The Rise of the Jukebox Musical

The rise of jukebox musicals shows no signs of slowing down. Just when you think there can’t possibly be another back catalogue to plunder, another production hits the stage.

But however entertaining a jukebox musical might be, and let’s not be snitty, there are some thoroughly enjoyable ones, is this trend doing long-term damage to the genre of musical theatre?

The most obvious concern is the lack of space for new writing. As jukebox musicals become more ubiquitous, are aspiring composers losing opportunities to study original scores, learn the craft, and develop the small, magical touches that make a musical truly great?

Why the 11 O’Clock Number Still Matters

Nowhere is this more evident than the fabled 11 o’clock number. Named from the days when Broadway shows used to start at 8:30, the 11 o’clock number is the song that lingers, and the one you hum on your way home. The song that makes you tell your friends what a great show you’ve just seen. Every great show has one and finding that hook is a rare talent indeed. Many shows have more than one great song, of course, but there is usually only one that can be classed as a true 11 o’clock number.

Examples of the 11 o’clock number

When I see Miss Saigon, it's Last Night of the World, Movie in My Mind, or Bui Doi that give me chills. But on the train home, it’s the unmistakable intro of American Dream that gets stuck in my head.

 Cats has 'Memory', Wicked has 'Defying Gravity', Phantom Of The Opera has 'Music Of The Night', and Les Miserables. well, where do you start? At the End of the Day? I Dreamed a Dream? On My Own? Master of the House? For me, the ultimate 11 o’clock number in Les Mis is the rousing anthem Do You Hear the People Sing? a true earworm that encapsulates the revolutionary spirit of the show. You can find out more about the songs in our article here.

 The key word when writing an 11 o’clock number? Anthemic.

This kind of song is critical to a show’s success — and that importance isn’t lost on clever writers. John Du Prez and Eric Idle understood it well when they penned the glorious Song That Goes Like This for Spamalot. It’s a tongue-in-cheek parody, but still functions as a genuine 11 o’clock number in every sense.

Jukebox Musicals and Their Place in Theatre

 Jukebox musicals have great songs too, of course. Pick your favourite Carole King from Beautiful, your favourite Kink’s from Sunny Afternoon, your favourite Four Seasons from Jersey Boys. Or if you really want to be spoilt for choice, your favourite Beatles from Let It Be. But here’s the difference: Hey Jude, Waterloo Sunset, or You’ve Got a Friend are already embedded in our musical consciousness. Seeing them performed in a West End show doesn’t necessarily enhance their meaning. Next time I hear the originals it will be just another listen and won’t bring back memories of that night in the theatre.

The Future of Theatre

Are jukebox musicals thriving because we’ve lost the knack for writing that one unforgettable 11 o’clock number?

Or have we lost that knack because jukebox musicals now dominate the scene?

It’s a chicken-and-egg situation and while things aren’t desperate yet, the warning signs may already be there. If we lose the magic of the original musical, we might not realise what we’ve lost until it’s gone.

That said, the theatre landscape remains exciting and ever-evolving. One promising trend is the resurgence of plays with music, a hybrid form that blends the emotional depth of drama with the energy of musical storytelling. Read our article on why plays with music are having a moment 

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