One for the money, two for the show

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Q.� What do rock stars do when they're too old to rock < xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

A.� It appears from an increasing trend, that they turn to the stage, and compose musicals.

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Q.� Musicals as in Annie Get Your Gun, that kind of thing

A.� Well, in the sense that they are staged with dancing and singing, yes, but more often, rock stars will use their own work as a basis for a musical show.

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Q.� Why would they do that

A.� It's probably based on the well-worn theory 'write what you know' coupled with the advantage of using a well-known name and some familiar songs to get the audiences in.�Theatre success is a different medium entirely, it's not radio-play and record sales, it's about bottoms on theatre seats, an entirely new audience.

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Q.� So who started this journey down the new Musical path

A.� First and foremost is Pete Townsend from The Who, his famous 'rock opera' Tommy showed that it was possible for rock musicians to compose work for a different genre, and the mood has caught on. Even Cliff Richard confounded critics by successfully staging and starring in the musical Heathcliff.

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Q.� So it's a sure fire success for any rocker who has made the grade in albums and concerts

A.� No, Paul Simon, one of the most gifted songwriters of his generation took a severe critical and financial mauling with his attempt to switch formats with Capeman. The show closed after just sixty-eight performances on Broadway, having cost nearly �8 million pounds to stage. Unlike rock and pop music, the critics in theatre really do have a massive impact on potential audiences, and in this case, Simon's reputation as a songwriter of considerable standing proved worthless�- the newspapers took endless swipes at his new project, the audiences stayed away in droves, and the production collapsed, a salutary lesson for others thinking of trying their luck.

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Q.� Is it really anything to do with rock stars being too old to rock and roll any more

A.� There's probably an element of that involved. The rock musical is usually an outlet of established musicians who certainly don't need the money any more, and are maybe of an age when trekking around the world playing concerts has lost its initial appeal. They are more likely to find financial backing for a different enterprise, given that they have a proven back catalogue to use for their new venture.

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Q.� That doesn't say much for the notion of originality does it

A.� It doesn't, but box office receipts and long-running stage shows show that there is a secure market in the safe and familiar. Take Mamma Mia as a case in point�- a plot based around the perennial popularity of Abba songs, proof if any were needed that there is a massive market to be tapped by re-cycling well-known pop music to its original audience, who are now coincidentally the age and income bracket who are more likely to find a West End theatre more to their taste for a night out, than their local music venue.

Q.� OK, who else is trying their hand at writing musicals

A.� The list is growing, and in no particular order�- Bruce Springsteen has written a show called Drive All Night, based on a young man returning to his hometown after graduation, putting the 'write what you know' ethic to work in no uncertain terms! Billy Joel has put together Movin' Out, which uses twenty-six of his songs as a framework to tell the story of six friends over a twenty year period. In New York, producers are encouraged by the reaction to Eli's Coming, a production based on the songs of Laura Nyro, which enjoyed sell-out audiences and a healthy trade in touted tickets during its initial run in Massachusetts. Closer to home, Roger Taylor and Brian May from Queen are finishing work on their musical opus, We Will Rock You, which will include We Are The Champions, We Will Rock You, and Bohemian Rhapsody, with linking material written by Ben Elton. Given Queen's popularity, which is bigger now than before the tragic loss of Freddie Mercury, they should be assured of a hit.

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Q.� Is this a good thing for rock, or for musicals

A.� Opinions are mixed on this. Part of the reason why rock stars are moving into theatre is the simple fact that audiences from the heyday of rock and pop, the sixties to the eighties, are now of an age where they have the income and the attitude to entertainment that supports theatrical productions at least as much as standard concerts. Coupled with the proven 'comfort zone' of familiarity in the music of their past, and the willingness of their heroes to move into this type of entertainment, the future of rock musicals looks set to thrive. Inevitably, some will fail, but unlike rock and pop formats, musicians will be less able to rely on hype and trends, their work will have to stand up to more rigorous tests.

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Andy Hughes