The Most Overrated Musicals of the 2000s

So, it's the end of the year, and also the end of a decade, and that means lists, lists, lists. Other media outlets have been focusing on the best entertainers, the best movies, the best music, etc. A few lists have marginally addressed musical theater, but I haven't yet seen anyone specifically take on the best and worst musicals of the decade. I'll gladly fill the void.

The 2000s represented a renaissance of sorts for musical theater. The previous three decades were often grim, both in terms of the number of shows per season and the tone of the shows themselves. But with the advent of the new millennium came a few heartening trends. First, there was the return of musical comedy (The Producers, Thoroughly Modern Millie, Dirty Rotten Scoundrels, The Full Monty), which was in rather short supply since the 1960s. Second was the "Little Show That Could," small funny shows (Avenue Q, The 25th Annual Putnam County Spelling Bee, The Drowsy Chaperone) that proved that you didn't have to be an overblown spectacle to make money on Broadway. Rest assured that the above-listed shows will feature prominently in the forthcoming lists.

In keeping with my previous lists, I'll be dividing the shows of the 2000s into four categories: The Most Overrated, the Most Underrated, the Best, and the Worst, in that order. Look for the remaining lists to follow over the next few weeks.

The Most Overrated Musicals of the 2000s

10. Thoroughly Modern Millie: Now, truth be told, I actually enjoy Millie, but the show earned its place on this list simply because it beat out Urinetown for the best-musical Tony. Excuse me? Millie is a pleasant diversion at best, with a moderately enjoyable score and a funny-but-slight book. But, as my students point out each year in their "overrated" papers, Millie has at least two songs that serve no function whatsoever -- "Only in New York" and "Long As I'm Here With You" -- both of which happen to belong to Muzzy. Millie is certainly fine for what it is, but it's no Urinetown. Not by a long shot.

 
9. Legally Blonde: Again, there are certain aspects of Legally Blonde that I can appreciate, particularly some of the songs. But overall I found the show lacking any real depth or humor. Even light musicals need three-dimensional characters, and in that department, Legally Blonde comes up decidedly short. The show will doubtless have a healthy afterlife in the high school-community theater realm, and there are certainly worse shows that they could be doing (cf. Fame and Footloose). But, for my money, Legally Blonde ranks rather low in the movie-to-musical genre, and that's not a particularly illustrious genre to begin with.

8. Aida: Call it "The Case of the Disappearing Hit." Aida ran for 1,852 performances, which is about four and a half years. And yet today the show is virtually forgotten. You rarely hear it come up in any discussion of people's favorites, nor even the shows that they dislike or dismiss. Despite its long and presumably profitable run, Aida has become a virtual nonentity. Every once in a while, someone dredges up "Easy As Life" or "Elaborate Lives" for an audition piece or a cabaret performance. And the Boston Gay Men's Chorus, with which I sing, used the number "My Strongest Suit" as part of its Elton John show a few years back. But, overall, the show has sort of disappeared from the public consciousness. In my book, that's an overrated musical.

7. Spamalot: I have two obsessions: musical theater and Monty Python. So you'd think that a show that brought these two together would have me kvelling. Nope. Spamalot was rather amusing in performance, sometimes riotously so. But I can never quite get past the show's score, which is simply atrocious. The musicality is primitive, and the lyrics are forced and awkward. All of which would seem beside the point for the show's presumed fan base, but as a musical-theater aficionado, I must cry foul. Perhaps if composer John Du Prez and librettist Eric Idle had brought in some more experienced hands to shape the score, the result would have been more satisfying. But, for me, Spamalot was a major disappointment. Plus, it beat out The Light in the Piazza, Dirty Rotten Scoundrels, and The 25th Annual Putnam County Spelling Bee for the best-musical Tony, and Spamalot is easily the least distinguished of the lot.

6. In the Heights: When I first saw In the Heights Off-Broadway, I was unimpressed. I found the emotions pat, the plot contrived, and the performances overwrought. The show underwent significant changes en route to Broadway, and the end result was much tighter and more enjoyable. But it's still a cartoon. If you take West Side Story, remove all the drama and tension, and substitute unbelievably noble stick figures for characters, you basically get In the Heights. That said, the choreography was outstanding, and Lin-Manuel Miranda shows promise as a composer and lyricist, although his Spanish lyrics for the West Side Story revival were less than stellar. Overall, either Passing Strange or Xanadu would have been a superior choice for best musical in 2008.

