porter’s Anything Goes. Dreamgirls also debuted in the early ’80′s.
All of these musicals were influenced by the development of the megamusical. Musicals in the coming decades would add new twists. Even though there were changes that took place, the megamusical still stayed strong; it still exists today.
