When people search for musicals of musicals, they often discover one of Broadway’s most inventive parodies: The Musical of Musicals (The Musical!). This clever show retells one simple story in five completely different ways. The plot is always the same: a tenant cannot pay the rent. Yet in each retelling, the story shifts into a new musical style, inspired by famous composers like Rodgers & Hammerstein, Stephen Sondheim, Jerry Herman, Andrew Lloyd Webber, and Kander & Ebb.
The magic of musicals of musicals lies in its balance of comedy and tribute. It exaggerates Broadway clichés for laughs but also shows deep respect for the art form. Audiences recognize familiar melodies, characters, and themes, while newcomers enjoy the humor and catchy songs. By mixing parody with homage, the show turns a small conflict into a full celebration of musical theatre history.
Created by Joanne Bogart and Eric Rockwell, the production opened off-Broadway in 2003. It quickly won praise for being smart, funny, and accessible. Since then, it has been performed worldwide, from professional stages to community theatres. Both fans and students use it as a way to explore Broadway’s evolution. In this guide, we’ll cover the storyline, the five musical styles, the characters, the songs, and the show’s lasting influence.
What Is “The Musical of Musicals (The Musical!)”?
At its heart, musicals of musicals is exactly what the title suggests: a musical about musicals. The creators take one ordinary problem—“You must pay the rent”—and reinvent it five times. Each retelling uses the musical style of a different Broadway legend. The result is a fast-paced, witty show that entertains and educates at the same time.
The five mini-musicals parody Broadway’s most iconic composers. Rodgers & Hammerstein bring sunny optimism, farm scenes, and heartfelt duets. Stephen Sondheim adds sharp wordplay, overlapping vocals, and darker themes. Jerry Herman creates glitz, glamour, and show-stopping joy. Andrew Lloyd Webber delivers soaring ballads and gothic melodrama. Kander & Ebb close with jazzy rhythms, cabaret energy, and satirical bite.
What makes the show special is its mix of recognition and surprise. Audiences laugh when familiar tropes appear but also stay hooked by the constant changes in tone. Even those who don’t know the references enjoy the humor, music, and variety. In one evening, the show gives a crash course in Broadway history while keeping the story easy to follow.
The Storyline and Structure
The storyline of musicals of musicals is simple: a tenant struggles to pay rent to a demanding landlord. On paper, this might feel too small for a full show. But the genius is in how the plot is retold. With each composer’s style, the same problem transforms into something completely new.
In Rodgers & Hammerstein’s version, the heroine becomes innocent and optimistic. The landlord is strict but fair, and the setting is sunny farmland. In Stephen Sondheim’s retelling, the heroine is neurotic, the landlord darkly complex, and the lyrics twist into fast-paced riddles. Jerry Herman brings big smiles, sequins, and a flamboyant landlord. Andrew Lloyd Webber makes the rent crisis a gothic tale filled with masked figures and soaring melodies. Finally, Kander & Ebb place the story in a smoky cabaret, where jazz and satire rule.
This structure keeps the show fresh and engaging. Instead of dragging out one plot for two hours, the creators break it into five lively acts. Each one lasts only a short time but delivers big laughs and memorable songs. The design highlights how a single story can feel romantic, tragic, satirical, or glamorous depending on who tells it.
The Five Musical Styles in Detail
- Rodgers & Hammerstein Style
This section celebrates Broadway’s “Golden Age.” It features wide-open settings, sweeping romance, and songs full of hope. Think of Oklahoma! or The Sound of Music. The humor comes from exaggerating wholesome simplicity, turning earnest love songs into playful parody.
- Stephen Sondheim Style
Here, the tenant’s rent problem becomes a psychological drama. Lyrics overlap, rhythms clash, and characters spiral into self-doubt. It parodies shows like Company or Into the Woods, where wit and complexity dominate. The comedy lies in the seriousness given to such a small issue.
- Jerry Herman Style
This act shines with joy, sequins, and show-stopping numbers. The heroine is a glamorous star, and the landlord thrives on applause. Inspired by Hello, Dolly! and Mame, this version sparkles with optimism. The parody exaggerates cheerfulness until it becomes hilarious.
- Andrew Lloyd Webber Style
The rent story turns gothic and melodramatic. The heroine sings haunting ballads, the landlord looms like a masked figure, and the stage feels larger than life. Echoes of Phantom of the Opera and Cats dominate here. The parody highlights Webber’s love for spectacle.
- Kander & Ebb Style
The final act moves into the smoky world of cabaret. With jazz rhythms and satirical lyrics, it recalls Chicago and Cabaret. The tenant’s problem becomes a cynical commentary on society. The humor comes from sharp irony, clever wordplay, and sultry music.
Origins and Development
Joanne Bogart and Eric Rockwell created musicals of musicals to honor and parody Broadway’s greatest traditions. Their idea was simple: take one story and retell it through different musical lenses. By studying each composer’s style, they built a framework that felt both authentic and funny.
The project began as a small workshop. In these early versions, they tested jokes, songs, and parodies. They refined the material until it struck a balance between humor and homage. Every rhythm, chord, and lyric was crafted to echo the composers being honored. This attention to detail gave the show credibility with theatre fans.
