MSNBC: Bring back those cheesy movie musicals!

And look who they mention in the article!

Bring back those cheesy movie musicals!

Where is the ‘Xanadu’ for this generation? Give us our sweet, silly escapism

Vanessa Hudgens graduates from “High School Musical” to “Bandslam.”

COMMENTARY By Tony Sclafani

MSNBC.com, Aug 11, 2009

“Xanadu.” “Sgt. Pepper’s Lonely Hearts Club Band.” “Can’t Stop the Music” starring the Village People. They don’t make ’em like they did back in the 1970s and early 1980s. The reason they don’t make ’em, of course, is because critics trashed ’em and few people went to see ’em.

While some ’70s movie musicals like “Grease” found an audience, more didn’t and the ones that didn’t were such spectacular big-budget bombs that they killed the genre. After that, Hollywood stopped making musicals, with a few exceptions, like “Newsies,” “Chicago,” “Hairspray” and “Moulin Rouge.” The years 1977 to 1980 saw the last gasp of the movie musical and the death of a once-great part of American cinema.

That’s really a shame, because if there’s any one genre that should be brought back, it’s the movie musical. No, really, that’s a serious statement. First, there are already signs of resuscitation. Reuters just reported that Australian actor Hugh Jackman is set to portray circus impresario P.T. Barnum in an upcoming film, “The Greatest Showman on Earth.” There’s also the New York City arts project Break Out in Song, in which actors unexpectedly perform musical theater selections in outdoor public spaces.

Movie musicals peaked in popularity in the 1930s when the economy was lousy. It’s easy to see why. They offer fantasy and fun and an escape from reality. With the worst economy since the Great Depression, we could use a little escapism again. In the past decade, mainstream media has gotten too reality-driven. What’s more fun — and uplifting — than watching Olivia Newton-John and some dancers shimmy to a disco groove?

Hip hop’s aesthetic of “keeping it real” has also lost some of its panache because these days people don’t need to be reminded of how difficult life is. Twitter, Facebook and YouTube have made us privy to everyone’s own private realities.

Enough, already. Part of the purpose of entertainment is to divert us away from the travails of everyday life. This is why good ol’ Bill Shakespeare wrote fantastical comedies like “Twelfth Night” and “A Midsummer Night’s Dream” in addition to his intense tragedies. If Shakespeare were around today, my guess is that he’d only be keeping it real half the time. The other half would be devoted to keeping it ridiculous.

Keeping it unreal
That said, let’s not kid ourselves here. Pretty much every musical from the ’70s took ridiculousness to new levels. They kept it so unreal it was, uh, unreal. Beyond the aforementioned films, there was “The Wiz,” “The Rocky Horror Picture Show,” “All This and World War II” and “Tommy.” You could also throw in the 1978 disco movie “Thank God It’s Friday” (even though it’s not strictly a musical), and two 1980 films: “Popeye,” which gave Robin Williams his first major film role, and “The Apple,” a science fiction musical.

They’re all campy and cheesy, but they’re definitely entertaining. These musicals weren’t appreciated in their day, since they had to go up against heavy hitting fare like “Kramer vs. Kramer.” But they sure work on DVD, where they can be looked upon as unique artifacts from our pop culture past. Consider them part of the American tradition of kitschy cinema, like the B-movies  they make fun of on “Mystery Science Theater 3000.”

It’s tempting to say these films are entertaining now despite the wooden acting, silly plotlines and sillier costumes, but they entrance you because of those very reasons. Since the production values and conceptual ideas are so different from anything these days, they’re able to conjure some of the fantasy world their directors probably intended.

Video
‘Fame’: Sept. 25
A remake of the 1980 film about kids struggling to hone their talents in a performing arts high school.There’s also the escapism factor. While lots of movies offer escape, there’s some sense that reality lurks underneath somewhere. But the peculiar universes conjured up in “Xanadu” or “Sgt. Pepper” have almost no point of reference outside of themselves.

The public is still interested in these movies in one way or another. “Xanadu” got an unexpected second life on Broadway, where it finally found an appreciative audience. Two high profile fans include Entertainment Weekly’s Clark Collis, who penned an essay about why people still love the movie, and USA Today’s Whitney Matheson, who uncovered what happened to the film’s male lead, Michael Beck.

