Stars of stage, screen, and streaming: The uncertain trajectory of movie musicals

2021 and 2024 seem to have been the defining ‘years of movie musicals’, each releasing three to four adaptions throughout. However, these films have received conflicting levels of success with theatre fans and critics alike.

Neither of the films did justice to the original source material, resulting in a reduced pace and weak narrative. Between the two, they’ve managed to become well-recognised, trending flops.

Both years brought some adaptions that had mixed reviews and were ultimately seen as flops, namely Dear Evan Hansen (2021) and Mean Girls (2024). Dear Evan Hansen saw Ben Platt reprising his role (originating on Broadway in 2016) as Evan. This casting faced a social media frenzy of controversy. Platt was 27 playing a 17 year old, leading to the hair and makeup team having to ‘de-age’ him, resulting in a ghostly, unnatural and almost uncanny-valley look, especially in close ups. There was also an element of nepotism in Mark Platt, Ben Platt’s father, being one of the producers. Many fans had hoped that actors such as Jordan Fisher would instead take the role. In contrast, Mean Girls saw Renee Rapp successfully reprising her role of Regina George. After a Broadway and music career, fans couldn’t wait to see her onscreen. There was, however, casting controversy surrounding Angourie Rice as Cady Heron. Her vocals faced scrutiny for autotune, as well as a notable unnerving angle in ‘Revenge Party’. The soundtrack saw many genre shifts, making the sound more contemporary and pop, reducing the musical theatre essence. It’s featuring of a new song, ‘What Ifs’, replacing ‘It Roars’ dismayed fans, who stated that the new song didn’t do the narrative justice.

Both films capitalised on celebrity casting: Dear Evan Hansen had Amy Adams and Julianne Moore, and Mean Girls had Auli’i Cravalho, Tina Fey, Jenna Fischer and Tim Duvall, as well as cameos from Lindsay Lohan (from the original film), and Ashley Park (who originated the role of Gretchen Wieners on Broadway). Despite this, neither of the films did justice to the original source material, resulting in a reduced pace and weak narrative. Between the two, they’ve managed to become well-recognised, trending flops. The marketing for Mean Girls also sparked a Twitter frenzy in ‘not your mother’s Mean Girls’, making Millennials feel older than they were.

The films have reached new audiences and, in doing so, have cemented Jonathon Larson, Stephen Sondheim, and Lin-Manuel Miranda’s legacies in musical theatre as well as in film

Some movie musicals, in contrast, have helped to immortalise legacies. Across 2021, we saw the release of movie musicals on Netflix, in cinemas, and then straight to Amazon Prime Video: Tick Tick…Boom!, West Side Story, and In the Heights, which each got a new contemporary lease of life in their direction by Lin-Manuel Miranda, Steven Spielberg, and Jon M Chu, respectively. The films have reached new audiences and, in doing so, have cemented Jonathon Larson, Stephen Sondheim, and Lin-Manuel Miranda’s legacies in musical theatre as well as in film. In Tick Tick… Boom!, ‘Sunday’ sees incredible cameos and stage alumni including from the original cast of Rent: Daphne Rubin-Vega, Adam Pascal and Wilson Jermaine Heredia, who played Mimi, Roger and Angel. The song also sees theatre legends Lin Manuel Miranda, Chita Rivera, Andre DeShields, Philipa Soo, and Renee Elise Goldsberry.

West Side Story saw Rita Moreno back in the world of the film but now playing Valentina, a character who replaced the character of Doc. In the Heights included cameos from Valentina, Chris Jackson, and Mark Anthony, with background vocals from original and former cast members including Mandy Gonzalez and Joshua Henry. Olga Merediz also reprised her role as Abuela Claudia from stage to screen. West Side Story helped to launch many dance and musical theatre careers, including Rachel Zegler, now starring in Romeo and Juliet on Broadway.

Many songs were once again shortened, for example, ‘Real Life’ in Tick Tick… Boom!, and some cut entirely, such as ‘Inutil’ from In the Heights. Some songs were edited to be more politically acceptable for the modern day, like ‘96,000’ from In The Heights, and ‘America’, from West Side Story. Overall, however, these films pay homage to original productions, honouring the integrity of the show material.

Like West Side Story, Wicked looks to have launched the careers of many supporting cast members who now shine in the spotlight when they may have previously been backlit.

Present day sees the amalgamation of all I have discussed, but successfully platformed in the form of a quality cast, stunning, tangible sets, cameos from production veterans and incredible marketing and artwork. Led by Jon M Chu, Wicked Part 1 faces excited anticipation. It is no surprise that people have strong opinions when it comes to casting, especially when it comes to one of the most iconic musicals to date. Whilst it is not news to anyone that the main and supporting class are phenomenally talented, there has been scepticism over Ariana Grande’s casting as G(a)linda, despite her starting her career as a child on Broadway. Cynthia Erivo isn’t unfamiliar with the movie-musical trajectory, as she starred in the West End production of The Colour Purple. Jonathan Bailey may have become a household name because of Bridgerton, however he also starred in The Last Five Years as well as a more recent contemporary adaptation of Company.

Like West Side Story, Wicked looks to have launched the careers of many supporting cast members who now shine in the spotlight when they may have previously been backlit. The female leads have also been praised for singing live when filming, especially as they flip and float above and across the set. The set is remarkably intricate, hand-crafted, bespoke, and includes an animatronic giant Wizard’s head all of which work and have been in use pre and post- production.

It goes to show when done right and in masterful hands, what may not be possible onstage can be translated and magnified onscreen to not only write a love letter to the original show and its fans, but to the musical theatre industry and everyone who falls under that bracket.