Time was that the musical theatre used to create its own stars: think of Merman, Martin, Channing, Jerry Orbach and Robert Preston in the great age of musicals, or even more recently, the likes of Bernadette Peters, Patti LuPone, Nathan Lane, and (over here) Elaine Paige and Michael Ball, all of whom made their names in musicals and have mainly stuck with it (or rather, been stuck in it, never matching their theatrical success elsewhere).
Nowadays, of course, the theatre regularly (and increasingly) borrows stars that have been created first elsewhere, whether in TV and film (for example, Amanda Holden, recently announced to star in the London edition of Shrek, or Daniel Radcliffe, who we’ve watched grow up on film as Harry Potter, showed us just how much he’s grown up in every sense in Equus, and next year is doing How to Succeed in Business Without Really Trying on Broadway) or even boybands (think of Duncan James or Simon Webbe - the former previously in Legally Blonde, the latter currently in Sister Act, both alumni of Blue).
More recently, TV has been used to create stars for the theatre, with TV casting shows for The Sound of Music, Joseph and the Amazing Technicolor Dreamcoat, Grease, Oliver! and The Wizard of Oz; but the jury is still out on their long-term career building possibilities. Connie Fisher, the first of the bunch to be made a star, is yet to progress beyond The Sound of Music and is right now touring in a production of the show again. But can anyone even remember who won the Grease competition? That show, of course, is bigger than the stars and is still running, and is also now cannibalising subsequent reality TV casting calls to produce the current Sandy from a runner-up for Dorothy in Lauren Samuels.
Occasionally, of course, careers that begin in the theatre sometimes flourish elsewhere, then enabling those actors to return to the theatre with added star lustre: for example, Patrick Stewart, a long-term jobbing RSC actor before Star Trek made him globally famous, is now he is making up for lost time by returning to the theatre with a vengeance (and next month begins a run on Broadway in A Life in the Theatre, which he paradoxically partly abandoned); or John Barrowman, a leading man in musicals long before his TV fame, but thanks to Dr Who and Torchwood able to now be a box office draw as well. And of course Vanessa Redgrave (next month back on Broadway in Driving Miss Daisy) and Judi Dench both began in the theatre before becoming international names through film. Amongst a younger generation, many of the stars of TV’s cult show Glee have a prior Broadway stage pedigree, including Lea Michele, Matthew Morrison and Jonathan Groff (about to begin performances in Deathtrap in the West End).
But the age of the theatre to make its own stars for itself has largely passed - except for the Wicked factor, that is. Both Idina Menzel and Kristin Chenoweth, who originated the roles of Elphaba and Glinda in the original Broadway production of Wicked, had served a diligent Broadway apprenticeship long before it, of course - Menzel in the original company of Rent, Chenoweth in Steel Pier and You’re a Good Man, Charlie Brown — but it was Wicked that made them into star names. What’s intriguing is how that Broadway fame - usually limited to the ten or so blocks that comprise that fabled theatrical territory - has stretched right across the Atlantic and made them stars here, too. When Menzel recreated her Broadway turn as Elphaba in the show’s West End premiere four years ago, there were queues around the block and mass siege scenes at the stage door. Right now Chenoweth, though wildly miscast in the current Broadway revival of Promises, Promises, is helping to turn it into a hit, despite mixed reviews.
And even more incredibly, the phenomenon of Wicked doesn’t just extend to the original company, but has also helped make stars of take-overs. Menzel’s West End standby Kerry Ellis subsequently took over the role - then went to Broadway with it. Now she’s a musical theatre star in her own right (and is currently starring as Nancy in Oliver! at the Theatre Royal, Drury Lane). Broadway take-overs, which have included Stephanie J Block and Megan Hilty (who would go on to headline 9 to 5 with Allison Janney), Eden Espinosa and Shoshana Bean, have also gone on to make names for themselves.
And again, it has translated transatlantically: last night Shoshana Bean made her London concert debut at the Ambassadors Theatre, and even she was surprised at the following she’s clearly acquired over here. She quipped that she told the young producing team behind it when they booked her into the Ambassadors, “don’t be mad if there are only 10 people there!” In the event, the place was packed, and there were lots of “pro’s” in, too - along the row from me, Scarlett Strallen was relaxing after a day’s rehearsal for the Donmar’s imminent Passion; behind me, were Con O’Neill and Caroline O’Connor.
But what exactly is the following based on? Some in the audience were clearly fans of her terrific debut solo album, largely comprising original songs she has co-written; but for the most part, I suspect, it’s also the youtube phenomenon. This brings a huge number of clips of her actually performing to people’s computers, including inevitable numbers from Wicked but also appearances she has made with such contemporary composers as Scott Alan and Jason Robert Brown whose work is also being widely disseminated thanks to the internet. It’s creating a whole need breed of stars, so maybe the theatre doesn’t have much to do with it after all.
The use of the internet is definately a contributing factor in the success of these artists. Wicked has certainly had a big input - musical theatre actresses become revered during and after they have completed a run as the green girl and her sidekick - with many of the girls securing recording contracts afterwards. Others seem to keep returning to the show which made them famous (a la Eden Espinosa, Dee Roscoli).
