If one could classify the year of 1996 in theater (although it is doubtful), one might say that it was the "Comeback Year of Broadway." Or maybe the "Year of the New Broadway." Or the "Year of the Next Generation of Broadway."
One could point to the fact that, for the first time in more than 10 years, a major motion picture was adapted from a popular musical (Andrew Lloyd Webber's "Evita"), and that another theater classic, "The Crucible," by University graduate Arthur Miller, has become a big hit for film audiences. So maybe one could say it was the "Year of the Movie."
Whatever one wants to call it, it is clear that theater is affecting the mainstream more now than it has in years past. One telling sign is in the case of Nathan Lane. After starring opposite Robin Williams in the hit film, "The Birdcage," Lane went back to Broadway to star in "A Funny Thing Happened on the Way to the Forum," for which he won a Tony Award.
Other Hollywood stars who are making it back to New York are Sarah Jessica Parker ("Once Upon a Mattress"), Al Pacino ("Hughie"), Ed Harris ("Taking Sides"), Lou Diamond Phillips ("The King and I"), Liza Minelli (replacing Julie Andrews in "Victor / Victoria"), Whoopi Goldberg (who will soon replace Lane in "A Funny Thing Happened on the Way to the Forum") and Julia Sweeny ("Julia Sweeny's God Said 'HA!'"), among others.
Actors have been running back to theater for years, though, as they are forever looking to connect with an audience. Even without such (shudder) cooperation with Hollywood, it still would have been a banner year for theater, especially for Broadway.
Who could have foretold the two biggest stories of 1996?
In the midst of relatively little hype during the production process of an original musical, its creator died on the very night he gave his first interview to The New York Times. What has happened since is little short of musical theater history. Jonathan Larson's musical, "Rent," about East Villagers dealing with AIDS, poverty and their art, has won a Pulitzer Prize, four Tony Awards and a New York Drama Critics' award. Last fall, the cast released a soundtrack that finished in Rolling Stone's Ten Best of the Year.
The other top story of Broadway is the unexpected return of tap. Considered all but dead, tap has returned with a vengeance in "Bring in 'Da Noise, Bring in 'Da Funk." George C. Wolfe co-created this masterpiece of tap, rhythm and jazz with Savion Glover, the show's (and Broadway's) premiere tap star, and Reg E. Gaines. Winners of numerous Tonys, this production also sports its own soundtrack, which is electrifying.
Straight theater was not missing altogether on Broadway this year, either. Terrence McNally's "Master Class," a tribute to Maria Callas, featured Patti LuPone and won them both Tony's. Another standout original on Broadway was August Wilson's "Seven Guitars," providing yet another impressive piece to his already successful career.
Despite these fresh faces, though, the Broadway season was filled mostly with revivals. Two "original" works were actually extensively rewritten Sam Shepard plays, "Buried Child" and "The Tooth of Crime."
Perhaps the standout Broadway revival this year, most likely up for a Tony next year, is "Chicago." Featuring Bebe Neuwirth, who played Lilith on "Cheers," this dark comedy has been wowing audiences since it opened on Nov. 14.
As far as what's in theater's future, expect to see even more movie adaptation hits. "Rent" and "Master Class" are rumored to make it to the big screen, and as "theater movies" continue to make money, you can bet more movies will follow. Also expect to see greater success among musical soundtracks. Since musicals are drawing more upon rock themes, they will continue to grow more "mainstream friendly," attracting more lucrative advertising campaigns.
At the very least, 1996 has inspired a lot of investment interest in a business that is notorious for losing money. In many senses, it has been a banner year. Many might call it a changing of the guard, as a new generation of theater-goers and actors alike begin vying for control of an old and storied industry. No matter what the case, there is definitely a new energy flowing through New York as more and more people are trying to revitalize one of humanity's oldest arts.
Madonna made the musical, "Evita," come to life on the big screen this year.
The success of the musical, "Rent," carried over to its soundtrack.