As the EW article notes, “Xanadu” also has a strong following in the gay community; so does “Can’t Stop the Music,” which occasionally shows up on the bill of gay film festivals. And “Sgt. Pepper” got a cooler younger cousin in the 2007 film “Across the Universe,” which used Beatles songs in a more mature way to tell its story. Then there’s the stage and movie success of “Mamma Mia!” the musical compendium of ABBA hits that was the one musical they should have made back in the day but didn’t.

But the main reason for reviving movie musicals is that there’s a newly receptive audience: teenagers. Today’s teens were raised on the “High School Musical” series, which was so successful it graduated from TV screens to the big screen. Teens also flocked to see last year’s Jonas Brothers vehicle, “Camp Rock,” which wasn’t a musical, but came close. Also, when the current crop of teenagers were kids, they were making ’90s cartoon musicals like “Pocahontas” and “The Hunchback of Notre Dame” big hits.

The entertainment industry is already on the case. The teen flick“Bandslam,” opening Aug. 14, looks like it’s meant to build on the success of “Camp Rock.” Again, it’s not strictly a musical, but uses music to tell the story of a teen band (fronted by Vanessa Hudgens). On TV, the musical comedy series “Glee” premieres Sept. 9.

On Sept. 25, a remake of the one successful ’80s musical, “Fame,” hits theaters. If “Fame” catches on, maybe Jackman’s musical will find an audience. His song-and-dance routine wowed ’em at this year’s Academy Awards, so he seems like just the person to get ’em to make ’em like they used to.

Tony Sclafani is a frequent contributor to msnbc.com.

MSNBC story link

CBS News.com report on BREAK OUT IN SONG

NEW YORK, July 20, 2009

If Life Were Like a Broadway Musical

“Break Out in Song” Brings Surprise Dance Numbers to New York Landmarks.

(CBS) This story was reported by CBSNews.com’s Gina Pace and Ken Lombardi

Play CBS VideoVIDEOBroadway SurpriseOnly On The Web: What, at first, appeared as a scuffle on the streets of Time Square in fact emerged as a surprise song and dance routine by the “Break Out in Song” team.

Ever wish that real life were just a bit more like a Broadway musical? 

Well, for New Yorkers and tourists who happened to be in certain spots of the Big Apple this weekend - such as South Street Seaport or Times Square - it did. Dozens started singing and dancing as part of a public arts project, Break Out In Song

Although those who read theater listings would be clued into the performance, most in Times Square Sunday afternoon had no idea that a Broadway number was about to erupt. Although it did seem, as more and more people gathered on the sidewalk, that something was about to happen. 

On these busy streets filled with pedestrians, one man bumped into another knocking him down. A heated argument ensued as, at first appearance, one of the men viewed the accident as an insult. Spectators began to express concern as the conversation seemed as if it was about to turn physical. 

A police officer quickly stepped in to break up the escalating fight. But as a woman started singing “Consider Yourself” from “Oliver!” the police officer, along with the rest of the crowd, realized that it was a performance. Dancers joined one by one until about 40 performers were in unison. 

By the end of the number, the two men had made amends, as part of the routine, symbolizing the sense of unity and inclusion the performers and producers of this show strive to evoke. 

The idea came to producer Ryan Mackey as he would listen to show tunes on his iPod, wishing that he could start singing and dancing. After seeing the viral video of about 200 dancers perform a song from “The Sound of Music” in a train station in Antwerp, Belgium, he decided he wanted to do something similar in New York. 

“Everyone has a song in their heart that’s bursting to come out,” Mackey said. 

Jessica Hartman, who worked as the choreographer for in “Don’t Rain on My Parade” from “Funny Girl,” said that it was key to plan the performances to look good from any angle - so no matter where passersby stood, they could enjoy the performance. 

“We want everyone to feel involved and part of the number,” Hartman said. 

Mackey, whose Broadway credits range from being the assistant director of “The Boy from Oz” to Mel Brooks’ assistant on “The Producers,” started calling in favors from entertainment contacts and formed a non-profit group to raise money for the show. All the dancers volunteered their time. 

