A Theatre Thing

went to the theatre cafe in london the other day, and not to be overdramatic but it’s the best place in the world probably. they have amazing memorabilia on the walls (inc. the broomstick from the first london performances of wicked, omg) and play showtunes all the time and the wifi code is stagey24601 which sums it up really.

So yesterday brought the announcement of Sierra Bogess’ casting as Christine for The Phantom of the Opera in Paris. And so far I’ve seen posts of people who are disappointed and fed up to see Sierra in every anniversary production. And believe me, I understand but as a French girl who is going to see the show please hear me out.

Musicals in France have nothing to do with musicals from West End and Broadway. You have like five or six musicals that are really worth it. The rest ? It’s one producer, always the same (Dove Attia if you want to know), he always gets all the spotlight for his productions that are played in concert venues, not theatres. Yes, in France most of musicals are played in concert venues because the system is : some months in Paris and then tour all over France (plus Belgium and Switzerland sometimes). Musicals can stay at most, 1 year or 1 year and half-ish that’s it and you maybe have like 5 or 6, NOTHING like West End or Broadway. Dove Attia’s musicals are mostly pop/rock songs, the type of songs you can easily put on radio or on tv spot with a videoclip. See ? The system is CLEARLY not the same. And the biggest problems in musicals in France, for me, is that you always see the same faces. Don’t get me wrong, I have nothing against Florent Mothe or Merwan Rim or anybody else, but it’s mostly the same faces.

Now, the Théâtre Mogador since its collaboration with Stage has brought West End/Broadway musicals in France, with varied and international casts for some (especially the dancers for Cats that is playing now). Even though the French translations can be a bit… failed ? I’m glad of what Mogador is doing. Because we DO NOT get to have some West End/Broadway musicals feels otherwise. And believe me, when you love musicals and that you are NOT living in the UK or in the US, whenever things are moving to have a bit of taste of that ambiance, of those feelings that you can’t get to experience unless you can pay for plane or train tickets, hotel, and tickets there, you are just happy. For real.

Of course, it could have been good to have someone else, a French singer or maybe another Christine from other productions (London, Broadway, Moscow, whatever). But at least, for people (like me) who are expecting a lot from this run in Paris, to see that Sierra will be there, it’s a bit reassuring. She may be not your favourite Christine, but I like her, she was my first, and I do love her voice (her acting could be better but still). And again, it adds to this feeling of having a taste of this world of West End and Broadway musicals. I assure you, musicals in France have nothing to do with those.

Hamilton is important.

Jessie Muller was literally crying on stage because Waitress is so amazing, is NOT important. 

School of Rock has 15 kids under the age of 12 nailing it every night! It’s NOT important. 

Audra McDonald is pregnant and tapping her a** off, it’s NOT important.

Bright Star gave us something so unbroadway in its music and somehow made it work amazingly, but it’s NOT important. 

Fidler on the Roof is an ageless story that everybody knows and loves, but too bad cause it’s NOT important. 

She Loves Me is a star-studded cast but pulls it all together so well, (Jane Krakowski’s legs?!!!)  NOT important. 

Spring Awakening and Michael Arden (WHO DIDN”T EVEN GET SHOWN ON TV) brought a whole other culture to Broadway that has never been there before, they recited ever line in BOTH English and ASL AT. THE. SAME. TIME. I guess it’s NOT important. 

This season they talked so much about diversity in the talent. Diversity is not just black and white. Diversity is people of all races, cultures, genders, etc. 

The Tony Awards are there to bring the community together, to show that EVERYBODY is important. “Love is love is love is love”. But this year, 2016, I personally felt that it was only about Hamilton, a beautiful show that deserves to get recognized, but what about all of the other shows that got nothing because Hamilton got everything? 

Ali Stroker is the first women on broadway in a wheelchair, there are deaf talent in a musical! These are things that nobody beside Michael Arden would have thought of, and he got ABSOLUTELY no recognition for it. 

The night was dedicated to those who were lost in Orlando, a night that was dedicated to the love and community of the theatre. There were so many shows on broadway this season, that were not even nominated. Shows that closed too soon. There were not even recognized, there were not important enough to share the light of Hamilton.