5. Spring Awakening: I think a lot of us, myself included, were a bit dazzled at first by the raw energy and bold presentation of Spring Awakening. The show has a great message to impart, and the style and youthful exuberance were hard to resist. But the show hasn't held up upon repeated viewings, at least not for me. Too many of the songs have scant relevance to the plot. Yes, this was deliberate on the authors' part, but that doesn't mean I have to like it. Also, the show has too many subplots that are left under-developed, particularly the ones concerning abuse and homosexuality. And, try as I may, I simply can't abide by slant rhyme, which occurs in annoying profusion throughout Steven Sater's lyrics and Duncan Sheik's score. It may be an acceptable practice in popular music, but I hold musical theater to a higher standard. Flawed though it may be, Grey Gardens was my choice as best musical of 2007.

4. Movin' Out: I never got to see Movin' Out when it was on Broadway. Let me rephrase that: I never wanted to see Movin' Out when it was on Broadway, where it ran for 1,303 performances. Much as I admire Twyla Tharp, and as iconic as Billy Joel was during my 1970s youth, the idea of the show just never appealed to me. I did finally see Movin' Out on tour, and was underwhelmed. Tharp displayed little of her trademark eclecticism in her choreography, and the show was only sporadically...well...moving. It's no wonder her second songbook effort, The Times They Are a Changin', based on the songs of Bob Dylan, died a quick and ignominious death in 2006. But Twyla remains undeterred, and is in the process of developing Come Fly With Me, based on the Frank Sinatra songbook. The word on the street is that the show is actually quite good, so I'll reserve judgment until I get a chance to see it. But as for Movin' Out, yeah, not so much.

3. Mary Poppins. I remain thoroughly bewildered by the success, and extended Broadway run, of Mary Poppins. I absolutely hated the show when I saw it in London. Friends exhorted me to give the show another chance, and I simply couldn't bring myself to. I found the entire enterprise irritating and shrill, lacking any and all of the charm of the original "Mary Poppins" movie. The new songs added nothing, the staging was pointless, and the set was dull and washed out. I'd rather sit through a revival of Lestat than endure the sheer pain of Mary Poppins again. There aren't enough spoonfuls of sugar in the world...

2. Mamma Mia: It's so easy to bash Mamma Mia. Too easy. I must admit I had fun when I saw it on tour in Boston. But the show is now the 13th-longest-running show in Broadway history, and will soon pass Grease to become number 12. It ain't that good. The book is thinner than parchment, and the well-known songs often feel wedged in with a ball-peen hammer. And the movie...oh, my sainted aunt, that movie. The show somehow works much better on stage, but just the fact that Mamma Mia the show gave rise to that cinematic atrocity is reason enough to earn the show its place on this list. Plus, Mamma Mia was the show that started the whole jukebox musical trend, and for that, it must pay.

1. Billy Elliot: There really wasn't a contest here. For me, Billy Elliot is one of the most overrated musicals of all time, let alone the decade. I saw it in London and was nonplussed. I saw it again on Broadway, and saw just a bit more to admire than I had the first time, but I was still sort of meh. As with most of the other musicals on this list, I'm not saying that Billy Elliot is a bad show. It's just not the second coming, which many people seem to make it out to be. The score is forgettable at best, clumsy at worst. The dance is dynamic, but indistinct. The story is quite moving, and there are some really charming moments throughout the show. But I simply don't think it's one for the ages. The real nail in the coffin for me was when the Tony voters gave the best actor award to all three Billys. Oh, isn't that just adorable. We wouldn't want to have to make an actual decision and hurt someone's iddoo biddy feewings, now would we? The Billy I saw - the now-departed Kiril Kulish - was a terrific dancer, but no great shakes in the acting department. To my mind, Billy Elliot is admirable in its intent, but significantly flawed in its execution. The delightful movie "Billy Elliot" deserved far better.

Comments

[Linda]

I hated Thoroughly Modern Millie when I saw it in California, but I've since listened to the cast recording and I think it might have been better with that cast. But I still don't see what all the fuss was about. Agreed about Spamalot as well. I enjoyed it, but Dirty Rotten Scoundrels was my favorite musical and score that year (I even preferred it to Light In the Piazza). But how can you have a most overrated musical list without including Next To Normal?

[Linda]

I hated Thoroughly Modern Millie when I saw it in California, but I've since heard the cast recording and it probably would have been better with that cast, but I still don't see what all the fuss is about. Agreed about Spamalot also. I enjoyed it, but Dirty Rotten Scoundrels should have won the Tony that year. How can you have a most overrated musical list with including Next to Normal?

[Robbie]

I think that Spring Awakening gets more flak than it deserves. Is it the end-all be-all "RENT" of the decade? No. But it's certainly an interesting look into the teenage psyche and how it doesn't change from year to year (or...century to century).

