
by Christa Ryan
Recent years have seen a huge rise in the number of non-musical movies being adapted for the Broadway treatment. Even now, five musicals currently playing on the Great White Way are adapted from films that were originally not musicals. (The number of movies-turned-Broadway musical grows to 12 when you include movie-musicals adapted for the stage.) An even greater number of movies are undergoing adaptation, several in talks of world premieres and imminent Broadway transfers.
Take Mean Girls, for example. Adaptation for the wildly acclaimed 2004 film was in works by 2013, and it was announced in October 2016 that the musical would run in Washington, D.C. from October 31, 2017 to December 3, 2017. Mean Girls began Broadway previews at the August Wilson Theatre on March 12, 2018 before opening on April 8.
During its first week of previews, Mean Girls raked in a total of $1,320,146 at the box office. That same week, by contrast, the hotly-anticipated revival of My Fair Lady began previews, raising a total of $934,717. While the content and styles of the two shows are quite different – Mean Girls, fueled by the film’s screenwriter Tina Fey with a sharp millennial pop-rock take on a 2004 cult classic, My Fair Lady returning to Broadway with a classic score and a sound spot in the Broadway canon – there is something to be said to the appeal of a beloved movie-turned-musical and the success it begets. My Fair Lady closed July 7, 2019 after 55 previews and 674 performances and a total gross of $79,772,272; Mean Girls, still currently running, has grossed $104,604,844 after 29 previews and 640 performances.
On the flip side, the 1988 Broadway premiere of the musical adaptation of Stephen King’s hit novel Carrie infamously flopped. The musical first premiered to a four-week run in England in 1988, then transferred to Broadway in April that same year at the expense of $7 million, an inordinate amount for the time. After 16 previews, Carrie opened on May 12, 1988 and closed a mere three days later after five total performances. Despite sold-out audiences each night, the show was a critical bomb, becoming the fastest and most expensive flop in Broadway history at the time.
In 2009, Carrie’s original composers Michael Gore and Dean Pitchford and writer Lawrence D. Cohen reworked the musical for the modern audience, simplifying and minimizing the structure and writing new music in a more contemporary style. The revised Carrie opened off-Broadway on March 1, 2012 after 34 previews, and ran for 46 performances before closing two weeks ahead of schedule on April 8. Today, due largely in part to the original production’s iconic flop and the improvement of the content, the musical is a cult hit among theater fans.
The initial flop of the 1988 Carrie and its lukewarmly-received revival in 2012 compared to the current commercial hits of movies-turned-musicals like Mean Girls, Beetlejuice, Tootsie and Waitress call into question, are some movies just not meant to make it to Broadway in this format? Many critics and producers alike believed that the 2012 revival of Carrie to be “fundamentally unworkable;” perhaps the bottom line to an adaptation’s success is whether or not the story, so to speak, sings.









