One Wicked Sing-A-Long Debate

For the record, I am not on the side of singing along with the movie in the theater.

That said, I think it is to the theater world’s credit that there is a notable debate raging about whether people should be allowed to sing along during screenings of the movie based on the Broadway musical Wicked.

The movie is very much based on the musical since it is only part 1, though it isn’t advertised as such, and even as Part 1 has a longer running time than the original musical. According to some reviewers the movie doesn’t seem to drag even though it is being stretched out.

Part 2 will apparently contain new songs by composer Stephen Schwartz which may mitigate concerns about people singing along to some degree when that movie comes out.

One of the obvious solutions to the sing-a-long issue is for movie theaters to offer audience participation screenings and no audience participation screenings. After all the same issue came up about a year ago with the Taylor Swift concert movie where some fans felt like there was too much audience participation while others were upset that the next screening over seemed to be creating a more communal experience than they were having. If theater were paying attention the last time, they could proactively address those concerns for Wicked.

I should probably amend that first sentence of this post to say I am not on the side of a sing-a-long when I am not expecting that experience. I have definitely tried to license the sing-a-long version of Song of Music and have hosted a number of screenings of The Rocky Horror Picture Show where participation is expected.

As I said, I think it is great that the debate is occurring with Wicked because it will likely raise awareness about the Broadway show and perhaps generate curiosity about other Broadway shows.

Though stretching the story out across two movies creates a tenuous situation. If the extended version is boring and drags, that could reflect badly on the original show. (I’m looking at you movie adaptation of The Hobbit) If it is well received, it could create expectations that a Broadway show half the length (at least) can’t meet.

About Joe Patti

I have been writing Butts in the Seats (BitS) on topics of arts and cultural administration since 2004 (yikes!). Given the ever evolving concerns facing the sector, I have yet to exhaust the available subject matter. In addition to BitS, I am a founding contributor to the ArtsHacker (artshacker.com) website where I focus on topics related to boards, law, governance, policy and practice.

I am also an evangelist for the effort to Build Public Will For Arts and Culture being helmed by Arts Midwest and the Metropolitan Group. (http://www.creatingconnection.org/about/)

My most recent role was as Executive Director of the Grand Opera House in Macon, GA.

Among the things I am most proud are having produced an opera in the Hawaiian language and a dance drama about Hawaii's snow goddess Poli'ahu while working as a Theater Manager in Hawaii. Though there are many more highlights than there is space here to list.

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