I also rather like Legally Blonde, and I don't think it gets enough credit. The score is (mostly) very good, and I think the book is tight and funny. Sure, the characters aren't fully fleshed out and Jerry Mitchell's choreography made me feel like I was having a seizure, but it's a fun, light show.

That being said, I agree with the rest of the list. I think that The Producers gets more credit than it deserves, though, and I would definitely add it on. It's a good show, sure, but it suffers from most of the same problems that put Legally Blonde on this list.

I'm very excited for the underrated list. Personally, my favorite show of the decade is Xanadu.

[Gary]

Would have to agree on The Producers. Forgot almost every moment of it the second the curtain fell and it was definitely "rated". Seems like your disdain for slant rhyme punishes Spring Awakening too much. It is far better show than several on this list. I would add Wicked. I enjoy the show and it has held up (as of last year) much better than I ever thought it would, but, for me, it slips into the overrated camp.

[Robbie]

Wow, I just realized that Wicked is not on the list. Huh. I rather think it should be.

[ccaggiano]

Robbie, see my most recent post on underrated musicals. In short: I don't consider Wicked overrated. I genuinely like it.

[Scot Colford]

Movin' Out is number FOUR? Why so low?

[Jeff]

Pardon my French, but how the *hell* did Wicked stay off this list?! I can't think of a more flawed show that's as big a hit! (*maybe* Mamma Mia).

Come on! Legally Blonde, which opened to *meh* reviews and closed without recouping is more overrated than that behemoth?

[Paul Engel]

Great list! But I agree with Rob and Gary that THE PRODUCERS should be on that list. I hated it almost as much as BILLY ELIOT.

[ccaggiano]

Again, Jeff, Wicked is not on this list because I genuinely enjoy the show. So I don't consider it overrated. That's the subjective nature of these lists for you. Ultimately, it's all about what I personally enjoyed, or didn't, as the case may be. Please feel free to devise a list of your own and share it with my readers.

[Kelly O]

totally agree about Billy Elliot. I saw it this past weekend on Broadway and I was so disappointed. The dancing is great and it's good to see kids with such talent. But it was emotionally empty and so cliche.

The point of the story is to be yourself and that dancing is not just technicality but something inside. All I saw was technicality and over-the-top acting. Nothing true inside.

[@Mark_Monroe]

Totally agree about Billy Elliot...but would also add 'Jersey Boys' to that list. Yes it was kinda fun...but whatever. Spamalot however...yes I am a fan.

[Lauren]

I agree that Mamma Mia is overrated. I also saw the film and didn't like it either.
Disappointing since I love Abba. I can't see why you have Mary Poppins on there?! Alright, it's your opinion but it really IS a specatacular show! What disapppinted you about it?
I preffered it to the film becuase it followed the books and how PL Travers wanted it to.
Wicked is very highly thought of and deserves to be. People on here don't seem to understand what overrated means. It means it's highly rated by the media and public but you think it's not that good, you have a completely different opinion from them. I'm glad you liked Wicked. It's my favourite show ever!

[ccaggiano]

Lauren, the paragraph above pretty much sums up my reasons for hating MP. And you can click through on the link above to read my full review. In short, I found it irritating. I'm glad that other people have enjoyed it, but I just don't happen to be one of those people.

As for the meaning of "overrated," you're right. I'm not saying that these are *bad* shows. I'm just saying that, IMHO, they're not quite what people make them out to be.

[Helena]

I'd totally put Les Mis top of that list, easily, it's SO much more overrated than Billy Elliot is, people saying it has the best score ever when it just DOESN'T, nothing like.

Sure, Billy Elliot hasn't got a good score, but it isn't well known for HAVING a fantastic score, like Les Mis is. Also, if there is a Tony Award for best actor, and the shortlist has children in, then it's kindof likely they'll win. Trent Kowalik IS a fantastic actor, and Billy is SUCH a demanding role, which they all pull off brilliantly, though i agree some aren't great actors.

I'd also put Wicked there, but if you like it...oh well! ;)

[Jerel]

I was initially sad to see Mary Poppins on this list. Then I thought about it some more... I've realized I only listen to less than half of the songs from the cast recording, and most of those songs were in the movie... So most of the original songs for me were pretty bland, too. However, I still feel that the show is very entertaining. I feel that the choreography was rather well-done for "Jolly Holiday" and "Step in Time". And I actually had an incredible time when I watched the show. Great blog, by the way.