He plans on bringing the performances to Chicago, Los Angeles and London - then back to New York City in time for Tony Awards season next year. 

Jessica Lea Patty, who was the lead in “Don’t Rain on My Parade,” said she couldn’t turn it down after hearing of the project . 

“We are brining theater to the masses,” Patty said. “And the reaction of people not expecting it - it will brighten everyone’s day.” 

© MMIX, CBS Interactive Inc. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed. The Associated Press contributed to this report.

Thanks, thanks, and ever thanks!

We cannot thank our performers, directors/choreographers, crew, supporters, families, friends, the venues and New York City enough. BREAK OUT IN SONG was a great success and we couldn’t have done it without you. We look forward to bringing a little bit of Broadway magic to you again very soon.

Our videos will be up shortly and they’ll be just as good as the performances. So please be sure to join our email list to receive the video links, and updates about our future projects.

Until then, let that song out of your heart. You’ll be glad you did.

NY Times covers BREAK OUT IN SONG!

New York Times - City Room Blog

For Dance, 10. For Spontaneity? You Decide.

By LIBBY NELSON

The scene: The Shops at Columbus Circle in Time Warner Center at the end of a weekday.

The audience members: Shoppers and office workers, gathered around the balconies, waiting.

Then it happened: a musical number broke out, as dancers clutching small shopping bags came up the escalators and, reaching the entrance, began moving to “If My Friends Could See Me Now” from the 1966 Broadway musical “Sweet Charity.” It came booming out of loudspeakers.

Though the performance was billed as being spontaneous — just as people start singing and dancing, all knowing the same words and steps, in movie musicals. Of course, the presence of more than 100 people gathered on three floors in anticipation of the performance suggested that it might not have been much of a surprise as the dancers, still holding their shopping bags, took their places in front of the Williams-Sonoma for an enthusiastic, if short, dance.

Ryan Mackey directed Thursday’s performance and has scheduled three more “spontaneous” musical numbers by the group, Break Out in Song. It is the result of a lifelong dream: to bring musical theater to life.

“I’ve always wanted to be in a musical, and I discovered I’m not a very good actor,” Mr. Mackey said. “But it didn’t stop me from wanting a musical to happen around me. I’ve had this whole dream of making musicals happen throughout everyday life.”

So when Mr. Mackey, who has worked as an assistant director on Broadway productions, saw just such a performance on YouTube — “Do Re Mi” from “The Sound of Music” in the Central Station of Antwerp, Belgium — he did what any man with a musical dream would do: cashed in his 401(k) and began planning a similar performance in New York.

Mr. Mackey called choreographers and held open auditions. He picked songs off his iPod — in addition to “If You Could See Me Now,” there is “Don’t Rain on My Parade,” from “Funny Girl”; “Anything Goes,” from the musical of the same name; and “Consider Yourself,” from “Oliver!” He solicited donations from friends and family and tapped into money saved to buy a house with his partner when not enough donations came through. Though the performers worked free and the production team was paid almost nothing, he still got 45 dancers to join the troupe.

Rehearsals sometimes lasted hours, but there was no dress rehearsal in the actual site. As a result, Thursday’s dance had an impromptu, slightly madcap feel, with the production team only one step ahead of the performance. Passers-by were hastily motioned out of the way for the dancers, who were occasionally out of sync. No one appeared to mind.

“If you’re not precise, it’s O.K., because that adds character,” Mr. Mackey had said in a phone interview on Wednesday. “It adds to the whole feel of the project, to the number. Not everybody needs to know how to pirouette, not everybody knows how to dance professionally.”

After it was over, he was smiling. “Now we know what we need to work on,” he said, adding that he was very happy with how it had turned out.

Future performances were planned for Friday, Saturday and Sunday at the Intrepid Museum, Times Square and the South Street Seaport.

The performance had received enough publicity beforehand that it was not really a surprise to many of the passers-by, though those taking the elevator up from the Whole Foods beneath the shops were an exception.

Debbie Engel, who had read about the performance in the newspaper beforehand, said she might have enjoyed it more if it had been completely spontaneous.

“I thought it was very cute,” she said.

