She Used To Be Mine MUSIC 1701 Main Menu Introduction A Song of Self-Rediscovery: The Emotional Depth of 'She Used to Be Mine' in Waitress Music Review Assignment Echoes of Self Playlist and Listening Guide Jenna's Diary Final Major Essay Bibliography Reading Proposals

From Chart Toppers to Curtain Calls: Pop Music’s Growing Role in Broadway's Evolution

46323
In the chapter "Chart Toppers to Show Stoppers" from The Routledge Guide to Broadway, Matthew Lockitt describes the growing intersections between pop music and Broadway (Lockitt 120) He analyzes the pop artist-to-musical theater composer pipeline as well as the recent success of pop-influenced musicals like Hamilton and Waitress. Broadway has integrated popular music into its productions over the years, as it transitioned from being a dominant cultural force in the early to mid-20th century to competing with other forms of popular entertainment, particularly the recording industry. One of Lockitts’ main arguments centers on the fluid relationship between these two musical worlds, where pop music enters Broadway and vice versa. He analyzed specific examples of musicals that successfully bridged the gap between chart-topping songs and the Broadway world. Including Waitress, with music written by Sara Bareilles, a prominent pop music artist (Lockitt 121). As explained in the chapter, "What’s Inside: Songs from Waitress", the solo concept album from Waitress composer and lyricist Sara Bareilles, debuted at number ten on the Billboard 200, while the original Broadway cast recording of Waitress debuted at number 82” (Lockitt 121). This correlation between chart-topping songs and Broadway successes was consistent with the trends at the time, with similarities being seen with Hamilton and Dear Evan Hansen. Lockitt also points to Jukebox musicals as a combination of the genres, where shows like Mamma Mia! or Jersey Boys use pre-existing pop songs as their foundation. These examples show Broadway's adaptability by integrating music that had already been successful commercially. In terms of sources, Lockitt draws on a wide range of materials: critical reviews, box office data, interviews with composers and performers, and historical context from previous Broadway productions. By interpreting these sources, the author recontextualizes pop hits within the framework of Broadway’s history, showing how shows that may have originally been dismissed as “too commercial” or “lacking in originality” actually contributed to the evolution of musical theater (Lockitt 123). The argument that Broadway's blending of genres was an important cultural benchmark is compelling, particularly when examining how this new approach revitalized Broadway and expanded its audience base. Using examples like Jukebox musicals strengthens the argument by providing clear, tangible instances of pop music’s impact on the stage. However, the chapter could be critiqued for oversimplifying the tension between "high" and "low" art, a binary that often underpins discussions of Broadway versus pop (Lockitt 123). Lockitt acknowledges this tension, specifically regarding how it pertains to the actors. However, he does not fully explore the nuances of how certain critics or audiences respond negatively to the integration of pop music, particularly when it comes to questions of artistic integrity. This leaves room for further investigation into the reception of such musicals and their creative processes. Additionally, while providing a solid overview of pop’s influence on Broadway, it could go deeper into how the crossover affects the broader category of musical theater production, especially how this trend influences the work of new composers. The focus remains on the impact of commercial success, without much consideration of whether or not this has benefited artistic expression within the genre. Lockitt’s approach to interpreting pop music’s influence on Broadway is useful as a framework for understanding how "She Used to Be Mine" by Sara Bareilles was so successful as well as analyzing its impact on the Broadway community. It also opens up room for critical analysis of how commercial pressures may have influenced her during the songwriting process. He also mentions her tendency to guard her “unfinished” pieces, a proclivity she had to overcome in order to be successful (Lockitt 124). It would be interesting to see how different the soundtrack would have been if she could have written it in her typical process. The article is an interesting look at the overlap between two seemingly unrelated industries and how they continue to grow closer together over time.  The article is an interesting look at the overlap between two seemingly unrelated industries and how they continue to grow closer together over time.

This page has paths:

  1. homepage Annabelle Newberger