Pop songwriters find excitement in stage musicals
FILE - This Nov. 5, 2012 file photo shows John Mellencamp performing during a campaign rally at the American Civil War Center at the Historic Tredegar Ironworks, in Richmond, Va. More and more singer-songwriters from the rock and pop world are turning to the stage. Mellencamp, Sarah McLachlan, Tori Amos, Edie Brickell, David Byrne, Fatboy Slim, Burt Bacharach, Elvis Costello and The Flaming Lips are making musicals. (AP Photo/Matt Rourke, file)
NEW YORK (AP) — There was a time when most of the songs played on the radio came from Broadway. Now some popular hit makers like Cyndi Lauper and Sting are finding it still feels like home.
"Look, they don't break your balls that much here," Lauper said of the experience of composing "Kinky Boots," her debut musical. "Know what I'm saying? They don't friggin' aggravate you as much."
More and more singer-songwriters from the pop world seem to be hearing that siren song: The trickle of pop and rock stars turning to the stage is fast becoming a flood.
Besides Sting and Lauper, stars such as Sheryl Crow, John Mellencamp, Sarah McLachlan, Tori Amos, Edie Brickell, David Byrne, Fatboy Slim, Burt Bacharach, Elvis Costello and The Flaming Lips are making musicals.
The reasons are as varied as the different sounds those artists create: Broadway represents a new challenge. Or it offers a refuge from poor CD sales. Or they simply got asked.
"The record companies gave me a lot of grief for a long, long time," says Lauper, who teamed up with Tony-winning playwright Harvey Fierstein and director-choreographer Jerry Mitchell for "Kinky Boots." ''These people wanted me to be part of their team. I was so flattered."
Lauper — and Tim Minchin, the songwriter for "Matilda: The Musical," her chief competitor for the best original score Tony this year — have managed to find success on Broadway by learning the difference between writing songs for an album and penning ones for a show.
It's not as easy as it sounds, as recent history shows.
Big names in the pop world have sometimes stumbled on Broadway, including Paul Simon, whose 1998 show "The Capeman" was the most high-profile failure of his career. "Taboo," Boy George's foray into the world of musicals, went fine in London but not in New York.
The gold standard for a successful transition from the pop world is Elton John, whose repurposed music for "The Lion King" film has helped make the stage version a global phenomenon. He's also had success with "Billy Elliot" and "Aida."
U2's Bono and The Edge seemed to have initially bungled their Broadway debut with "Spider-Man: Turn Off the Dark" only to have it become a box-office success. And keyboardist David Bryan of Bon Jovi scored with the Tony-winning "Memphis."
Duncan Sheik can see it from both sides — he's the Grammy-nominated writer of the song "Barely Breathing" and the Tony-winning music writer of "Spring Awakening." His latest is "American Psycho," which debuts in London this winter.
"There's definitely an art to be able to write a song that on one level is a pop song and one that also has to tell a story and keep an audience engaged in terms of a larger narrative arc," he says.
"When you're writing a song for the theater, it has to accomplish all this other stuff. It has to work in tandem with all these other agendas and creative impulses," he adds. "It's hard to get it right."
Of course, taking already existing hits and throwing them onstage — the so-called jukebox musical — is easier than writing new material and hoping fans will come.
Successful jukebox shows include "The Who's Tommy," Green Day's "American Idiot," the ABBA-fueled "Mamma Mia!" Billy Joel's "Movin' Out" and "Jersey Boys" with tunes by Frankie Valli and The Four Seasons. The Tony-winning "Once" used existing music by Glen Hansard and Marketa Irglova.