So another reality TV casting round for a live theatrical show is upon us, in which the public are being handed the power to choose the lead for a major role for a forthcoming live production — in this case, one that is already on sale and with the added security of big names already on board, in the case of Tim Minchin, Melanie C and, er, Chris Moyles.
Actually, the latter is symptomatic of the desperate chase for a ‘story’ above direct casting considerations: let’s have a celebrity at all costs and never mind the talent. Moyles may, of course, have been hiding his light under a (Gary) Bushel(l) all this time and may be a stunning actor; but what about all the real, full-time actors out there who’d kill to play Herod?
In the last London revival of Jesus Christ Superstar at the Lyceum, back in 1996, the role was memorably played by the brilliant Nick Holder (whom my colleague Ian Shuttleworth wittily described in his FT review “suggests an inflatable Richard O’Brien”).
The TV casting shows are partly about ‘manfacturing’ celebrity, too; making someone famous for fifteen minutes so the public buy tickets to see them. In this case, they’re making them famous for fifteen (or so) shows: while Lloyd Webber said on Saturday’s opening show, “This is the biggest prize I’ve been able to offer”, an arena tour that was initially announced for an 11-night run is hardly the equivalent of a proper West End run. (Those 11 nights, of course, are being added to — depending on demand that may spring from the TV broadcasts).
But the TV shows also do something else more insidious: they hand the ultimate casting control to the court of public opinion. While there have been the usual round of the hopefuls and the hopeless in the pre-selection auditions, the choice of the final contestants has, at least, been in the hands of Andrew Lloyd Webber (who, as composer of the show, has final casting approval anyway), his professional casting director David Grindrod and the celebrity judges that have been enlisted, including Jason Donovan and Mel C.
Dawn French is also joining them for the live shows; and though I’m not quite sure what exactly Dawn’s credentials are for judging musical theatre — though Jennifer Saunders will no doubt soon be in casting herself for the debut musical she has written, Viva Forever — both Donovan and Mel C know whereof they speak: Donovan has done musicals from Joseph and His Amazing Technicolor Dreamcoat to Chitty Chitty Bang Bang, Sweeney Todd and Priscilla, Queen of the Desert and Mel C was once a wonderful Mrs Johnstone in Blood Brothers.
But if Jason wasn’t judging the show, might he have been tempted to actually join the auditioning hopefuls to be in it? While there have certainly been the usual singing builders and shop assistant/models amongst the auditionees, it’s been striking this time around just how many already established professionals have joined their number; not to mention Jonathan Ansell, who himself first emerged through a previous TV contest when G4, the pop-opera boyband he formed while he was still at Guildhall School of Drama, came second on the X-Factor in 2004 and went on to reach number one in the album charts with their first release and headlines at the Royal Albert Hall.
But lately he’s been chasing a musical theatre dream again, and earlier this year starred in a musical version of A Tale of Two Cities that played briefly at the Charing Cross Theatre. This gave rise, however, to a scheduling conflict over Superstar, and one that created a brief sense of made-for-TV drama: although the run of that show has long finished now, the auditioning process for Superstar and the residential “boot camp” that was part of it clashed directly with when he should have been onstage at the Charing Cross Theatre. “You can’t do that to people who’ve bought tickets in your name because you’ve got a better offer”, Mr Donovan told Mr Ansell.
In the event, Ansell was actually released from A Tale of Two Cities that week and covered by Anthony Hansen; that’s (the) business. But it was also striking to see several other familiar faces amongst the auditionees this year, amongst them, Roger Wright (the original West End Simba in The Lion King and Alex Gaumond (who has starred in both We Will Rock You and Legally Blonde the Musical).
It’s certainly depressing that established talent feels it’s necessary to submit themselves to the indignity of a public popularity contest. Where will this pandering to public taste end? It’s arguable that the best person for the job isn’t necessarily the one the public chooses; and also, of course, that the biggest talent may not be the winner, either. Its possible that Samantha Barks, who came third in the Oliver! contest, is destined for bigger stardom now than anyone on the reality TV shows so far, as she plays Eponine in the film of Les Miserables; but lest anyone think she’s earned that role because of reality TV, she’s in fact been serving serving her dues in Cameron Mackintosh shows, from playing Eponine in the West End, then at the 02 Arena anniversary concert, and finally playing Nancy when the current UK tour of Oliver! kicked off last year.
Andrew Lloyd Webber has often stated that reality TV contests enable people to come forward that he wouldn’t have seen in any other way; but though he might have done well to have avoided Thriller - Live, a quick visit to the Lyric would have introduced him to Roger Wright long before this TV contest. And if he genuinely wanted to see out new emerging talent the traditional way, he could do worse than visit a place like the Union Theatre in Southwark, where my socks are regularly blown off by talent I’ve not seen before. Right now, for instance, there’s an amazing 21-year-old performer Louis Maskell, starring in The Fix. If I can find them, why can’t Andrew, or at least his casting director? Simple answer: because it wouldn’t make good television. And prime time TV casting shows are basically extended commercials for the productions.
There are still some spaces left on The Stage Events’ How to master your musical theatre audition half-day course, hosted by producer and casting director Danielle Tarento on Tuesday, July 17. For more details and to book your place, visit thestage.co.uk/events
Superstar is popular television with the aim of hooking a mass audience in the scheduling hiatus between Euro football and the Olympics.
The Union Theatre in Southwark has a rather smaller public and probably doesn't display the talents of "singing builders and shop assistant/models ".
I know they've always been a glorified advert, but this one felt particularly tacky. That so little time was given to David Grindod I thought was a real shame as it was hiis opinion I was most interested in.
