“Creating a Broadway show is tremendously challenging. It takes a long time. This is another way to tell these theatrical stories in a medium that has immediate access to a very large audience and can be very immersive and engaging and theatrical and fun,” stresses Berinstein. “People who love theater, not just people on Broadway, can practice their art.
“It’s cheaper to produce something in this medium than it is to put it on stage – and once you’ve made it, you have it,” remarks Ryback. “You don’t have to keep replicating it night after night and employ people forever to have the thing. Once you’ve made the product, you can share it with as many people [as possible], but the making of it has been completed.”writer and lyricist David Zellnik also revels in the freedom this grants creators from developmental hell.
Intimacy is also essential. People predominantly listen to podcasts alone, in their headphones or while driving in their car, making this form of musical theater far more about the emotional listening experience than a communal viewing process. It’s limiting, but in a way that necessitates invention. “You might not be watching it in one sitting,” explains Berinstein. “There aren’t any rules, necessarily, and it’s an opportunity to be very inventive and to try things you can’t really do on stage.
But more than that, it’s a chance to redefine the form entirely, to welcome new voices to the mix, ones that might not have previously felt they had a place within musical theater. As Winter astutely notes, “Musicals are a format, not a genre.” Thus, something like the folk-pop score ofthat draws more on the sound of The Decembrists or Sufjan Stevens than theatrical composers can call itself a musical.
DLChamplin Where is your podcast?!
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