THE PHANTOM OF THE OPERA IS HERE you are sunlight and I moon DO YOU HEAR THE PEOPLE SING I want adventure in the great wide somewhere FIYEEEEEERO come with me and you'll be in a world of pure imagination I AM NOT THROWING AWAY MY SHOT it's the circle of life I CAN'T FIND USNAVI!
Remember last year, when all the other interesting, cool Broadway musicals got stuck in the shadow of Hamilton?
Remember how all the beautiful little shows, like Waitress and Tuck Everlasting and Bright Star and Allegiance and On Your Feet were left unnoticed by most, as everyone bought tickets to Hamilton?
Remember how so many shows had to close because nobody wanted to buy tickets to them, because we were so caught up with Hamilton?
I’m afraid that Dear Evan Hansen will become the new Hamilton.
I’m afraid that so many other great, diverse, revolutionary shows will be lost in Broadway history, lost to this eight-person, nearly all-white, musical.
I’m afraid that, in five years or so, there won’t be anyone who’ll remember Natasha, Pierre, and the Great Comet of 1812.
I’m afraid that Groundhog Day will close because people will choose Dear Evan Hansen over it.
I’m afraid that Come From Away won’t get any recognition this season.
I’m afraid that nobody will remember Charlie and the Chocolate Factory for anything other than “Christian Borle was in it.”
I’m afraid that Bandstand, Anastasia, Miss Saigon, all these beautiful shows, will be performing to unresponsive audiences, as bored teenagers, fidgeting in their chairs whisper to their parents “Why couldn’t you have taken me to see Dear Evan Hansen instead? This sucks.”
Don’t get me wrong, Dear Evan Hansen is great, Hamilton is great.
It’s just that I hope the other shows this season are appreciated, too.