#this isnt just me being a nytw bitch also it has a lot to do w the talk i was at last week with [ht creative member redacted]

[supercantaloupe]

being a primarily Musicals guy getting more into Opera as of late, it really makes me kinda disappointed seeing how much One Single Production of a musical (typically its original broadway or occasionally west end run) becomes The definitive version of the show. and analysis of the show then tends to treat production and text as inseparable or even identical

like man. opera ppl...y'all have it so good...so many wildly different productions of the same (popular) operas are available to watch filmed, or at your local opera company. i can google don giovanni and find like 10 completely different productions at the click of a button, and none of them are Inherently more the "right" or "wrong" way of being don giovanni. i can have my own opinions on which ones i think work best (and boy do i), but the fact that so many different versions of the same show exist at all is a sign that you CAN have different interpretations of the same text -- and they're all still the same opera, fundamentally. production ≠ text ≠ the whole show

but with musicals i very much feel like, because of how The Industry works, One Production easily becomes The definitive vision of the show. certainly this has to do with the scarcity of filmed musicals when compared to opera (along with bootleg culture + the broader trouble of accessibility in musicals), as well as the (over)prevalence of replica productions, and i think also the age of most musicals is much younger than most operas so there's less time for new productions to be made let alone become popular. like i don't think it's a coincidence that oklahoma!, arguably the oldest true book musical, is the only musical i can think of where a radically nonreplica production gained such popularity and acclaim that it challenges the previous (Very well established!) interpretation of the text as the Definitive version of the show for many audience members. and because of that, it's one of the only shows where the analysis and discourse of the show makes a clear(ish) distinction between the text and the production itself. the vast majority of musicals do not receive the same treatment

it kinda bums me out knowing that musical ppl don't get the same exposure to new visions of a text outside the dominant broadway/west end blockbuster productions. i know regional theater exists and by gd do i feel like it is underrated in its importance to the development of theater literacy in audiences but unfortunately regional productions only VERY rarely get publicized outside of their regions, and therefore can't meaningfully contribute to conversations about a particular musical the same way a broadway production can.

idk i've Long felt that the way musicals become defined by a single production is a fault both of the industry and of the fandoms, and i've been a snob about that here for years. but getting more into opera lately has made me realize just how prevalent the issue is, bc opera Does Not operate the same way.