A Guide to Wickedly Good Movie Musical Adaptations
Bryce Heilmann ‘28 / Emertainment Monthly Staff Writer
Currently performing its overture at the box office, Wicked Part One is sure to be met with a standing ovation of cash when it takes its final bow at local theaters, which likely won’t be for several months at this rate. The soaring success of this Broadway musical adaptation has led to a multitude of headlines touting it as the highest-grossing opening weekend for a film adaptation of a Broadway musical. With what may seem to be a highly specific record title, a quick look through history reveals the rich legacy of Broadway at the box office.
The Broadway to Hollywood pipeline has not always been perfect, but the almost unanimous appraisal of Wicked is a clear example of when it is done right. From the Great White Way to the Silver Screen, here’s a list of Broadway-inspired cinema done right to fulfill your post-Wicked musical cravings:
BROADWAY → HOLLYWOOD
THE SOUND OF MUSIC:
Arguably more notable as a film, The Sound of Music debuted on Broadway in November of 1959. It wasn’t until six years later, in 1965, that the story transformed into a cinematic format. As the musical asks: How Do You Solve a Problem like Maria? Put her on the silver screen of course! Only, there were very few problems to solve as the musical ran a successful 1,443 performances and received 5 Tony Awards. The movie was met with even more critical and commercial success. For five years, The Sound of Music was the highest-grossing film at the box office and was the recipient of (seems to be its lucky number) five Oscars including Best Picture. The film perfectly embodies the joy and connection of a musical experience, with charming and immensely popular sequences such as “Do-Re-Mi” and “My Favorite Things”, both of which became annual viewing in my elementary school music classes, and unforgettable visuals of Julie Andrews spinning on an Austrian Hilltop which, as she exclaims, is undoubtedly alive with the sound of music (and Julie Andrew’s shimmering voice). While these moments made me want to jump through the screen to twirl amongst the hills with her, the movie encapsulates the story’s grim context and impeccably transforms comfort into cruelty and fear. The Sound of Music is a pinnacle of classic Broadway adaptations, but the evolution of the medium has created evolving opportunities for perfection.
THE COLOR PURPLE:
Based on a book published in 1982, The Color Purple was first turned into a film starring Whoopi Goldberg in 1985. In 2005, the story debuted as a musical adaptation on the Broadway stage. The 2016 revival increased its popularity and featured some notable stars including Wicked’s Cynthia Erivo as Celie, showcasing that same vulnerability and strength through her performance on stage. In 2023, The Color Purple the Musical was adapted into a film. A star-studded cast and a viral press tour do not undermine just how beautiful a depiction of this story in the 2023 film is. Featuring Halle Bailey, Taraji P. Henson, Danielle Brooks, and Fantasia, I was covered in chills and washed with emotion throughout the movie. Anytime a well-known story (whether originating as a book, film, or something else) is adapted into a musical, there is an understandable standard held that questions the necessity of the adaption. What cannot be said for all, I feel this musical adaption imbues power, emotion, relatability, vulnerability, and love into what is already a story jam-packed with those characteristics. The signature song “I’m Here” is beautifully performed in the film and never fails to leave me in awe. The cinematic medium suits this story as well, and the choreography of various numbers such as “Push the Button” and “Keep it Moving” were done in a manner tasteful to the new format. This could be recency bias, but I truly do feel The Color Purple (2023) did not receive the attention and praise it deserved and is a beautiful example of a musical adaptation done well.
WEST SIDE STORY:
West Side Story originally debuted on Broadway in 1957 to critical acclaim and a successful 732 performances. The Bernstein and Sondheim score is situated in history as one of the most iconic, and the choreography is some of the most impressive. So, naturally, when it was first transferred to a cinematic medium there was a hefty legacy to carry on. With two cinematic adaptions released, it is clear that the piece has been treated with immense care each time. The 1961 Robert Wise film became the highest-grossing film of the year and holds the record for the most Oscars for a musical movie including Best Picture and Best Supporting Actress for Rita Moreno, an award which has a specific legacy tied to this film. The 2022 Spielberg adaption is seen as an ode to classic Hollywood and movie musicals, as Spielberg often reflects with his style, and brought the iconic score and choreography into a new generation. There are stunning vocals by star Rachel Zegler in her motion picture debut, but a major standout was Ariana Debose whose impeccable dancing, emotion, and vocal work led her to Oscar Gold, a second supporting actress win for the West Side Story legacy. The grandeur of this film and the ability of the Spielberg name to carry it himself without needing to stunt cast made this a true movie musical standout to me. Not only did it debut many familiar theatrical faces who were new to the silver screen, but it paid homage to the original film, classic Hollywood, and the art of the musical in general.
MAMMA MIA:
In what may seem to be a hot take, this next film has become such a cinematic staple that it is arguably more popular than the musical it adapted. Mamma Mia may not have been an awards darling to the extent of West Side Story or The Sound of Music, but its level of icon has made it a favorite among many crowds. The vocals may not be what you hear on a Broadway stage, but the performances by stars Meryl Streep and Amanda Seyfried are certainly a landmark in their careers, and honestly perfect for an ABBA jukebox musical. The tropical setting, campy and irreverent storyline, and humorous caricatures have made this film an undeniable classic, and how could you see a music sequence like “Voulez-Vous” and not give this film its flowers? An element of this adaptation, likely due to its pop jukebox soundtrack, that I feel is especially unique to its success is how the musical sequences were translated so organically to the cinematic medium. With very few largely choreographed moments resembling what you may find in a Broadway opening or closing number, the movie’s inclusion of music feels more intentionally organic than the traditional musical elements that are often highlighted in other styles of adaptions.