But it does extend beyond that musical. Sierra Boggess, currently starting in the Phantom sequel - Love Never Dies is another recent name which has been made semi-famous due to musical theatre. It was Disneys production of The Little Mermaid in which Boggess was cast as Ariel that lifted the stars name into the Broadway stratosphere, and here in lies the solution to Mr Shentons thoughts. Yes - YouTube, and other video sharing websites are bringing these performers to a whole new audience: it is relatively easy to sneak into a Broadway/West End theatre and record part of a show and then post it online a few hours later. But the main reason why these actors are becoming famous now has to do with the particular demographic of the audience. Teenage girls (and teenage boys) are well known for their quick fad obsessions, which although quickly burned out (not always), are very powerful. Look at how quickly the Beatles and Take That rose through the ranks. With the Disneyfication of shows like Wicked (not a Disney production, but very similar themes) The Little Mermaid, Beauty and the Beast and Mary Poppins (both of the latter shows generating their own stars - Laura Michelle Kelly, Scarlett Strallen and Annalese Van der Pol to name but a few), teenagers have strong female role models to look up to.
It is another manifestation of girl power, and teenagers will do what happens less as they grow up - look beyond the show and want to know more about the person behind the character. They are in awe of their talent and wait patiently at stage door at the end of a performance to talk to their icon. They book tickets en masse for the last performance of an actors run, and ever increasingly now, they are staying loyal - at least for a while. They turn up in droves to one off concerts, like what happened at the Ambassadors last night. it is a shame though that other popular shows, which don't have the same fan base do not have the same frenzy of fans surrounding them and so their talent may not get picked up as much in the mainstream.
One wonders how long will it be until this youtube bubble bursts? With the popularity of shows like Glee increasing the frenzy around musical theatre at the minute, it may take some time - which in my opinion is a real shame because here we have men and women who are exceptionally talented (maybe even more so that the pop and rock stars out there), and give all their energy to the fans of the show.
Also not mentioned here are the subsequent television and movie roles that Wicked alumni have aquired.
Idina Menzel - in Enchanted, RENT the movie and obviously more recently GLEE. (Among others)
Kristin Chenoweth - in Bewitched, Four Christmases, Pushing Daisies, West Wing and, of course again, GLEE. (Among others)
Megan Hilty has appeared in Desperate Housewives.
Eden Espinosa had a guest appearance in Law and Order.
Natalie Anderson (2009-2010 London NessaRose) is moving into UK soaps starting with Emmerdale.
This is, of course, amongst other Wicked stars doing similar moves!
I LOVE this article, it really highlights how Wicked has produced such global stars....long may it continue I say!
MH
Elena Roger and Laura Michelle-Kelly are two names that have become fairly well-known through musical theatre, although admittedly neither yet has the level of fame of Menzel or Chenoweth, but then again, neither starred in a leading role of the most successful musical of this decade. I reckon both Roger and Michelle Kelly will go very far. I know the latter branched out into pop music and it didn't really work for her, but the superstar talent is there, in both of them. At least both are now well-known enough to get regular mentions in entertainment gossip columns. That said, I'm not sure what either would have to do to get the same household recognition as Michael Ball or Elaine Paige.
Speaking of Paige, her fame levels have been boosted enormously recently by YouTube...but indirectly, thanks to that comment by Susan Boyle.
I suppose one way to look at it would be to consider that the biggest stars have come from the biggest shows. Michael Crawford was already famous here, but look what Phantom did for his and Sarah Brightman's careers in America. Not likely to have happened without Phantom. Similarly, not likely that Colm Wilkinson would be so big without Les Misérables, or LuPone or Paige without Evita, or Michael Ball without Aspects of Love. All these shows were big in their time because of the hype over them (even if Aspects bombed on Broadway, there was still hype because Lloyd Webber was at his peak, his last show having been Phantom). To get the next big star, you need the next big (and by big I mean massive) show. When that comes along, the originator of the leading role will become a sensation.
I'm dubious about the TV stars. I can't see Connie Fisher achieving long-lasting fame. I don't think she has enough range or talent, even though she was a fine Maria. Lee Mead will last, I think, and he has already shown range by taking on Wilde before going into Wicked (and the Wicked factor will boost him further).
The first commentor makes an excellent point - these Wicked alums are mainly famous due to the huge teenage fanbase Wicked has. These actresses are probably only so well known because of these fangirls (and boys). I'd also add some names to those Broadway/West End performers who are more widely known, and have yet to be involved in Wicked, such as Sutton Foster (Who created the title role in Thoroughly Modern Millie, as well as Princess Fiona in Shrek, among many other starring roles) also, Laura Benanti, Alice Ripley and over here: Julie Atherton, Daniel Boyes. And then there are those who make it on both sides of the pond, such as Patina Miller and Norm Lewis.
Of course the Internet plays a huge part in creating and enlarging the fanbases of all theatre actors - especially in making them globally known. I wasn't around for the start of the fanbases for th older stars you mention (how I wish I had been) but I wonder how quickly and widely word of them spread without the Internet.