[Baby]

I'm 14, and all the musicals that you find over rated are the ones that inspire me!
Billy Elliot is amazing, they're so young and have so much talent! Cut them some slack because it's so much weight on such little shoulders!
Legally blonde is very funny and very magical! I love the songs from LB especially 'so much better'.
Les miserable is spectacular.. to me it's almost un human! They set, the characters, the songs, the voices!
Wicked... IS AMAZING, so I definatly agree with you on that one:)
Spamalot I love!! I listen to the songs over and over again!
Mamma mia is more loved than it is hated!!!
Please do not hate me for what I am saying, i'm just sticking up for people's hard work and also what I love:)

[ccaggiano]

Baby, I remember when I was 14, I had very strong feelings about my favorite shows. But I think you'll find that your tastes will change over time. Not necessarily get better, just different. I look back on some of the shows that I loved when I was a teenager and think, "What was I thinking?" And other shows that I couldn't stand as a teenager have become my favorite shows.

Thanks for taking the time to respond. And please feel free to continue to make your views known in the future.

[sean martin]

I saw the national tour of MILLIE and sat there wondering why this piece of twaddle had gotten such great press.

SPRING AWAKENING? I saw it once on Broadway and was tempted to leave a half hour in. Waaaaaaaaaaaaaaaay too much angst.

And I have to admit: WICKED has grown on me. I wasnt a huge fan at first: I felt it was way too much ado over nothing. But over the years I've come to appreciate the quality of its writing and production.

[mitchell]

Hi there

Wow, you really went after some "sacred cows" here.
I agree on Billy Elliot..the dancing is terrific
but the songs simply arent memorable. Same with Mary poppins..one of my favorite movie musicals of my youth, and yet they just didnt get it done on stage. I liked spring awakening when i saw it, but the second time around not as much. I love python and spamalot live although the score is very uneven(it was still worth it just for the song that goes like this, not dead yet, and you cant make on broadway if...) Mamma Mia's a guilty pleasure(the london cast was INCREDIBLE) I banned meryl streep for 3 years from my movie watch list after seeing her in this. Legally blonde previewed in SF so I got to see Laura Bell Bundy several times..not a great musical but definitely good fun and watchable more than once.

I have a great explanation for Aida's disappearance. It is one of my favorite shows (partly because i saw the OBC 5 times and heather headley is a wonder in this role and deserved the Tony. Sherrie Rene Scott was also amazing and Adam Pascal is, well, Adam Pascal.) It was one of the first musicals where i became completely lost in the show while watching it)

Anyone I talk to who saw the OBC loves the show and listens to the soundtrack. I was on the tollbooth crossing the golden gate bridge last year and the booth attendant had the Aida soundtrack cracking and said she listen to it 3-4 times/week)

When they DO revive Aida, the show will play much better if they change two things:

1) Reincarnation must go: most people in the US not only dont believe in reincarnation, many believe it conflicts with their core beliefs. Drop the reincarnation at the beginning and end as a love story that plays over and over, and 1quadruple your audience.

2) DONT KILL THE HEROES: Stephen Schwartz and crew at Wicked studied the heck out of Aida and modeled it a lot, including major and minor themes and even the beginning & ending narration by the female second lead....it was a big hit while they were creating wicked in 2000-2001), and comparing the two musicals may make for an interesting assignment for your students. Schwartz figured out you dont kill the hero if you want the show to be popular(even though she dies in the movie and the book) so they faked her death and everyones happy in the end. When the revived Aida does this, the kids are alright and the audience and return viewers soar for this show.

Aida apparently is a very popular show for school and community theatre productions, in spite of being a very challenging female leas, so i think it will be back....

[Gianluca]

Avenue Q is the most overrated musical of all time. Is it still playing anywhere? It's pretty much almost completely forgotten and dated, especially with Gary Coleman being gone. Wicked is still playing in major theaters, so it's definitely not overrated and should have won the Tony that Avenue Q didn't deserve.

[Hezekiah Pabico]

I disregarded your list simply because Wicked is on your "underrated list" and not on the "overrated".
This list, while I agree with all of them being overrated, is highly a matter of personal perception.
As I was saying, if your definition of "overrated" is getting the attention it didn't deserve, Wicked should be simply somewhere on your overrated list or not in the underrated list at all. That show has the most annoying fanbase ever, more unadulterated loathing than Spring Awakening or In the Heights' fanbase. I understand that you like it much, but dear, it's not just that good. I do respect your opinion, but it's simply not underrated.
Anyway, your top 10 list is true. They're all beloved too much when there still are so many shows out there that deserve much more attention than they're getting. Ciao.

[ccaggiano]

Ironically, your disdain proves my point. People don't take Wicked seriously because it's popular.

And, dear, it *is* that good.