HOLLYWOOD → BROADWAY
HAIRSPRAY:
One of the most famous, or infamous, instances of movie-inspired musicals bouncing between the stage and the screen multiple times is Mean Girls, which was adapted into a musical that I will say I think is an enjoyable adaptation. However, when it decided to return to cinemas for Mean Girls the Musical the Movie (a long title not uncommon in this world of frequent unnecessary adaptations and spinoffs), something clearly went wrong. Likely trying to appeal too much to non-musical fans is what I’m presuming to be the main motive at fault here. Where a transfer such as this was successful was in an earlier form with Hairspray. Originally a film by John Waters, Hairspray was adapted into a musical opening on Broadway in 2002. Its return to the silver screen proved to be undoubtedly justified. Expanding on the setting of 1960s Baltimore while maintaining the musical’s trademark bubbly sequences allowed for an adaptation that didn’t shy away from its campy elements to appeal to the masses but rather felt like a faithful cinematic depiction of the story. From when I first watched this film I have never forgotten the exquisitely cunning “Miss Baltimore Crabs” sequence worthy of a Disney Villain number and Tracy’s iconic entrance at the beginning of “You Can’t Stop the Beat” leading into a perfectly groovy closing number. But even a relatively small sequence such as “Good Morning Baltimore” proves why film can benefit the stories of musicals, demonstrated by the sole fact that we can follow Tracy around the streets of Baltimore as she sings, opening the audience to an even larger world.
LEGALLY BLONDE:
In terms of modern rom-coms beloved by teens, many have been adapted from screen to stage. Unfailingly featuring catchy pop-rock tunes and eccentric dance numbers, it has become somewhat of a formula for driving movie fans to theaters across the globe. Formulaic creations can become diluted over time, but in 2007 the adaptation of Legally Blonde proved it to still be capable of creating gold. From the very first song “Omigod You Guys” the show makes it clear you are in for two acts of infectious fun and upbeat anthems. Turning Elle’s personal essay into a grand cheer squad, acrobatic, and marching band sequence showcases the immense skills of a musical ensemble but also perfectly embodies the campy, catchy, and fun elements of modern pop musicals… what like it’s hard? Increasing its level of icon through the series “The Search for the Next Elle Woods”, Legally Blonde has become a cult classic among teenage fans and modern theatre lovers alike, and, quite frankly, is a musical I would be seated to see get the Mean Girls treatment: yes, I’m saying I’d support a Legally Blonde the Musical THE MOVIE… let’s make it happen! But it better be done like Hairspray.
SINGIN’ IN THE RAIN:
Released in 1952, Singin’ in the Rain has stood the test of time to be a consistent classic among cinema fans and musical lovers. Filled with percussive tap sequences, dream-like musical interludes, and a sense of hilarity demonstrated through song and dance, the movie was a marvel and perfectly crafted to show off the abilities of new Hollywood sound systems. Opening on Broadway in 1985, the musical was translated beautifully to the live medium. With rain pouring from the rafters of the Gershwin Theater, the story continued its legacy of demonstrating the awe-inspiring possibilities of each medium: stage and screen. The Gershwin Theater itself has become a home to showcasing spectacles, for less than 20 years later a certain witch could be seen flying above the same stage where the falling rain had just wowed audiences. Not necessarily notable for its critical and commercial success, Singin’ in the Rain on stage has continued to remain a consistent classic through its thousands of performances a year at regional, local, and school theaters.
WAITRESS:
Finally, this last musical is one that I knew of long before I discovered it was based on a movie. In 2007, Adrienne Shelley’s film Waitress was released to a limited theatrical run. It surpassed its budget at the box office but went largely undiscovered by mainstream audiences. That is, until in 2016 an all-female creative team debuted “Waitress” the musical on Broadway. Featuring songs written by Sara Bareilles, and at times throughout its run starring her as well, the musical became an instant modern classic and added several songs to many’s musical theatre playlists and performance repertoires, with “She Used to be Mine” becoming an almost unanimous addition. With many iconic actors in actresses cast in the leading roles, Waitress fans find themselves in friendly competition over who played the characters the best. The balance between romance, comedy, and heartbreaking realities creates a story that has spoken to audiences, especially women, across the world. After 1,544 performances, the show found itself a part of the slew of post-pandemic closures. However, its legacy certainly lives on in its productions across the world, recognizable songs, and filmed pro-shot that, too, had a limited theatrical run after debuting at the Tribeca Film Festival.
With an audience tiring of soulless adaptations and lack of originality in new projects, both on the stage and screen, it is refreshing, and perhaps a bit hopeful, to look back at these projects and remember that when the right people are involved, intentions are held, and dedication is given, a movie musical adaptation can still be done right.