Musical theatre, a vibrant blend of song, dance and drama, has long been a playground for the audacious and the talented. Star and celebrity have always been a staple for glittering marquees of Broadway to the neon-lit stages of the West End, however this has in recent decades become a contentious issue as celebrity as a concept has undergone tremendous change. When looking to fill seats in theatres the phenomenon of casting TV and film stars has become a defining feature, sparking debates as intense as a show-stopping ballad.
The roots of this star-centric approach stretch back to the early 20th century, when impresarios like Andrea Charlot and Charles B. Cochran leveraged the fame of popular performers to fill theatres. Charlot, known for showcasing extraordinary British talent on a shoestring budget, famously collaborated with Noël Coward to stage intimate, actor-led productions. In contrast, Cochran’s lavish spectacles featured the celebrities of his day, often imported from film and radio – a strategy that earned him the moniker ‘the British Ziegfeld’.
Dr Michelle Pretorius, a senior lecturer at the North-West University’s (NWU’s) School of Music and author of a recent study on the topic, explains that the distinction between ‘star’ and ‘celebrity’ is crucial to understanding this evolution. “Stars are performers known for their craft, whose reputations rest on their talent and ability to command the stage,” she says. “Celebrities, on the other hand, are public figures who have transcended their original medium, leveraging their fame across platforms. They are, in a sense, human brands – able to sell tickets as much by virtue of their name as by their talent.”
Her study titled “The changing nature of celebrity in musical theatre: The development of star casting” was published in the journal Celebrity Studies and notes how this commercial power has become an increasingly attractive asset for producers navigating the high-risk economics of musical theatre.
For example, stars like Ethel Merman, whose brassy voice and onstage magnetism made her a Broadway icon, or Mary Martin, who transformed from a little-known film actress into a household name with her roles in South Pacific and Peter Pan, exemplify this star power. In contrast, celebrities often bring pre-packaged fan bases, social media followings, and tabloid-ready personal lives – potent ingredients in a marketing cocktail designed to fill seats and drive ticket sales.
But the path from stage to stardom is no longer the only route to fame. The late 20th and early 21st centuries saw a seismic shift as reality television emerged as a celebrity factory. Shows like The X Factor and America’s Got Talent catapulted ordinary people to global fame, often with little more than a knack for high drama and a few catchy choruses.
Dr Pretorius notes that this shift has fundamentally altered the casting landscape, creating a “new breed of celebrity, groomed for instant mass appeal.”
However, not all in the theatre community have embraced this trend. Traditionalists argue that the art form risks losing its integrity, becoming a mere vehicle for stardom rather than a showcase for true theatrical talent. They worry that the emphasis on celebrity over skill dilutes the craft, leading to productions where vocal finesse and stage presence take a back seat to brand appeal.
Yet, the financial lure of celebrity casting remains compelling. As theatre struggles to recover from pandemic shutdowns and fierce competition from streaming platforms, the draw of a ready-made audience can be a lifeline. For every sceptical critic, there is a delighted producer counting the box office returns of a hit show bolstered by a marquee name.
As the curtain rises on a new era of musical theatre, the debate over celebrity casting is unlikely to fade. Whether a temporary trend or a lasting evolution, the question remains: Can musical theatre balance the glitter of celebrity with the grit of true talent, or will it risk becoming a sideshow in the circus of modern celebrity culture? Only time will tell.
Dr Michelle Pretorius.