As for the dancers, the number itself was brief, ending with a high-energy can-can line. Then the music stopped, the audience dispersed, and — still holding their shopping bags — they melted into the crowd.

NY Times story

NY Press interviews Ryan (BREAK OUT’s producer)

Breaking Out! Guerilla Musical Numbers Take Manhattan

In Section: NY comPRESSed »Posted By: Will AldenRyan Mackey had a dream, and today it’s coming true. His theater group, Break Out in Song, is staging its first performance, a large-scale pseudo-spontaneous dance number at Time Warner Center. Think of it as street performance with Broadway choreographers, hours of rehearsal and hundreds of dancers. Bring your friends, but don’t tell them what’s going on—Mackey wants them to be surprised. 

New York Press spoke with Mackey to get the secret scoop on the biggest, happiest and weirdest musical theater event of the summer.


You’re the creator of Break Out in Song. Where did the idea come from?
Maybe you’ve seen the “Sound of Music” video that’s on YouTube, with 200 dancers in a train station in Antwerp, Belgium. It’s a promotional stunt for a reality TV show. I’ve always wanted to have spontaneous musical theater happen but I didn’t know what to do with it. I saw that video and went, Oh my God, that’s what I could do.

That video is from March. Break Out in Song must be pretty new.
Yeah. Literally I’ve thrown everything together in about two-and-a-half or three months. We’re launching it Thursday. Nothing like this has been done in the city.

You organized several large-scale theatrical performances in public spaces. How?
I looked for iconic Broadway songs that most people would know or would have heard. Then I reached out to a lot of people I knew from working in the business. I only got one response. And then it sort of snowballed, all because of that one person—Jessica Hartman, a choreographer. I got all these choreographers giving me their names. And while I was trying to get the rights to the music, I ended up approaching a lot of venues—iconic locations in New York City. Big areas with open space. The first place I went was Time Warner Center, and they jumped on it. I was really surprised. It was one of those things where they were like, “Please, yes, come here, we want this so badly.” Then I went to South Street Seaport and then the Intrepid Battleship Museum. And finally, Times Square.

Are you making money from this at all?
No, no. I cashed in my 401(k). My partner and I had a house fund that we tapped into because the donations weren’t coming in as much as we wanted. But we’re pretty much on budget. If a dream of mine is about to come true, it’s worth investing my own money for it. I just can’t believe that somebody else likes my idea.

You’ve called the performances “spontaneous.” Does that word really describe what you do?
Well, they are rehearsed. And on our website we are announcing where and when the performances are happening, because we want people to go. But at the same time we want people to be surprised. We want it to feel spontaneous, like in a musical. Not everybody reads the newspaper—that’s the audience we’re looking for.

How do you recruit performers?
We had an open call. People we were so nervous—it was sweet. We told them it’s not about how good you are, it’s about having fun. We just need to assess your dancing ability so we know where to place you. If you show up, you’re going to get cast.

Do you expect passersby to join in?
I hope so. It’s up to them. More than anything I just want to see their reactions.

Do the sites correspond at all to the numbers performed there?
Yeah. For the Intrepid, “Anything Goes” takes place on a cruise ship. And then the number from Sweet Charity, which we’re doing at the Time Warner Center, takes place in a dance hall that’s like a palace. The Time Warner Center is very shiny and big, kind of like a palace.

What are you hoping to accomplish?
I want to inspire audiences to go see a show. There’s nothing like a Broadway musical. It’s one of those art forms you either love or hate, but when it’s done well, people really eat it up. I’ve been in love with musicals since I was seven years old. I would love to inspire another seven-year-old. Really we just want to make people smile, make people happy. There’s something universal about music itself. Everyone has a song in their heart, and this is a way to let it out.


Break Out in Song’s first performance is Thursday at 6 at the Time Warner Center, 10 Columbus Cir. (at Broadway). The performances continue for three more days, at various public spaces around the city. The full schedule is online, at breakoutinsong.com.

NY PRESS Story

Audition day.

Not a bad turn out for a gloomy Father’s Day. We would have preferred to see more men, but we thinks they were probably a bit busy. 

All in all, a very successful day. Thanks to the BREAK OUT team and all those who auditioned!