Special delivery from Grace’s satchel…
Alright, my theatre-loving lovelies—Grace here with a question that’s been buzzing louder than the front row during a curtain call: is the West End starting to play it a bit too safe? Now, don’t get me wrong, I’ve danced in the aisles to Mamma Mia! more times than I care to admit (don’t tell my postmaster), but lately it seems like every other show is a jukebox musical stuffed with hits we already know by heart.
Are we living in an era where the only new thing about a show is the mashup of old songs and glitter? Or is there still space for bold, brave storytelling on our stages? Pop the kettle on and let’s have a proper nose through this, shall we?
In today’s theatre landscape, it’s hard to ignore the dominance of jukebox musicals—shows built around pre-existing hit songs rather than original scores. From Mamma Mia! to Jersey Boys, & Juliet to A Beautiful Noise, these productions reliably fill seats. But their success raises a troubling question: Are theatres becoming too risk-averse? Is commercial safety killing artistic innovation?
Why Jukebox Musicals Dominate
There’s no mystery behind the jukebox musical boom—they work. Here’s why producers love them:
1. Built-In Audiences
Why gamble on an unknown composer when you can bank on the nostalgia of ABBA, Queen, or Neil Diamond? Jukebox musicals attract fans who already love the music, guaranteeing ticket sales without the need for expensive marketing campaigns.
2. Lower Creative Risk
Original musicals are expensive and unpredictable. For every Hamilton, there are countless flops that lose millions. Jukebox shows, by contrast, come with a pre-tested soundtrack, reducing the financial gamble.
3. Easier to Market
It’s much simpler to sell The Cher Show (“You know the songs!”) than an entirely new concept. In an era where attention spans are short, familiarity sells.
The Cost of Playing It Safe
While jukebox musicals keep theatres open, their dominance comes at a price:
1. Stifling Original Voices
Where are the next Sweeney Todds or Rents? If theatres only invest in recycled hits, emerging composers and playwrights struggle to break through. The West End or Broadway risks becoming a museum of past hits rather than a incubator for new ones.
2. Predictable Storytelling
Many jukebox musicals follow a formula: string together famous song whilst many can feel more like tribute acts than groundbreaking theatre.
3. A Self-Perpetuating Cycle
The more jukebox musicals succeed, the more producers rely on them—leading to a feedback loop where originality is sidelined. If audiences are only fed familiar tunes, will they still support daring new work?
Is There Still Hope for Bold Theatre?
Despite the jukebox takeover, some signs suggest that risk-taking isn’t dead:
- Critical & Awards Success: Shows like A Strange Loop (2022 Tony winner) and Kimberly Akimbo prove that original stories can still triumph.
- Off-Broadway & Fringe Theatre: Smaller venues remain hubs for experimentation, where shows like Little Shop of Horrors and Hadestown began before hitting big. Edinburgh Fringe is a hub of new shows. Six the Musical started life at the Fringe.
- Audience Demand for Freshness: While jukebox shows sell, the hunger for something new persists—Hamilton and Six became sensations because they felt revolutionary.
The Verdict: The Industry Must Balance Commerce & Art
Theatre has always been a mix of art and business, but the scales in some respects have tipped too far toward safety. While jukebox musicals aren’t going anywhere—nor should they—the industry must actively nurture original work.
What needs to change?
- Producers should invest in new composers (like Waitress did with Sara Bareilles).
- Theatres should reserve slots for experimental works.
- Audiences should seek out (and fund) bold new voices instead of just the familiar.
So here’s the thing, darlings—jukebox musicals are a blast (who doesn’t love a good singalong?), but if that’s all we’re serving, we’re starving theatre of its future. It’s time to give fresh voices a proper spotlight. Let’s see producers backing bold new composers like they did with Sara Bareilles, theatres carving out space for the risky and the weird, and audiences showing up for more than just nostalgia. Jukebox shows aren’t the villain—it’s playing it safe that’s the real buzzkill. Theatre’s magic is in its power to surprise, stir, and show us what could be—not just what’s already been.
To all the brave producers out there—yes, you, clutching your spreadsheets like a lifebuoy—let me whisper a little something into your ear: not every risk will be a hit, but isn’t that the point? Theatre was never meant to be perfectly polished and predictable. It’s meant to breathe. Some shows will fly, some will flop, but all of them will try. And in that trying, in that beautiful chaos, you might just uncover the next big thing. So go on—roll the dice once in a while. Take a chance on the unknown. After all, no one ever made history by playing it safe (except maybe the accountants).
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