Musicals I don’t like that everyone else does

There’s a thing going around Facebook where people are listing the things they don’t like that everyone else does. Some make sense to me – black licorice? EW. The Kardashians? EW EW. And some – well, I’ve lost all respect for some people.

So I thought I’d make a list of the musicals I don’t like that everyone else does (not in any kind of order):

  1. Grease
    The Travolta/ON-J movie was entertaining, but really, it’s a gross musical. I simply won’t teach any of the songs from it because they’re
    trash not my cup of tea.
  2. Bye Bye Birdie
    Really, this should be #1. My personal experience of Hell on earth was sitting through a high school showcase in Milwaukee where five scenes of this
    monstrosity were presented. I only like “Put on a happy face,” and then only sung by Dick Van Dyke. Most of the music is trash not my cup of tea.
  3. Chorus Line
    I like the music out of context. I find the story very self-indulgent (as I do with a lot of 1970s musicals) and it’s uncomfortable to see HS kids doing it. 
  4. Godspell
    Admittedly, seeing this at St. Matthias Catholic Church done by an all-volunteer group may have colored my opinion of it. But again, self-indulgent 1970s pseudo-spiritual claptrap  not my cup of tea.
  5. Pippin
    I like Corner of the Sky. But other than that, self-indulgent etc. etc.
  6. Children of Eden
    This is the third Stephen Schwartz piece in a row. Huh. “Oh Noah – you go-ah – all the way back to the protozoa!” That lyric alone … ugh.
  7. Jekyll & Hyde
    Great music. Just too dark, no humor to liven up the endless death and dismemberment. A show only as good as its three principal actors. And “Confrontation” has to be sung by an acting phenom, otherwise it’s
    hilarious.
  8. Mamma Mia!
    UGH. My husband says, “But you like ABBA.” Yeah, in a club. But not an entire evening of it. Plus I kinda hate jukebox musicals. And when I saw the movie, there were a whole bunch of women from the Red Hat Society, cheering and dancing. ‘Nuff said.
  9. Rent
    Puccini did it better. I have my own personal opinion as to why it was such a success. I won’t share that here. Mimi shouldn’t live at the end. THERE ARE CONSEQUENCES.
  10. Spring Awakening
    I will say that I like the recording better than when people brought me the individual songs because the orchestration is sublime. The piano reductions are boring as hell. I don’t like the music, though. I find it too jarring with the 1800s setting. It seems… dare I say it… self-indulgent – “Look how edgy we are!”

(Dis)Honorable mention:

  • You’re a Good Man Charlie Brown 
    I don’t like shows where adults play children. I could probably handle a production at the high school level, but a 45 year old Charlie Brown is just gross.
  • 25th Annual Putnam County Spelling Bee
    I like the story, not the music. Which is weird because I 
    love William Finn’s writing in Falsettos and A New Brain. Again, adults playing children is weird and off-putting to me.
  • City of Angels
    Saw it on its national tour in DC in the 90s. Enjoyed it somewhat, I recall, but I remember nothing about it.  I couldn’t tell you anything about it 15 minutes after I saw it.

There are a lot of musicals I haven’t seen and don’t wanna see. I don’t like jukebox musicals or movicals (movies turned into musicals) as a general rule. There are exceptions.

But there’s one musical for which I cannot – no, will not – make an exception (other than the DvD reference above). Just say no.
FBFE7D38-8778-4048-9D67-99A55D728A80_4_5005_cNot that I’m opinionated or anything. It’s  just trash …. not my cup of tea.

Published by Mezzoid Voice Studio

Christine Thomas-O'Meally, a mezzo soprano and voice teacher currently based in the Baltimore-DC area, has performed everything from the motets of J.S. Bach to the melodies of Irving Berlin to the minimalism of Philip Glass. As an opera singer and actress, she has appeared with companies such as Charm City Players, Spotlighters Theatre, Chicago Opera Theater, Opera Theater of Northern Virginia, Opera North, the Washington Savoyards, In Tandem Theatre, Windfall Theater, The Young Victorian Theater of Baltimore, and Skylight Opera Theatre. She created the role of The Woman in Red in Dominick Argento’s Dream of Valentino in its world premiere with the Washington Opera and Mary Pickersgill in O'er the Ramparts at its world premiere during the Bicentennial of Battle of Baltimore at the Community College of Baltimore County. Other roles include Mrs. Paroo in Music Man, Mother Abbess in Sound of Music, Dorabella in Cosi Fan Tutte, Marcellina in Le Nozze di Figaro, both Hansel and the Witch in Hansel & Gretel, and many roles in Gilbert & Sullivan operettas. Her performance as the Housekeeper in Man of La Mancha was honored with a WATCH award nomination. Ms. Thomas-O'Meally received an M.M. in vocal performance from the Peabody Conservatory in Baltimore. She regularly attends master classes and workshops in both performance and vocal pedagogy, and is certified in all three Levels of Somatic Voicework™ The LoVetri Method. Her students have performed on national and international tours of Broadway productions, at prestigious conservatories, and in regional theater throughout the country.

What do you think?

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