In 2003, the York Theatre Company in New York staged the official premiere. The production was a hit, earning praise for its creativity and charm. Critics admired how it appealed to both insiders and casual audiences. From there, the show spread to regional theatres, schools, and international stages. Its flexible design made it popular worldwide.
Characters and Archetypes
The show uses just four main characters: the Heroine, the Landlord, the Hero, and the Villainess. Each appears in all five acts but shifts personality to match the composer’s style. This keeps the story consistent while offering endless variety.
The Heroine is always the tenant who cannot pay rent. Sometimes she is innocent and pure, sometimes glamorous, sometimes neurotic, and sometimes sultry. Her role adapts to the style—farm girl in Rodgers & Hammerstein, diva in Jerry Herman, soprano in Webber, and cabaret singer in Kander & Ebb.
The Landlord ranges from strict to sinister to flamboyant. In Rodgers & Hammerstein’s world he is stern but kind, in Sondheim’s version he becomes complex and threatening, and in Herman’s act he becomes larger than life. The Hero usually rescues the Heroine, while the Villainess creates tension and adds flair.
This shifting of archetypes highlights how style changes perception. A single character can feel inspiring, frightening, or comic depending on how the story is told. That is the core brilliance of musicals of musicals.
Musical Numbers and Songs
The songs in musicals of musicals are parodies but also work as stand-alone numbers. Each is tailored to the musical vocabulary of its composer. The melodies, lyrics, and staging carry echoes of famous shows while twisting them into comedy.
The Rodgers & Hammerstein numbers echo wholesome duets and ensemble pieces, exaggerating their innocence. The Sondheim-inspired songs are full of overlapping lines, sharp rhymes, and chaotic rhythms. Jerry Herman’s tunes burst with energy, glamour, and applause. Andrew Lloyd Webber’s pieces soar with dramatic crescendos and haunting melodies. Finally, Kander & Ebb’s numbers deliver jazzy beats, sultry solos, and biting satire.
Together, these songs create a playlist that feels familiar yet fresh. Fans recognize the nods, while newcomers simply enjoy the clever writing. Each number adds to the laughter and helps keep the pace lively.
Production History
The York Theatre Company premiered The Musical of Musicals (The Musical!) in 2003. The show quickly gained critical and audience acclaim for its originality and fun. Reviewers called it “a parody done with love” and praised its ability to appeal to all levels of theatre knowledge.
Soon after, productions spread across the United States. Regional and community theatres embraced it because of its small cast and flexible design. Schools and universities also staged it, using it as both entertainment and a teaching tool. Internationally, it found success in the UK and other theatre-loving regions.
Over the years, the show has built a reputation as a modern parody classic. Its ongoing popularity proves its timeless appeal and ability to resonate with new audiences.
Reception and Critical Response
Critics praised musicals of musicals for being witty, sharp, and affectionate. The New York Times called it both smart and silly, a rare balance in parody theatre. Other reviews highlighted its broad accessibility—entertaining for experts and fun for casual viewers.
Audiences loved recognizing famous tropes and composers. Theatre insiders laughed at the references, while general audiences enjoyed the catchy songs and humor. Its layered comedy meant different people could appreciate it on different levels.
The show received award nominations and continues to rank among the most-performed parody musicals. Its reputation as both satire and tribute has secured it a long-lasting place in the musical theatre world.
Why “Musicals of Musicals” Matters
This show matters because it celebrates Broadway while teaching audiences about its evolution. By condensing five major styles into one evening, it provides a crash course in theatre history. It shows how storytelling shifts depending on music, lyrics, and tone.
For students, it is a learning tool. For fans, it is a love letter. And for casual viewers, it is a night of laughs and catchy tunes. The flexibility of the concept makes it suitable for everyone, which explains why it has remained so popular for two decades.
Most importantly, musicals of musicals demonstrate the lasting power of musicals themselves. It shows why Broadway traditions remain beloved and how parody can also be tribute.
Lasting Influence and Legacy
Since its debut, musicals of musicals have influenced other parody works. It proved that satire could honor rather than insult. Many modern parody shows now use a similar mix of respect and comedy.
The show also has a strong presence in education. Schools and universities use it to introduce students to Broadway history. It’s a fun way to understand how musicals developed and why different styles matter.
Its legacy lies in its wide reach. From New York to small-town community theatres, it has entertained audiences for years. Its mix of humor, homage, and education ensures it will remain a staple for future generations.
Conclusion
The Musical of Musicals (The Musical!)—often shortened to musicals of musicals—is one of Broadway’s most clever and entertaining productions. It takes a simple rent problem and reinvents it five times, each in the style of a legendary composer. The result is a show that is funny, smart, and deeply affectionate toward the art of musical theatre.
Its blend of parody and tribute makes it timeless. It shows the versatility of storytelling, the richness of Broadway’s traditions, and the joy of musical comedy. Two decades after its debut, it continues to attract new audiences worldwide.
For theatre lovers, students, and casual fans alike, musicals of musicals is more than just a parody. It is a celebration of Broadway itself—a show that reminds us why musicals endure as one of the most powerful forms of entertainment.
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