We’re getting close to This is the Hour: A Musical Theatre Workshop on Sunday 27th January at The Dance Studio Leeds. As we’ve been busily preparing for this event in the GCF office, there’s been some debate about what makes a musical like Miss Saigon a ‘hit’. Umi thought that the secret lies in memorable tunes that leave you humming for days. Selina came to the conclusion that it was all about the spectacle, the ‘whole shebang’; the best musicals have the ability to transport us to a completely different world. All this begs the question – is the story really that important at all?
The appetite for a night out in the company of an epic musical with memorable, hummable music shows no sign of abating. Back in 2013, when tickets went on sale for the 25th anniversary revival of Miss Saigon, £4.4m of bookings were taken on one day, a West End box office record.
Miss Saigon is an intriguing case. Looking back to when it first premièred at the Theatre Royal in London’s Drury Lane in 1989, it seems daring to have turned the Vietnam war into a song and dance show barely 15 years after the end of hostilities. But in its broader themes – refugees and orphans of war, the morality and consequences of western intervention, forbidden and doomed love – the production has acquired a topicality that has nothing to do with Vietnam. Maybe the intricacies of story aren’t so important to musicals then, as long as it can appeal to universal themes.
Written by Claude-Michel Schönberg and Alain Boublil, with lyrics by Boublil and Richard Maltby, Jr., the production benefits from an enduring collection of music that does what great musicals do: a balance of rousing choral numbers (“Morning of the Dragon”, “This is the Hour”, “Miss Saigon”) and haunting and emotive solo numbers (“American Dream”, “Movie in my Mind”).
Miss Saigon really does have the ‘whole shebang’. Audiences will forever be wowed by the life-size helicopter that miraculously descends from the rafters and appears on stage. The powerful, terrorizing machine is a deafening, airborne apocalypse and the show’s most theatrical moment. We’re left to wonder, just how did they do that?!
West End performer, Nigel Wong, who will be leading our workshop, starred in Miss Saigon at the Drury Lane Theatre from 1995-96. He starred as ‘the commissar’ as well as in the ensemble, and also covered the role of the Engineer. When asked what he thought made Miss Saigon a hit, Nigel said that the story WAS important, and that the vital ingredient was a good connection between the story and the music. He also said that, as a performer, it was crucial that a role could be adapted to the actor; there must be a flexibility to allow both the performer and role to shine through.
What do you think makes a ‘hit’ musical? The debate rages on in the GCF office. In the meantime, why not join Nigel for This is the Hour: A Musical Theatre Workshop. The workshop will give attendees an insight into how a musical comes together, the different genres within musical theatre, and the skills require to be a musical theatre performer.
Please note: this workshop is open to all levels, including complete beginners (16 yrs +).
WHEN: Sunday 27th January 2019, 11am – 1.30pm.
WHERE: Dance Studio Leeds, Mabgate Mills, Leeds, LS9 7SW.
Click here to book your place. Presented by the Dance Studio Leeds and Geraldine Connor Foundation.