As for Donovan's "Jesus was focused" line, just one reason I'm not going to catch future episodes.
The show already seems to be a ratings flop with only 3.3m viewers on Saturday night rising to 3.5m on Sunday. I think people are tired of the format.
I watched all the shows on the BBC but when ITV announced the involvement of Dawn French as a judge I decided to give this one a miss. I'd rather see the contestants judged by people who have experience of musical theatre or are singers. What a comedienne-turned-novelist can offer wannabe West End performers I really don't know.
From reading blog posts about it the whole thing sounds rather dire and I think it's rather sad when West End leading men like Alex Gaumond and Oliver Tompsett have to resort to reality casting in the hope of winning a role.
I've noticed that despite the stunt casting for the actual show only the first night of the tour is actually sold out.
Dear oh drear! I won't be watching this -I am positively SICK of the format -Peter Kay got it right when he spoofed the lot as Geraldine.If the ratings someone supplied are right it's probably confirming the public's apathy too.
Jason Donovan and his shark eyes and know-it-all demeanour are a put-off for a start.Mel C -the "singer" from the Spice girls has some talent- but please if one is going to pay top price of around £70 let's have some STARS.ALW has a strange view of talent and what the public want and really really want.What meds is he on?
I had to laugh at (in twitter box y'day) "@westendproducer: It would be so much better if the contestants who don't get through get nailed to a cross. Now that's television, dear."
And for those that may have missed it -
http://www.youtube.com/watch?v=vhrrPbC7z2U -have sickbag at ready for final moments.
If the Union Theatre has so much talent, maybe it should consider paying it industry rates. Then we'll all know what we're getting.
Luckily this format has not caught on in the U.S. We did have one show to cast the lead in Legally Blond. As far as I know, this unknown actress originated the roll.
Here in the U.S. we still mine soap operas and sit-coms for our Broadway shows. It's a turn off. The musical theater should be creating it's own stars. Look at someone like Patti Lupone. Does anyone think she would have been the choice for Evita if it had been left up to a TV show to chose?
One American's opinion
"It’s certainly depressing that established talent feels it’s necessary to submit themselves to the indignity of a public popularity contest. Where will this pandering to public taste end?"
Mark, if "established talent" meant a regular paycheck, they wouldn't be doing these shows, but that's never been the case. It's a tough industry where only Michael Ball and John Barrowman can afford to go for months without a paying gig. Isn't it "pandering" for performers to be on Twitter and Facebook, trying to build up their fanbase? I'm no fan of the constant self-promotion you see from some performers on Twitter, but I can't blame them either. Very few of them have PR agents in their retinue, so it has to be DIY PR.
Most auditions involve indignities and rejection, which any professional actor needs to be tough enough to go through on a regular basis. Is it more dignified to work as a dancing banana or Page 3 girl to support yourself? Actors often have to work in telesales, pubs, offices, and retail jobs to survive between stage jobs - very few go directly from show to show.
IMO, professional actors SHOULD dominate these kinds of shows. These performers, with training and experience behind them, ought to be out there showing the larger world what they're missing on the stages of the West End (and beyond).
Yes, these shows ARE deeply flawed, taking advantage of the performers and helping to line ALW's already deep pockets, but they're also rare opportunities for professionals to get the heightened exposure they deserve. Surely any of these performers are more deserving of a major career than Jedward! Come on, those kids are making millions. When you willingly let the clowns take over the stage, you've surrendered to the circus.
Ooh Alice you make a profound and unusual point.
My opinion is that if you're an actor and you've long dreamed of playing a certain role (and by dreamed, I mean it is on your list of roles you KNOW you have the technical and emotional capacity to play) - but that role is being cast through a TV competition - you should go for it.
If the only way to get to the role is to line-up with dozens of builders and untrained performers and submit to an open televised call, then go for it. Because someone is going to win that role, and if you don't go through that process, the closest you can get to it is 1st or 2nd cover when the rest of the ensemble is cast in the usual way.
As Alice explains, professional actors should dominate these kinds of shows. They offer a rare chance for working actors to become stars - to be the names on the poster instead of the person understudying the celebrity who can't sing but who is hired to put bums on seats. In the end, it is an opportunity for actors to get what they want: both the role of their dreams, AND enough profile to make a name for themselves and (hopefully) build a career afterwards.
Are we really expected to believe that a process of this magnitude cannot find ten performers of a sufficiently high standard for the final? If this is not the case, and pandering to 'public taste' is serious problem, then we only have Andrew Lloyd Webber to blame for that. It's also been pretty clear that theatrical and singing talent are not a priority. The fact that this 'audition' is taking place on television shows that. It's pretty blatant, with Mel C already talking about 'eye candy', and less than talented performers being described as having 'a look'. Not much need for acting here if all they are looking for is an image. So if professionals choose to enter these shows, yes, why not, if it's the only way to be seen for a role they want, as long as they realise they are being used to give a specious credibility to the proceedings. And let us not forget that Tim Rice also has a say
I agree with most of above. Hate this format. I am a great fan of stage/movie musicals, but this public audition stinks. When Lee Mead won Joseph, David Ian said he had employed him many times but not seen the potential. That says it all, the professional performers do what they have to do!! It is a very hard life. ALW knows that, but betrays the theatrical community with this rubbish. The sad thing is the TV companies are colluding. It is now like the theatre (especially musicals) are the poor relation of any other medium. Others must have noted that the only shows the public are asked to cast are so called 'classics' i.e. well known established hits. Long time since ALW or anyone else in the West End has come up with anything original!!