Podcast Summary: MickeyJoTheatre Episode – "Will there be a Barbie Musical on Broadway?"

Release Date: August 3, 2023

In this engaging episode of MickeyJoTheatre, host Mickey Jo delves into the tantalizing possibility of a Barbie musical on Broadway. Drawing inspiration from the global success of the Barbie movie, Jo explores the potential avenues, creative considerations, and cultural implications of bringing Barbie to the Broadway stage. The discussion is segmented into several key areas: the rationale for a Barbie musical, thematic exploration, creative writing and design considerations, and casting ideas.

1. The Case for a Barbie Musical

Mickey Jo opens the conversation by highlighting the immense popularity of the recent Barbie movie, noting its global impact. Recounting a personal anecdote from Brazil where Barbie-themed products were in high demand, Jo posits that the momentum from the film could seamlessly transition to the theater world.

• Quote:
  • "Surely it cannot be too long before we see a Barbie musical on Broadway." (00:00)

Jo emphasizes the business perspective, mentioning that successful franchises often expand into different mediums to capitalize on their popularity. He notes that although Mattel might prioritize film franchises, the theatrical potential for Barbie is significant.

• Quote:
  • "Mattel is probably going to be in conversations, if they aren't already about a Barbie stage musical." (02:30)

2. Setting and Thematic Depth

Jo advocates for setting the musical entirely within Barbieland, arguing that this would maintain the artificial yet vibrant aesthetic that suits the stage medium better than transitioning to the real world.

• Quote:
  • "If there's going to be a Barbie musical, it should be set in Barbieland." (04:15)

He discusses the importance of incorporating themes such as gender roles, feminism, equality, and inclusivity, drawing parallels to the film's nuanced treatment of these subjects. Jo suggests that a Barbie musical could push the envelope further in these discussions compared to existing Broadway productions like Legally Blonde.

• Quote:
  • "Barbie and Ken are a great metaphor for gender roles in society. This is what the film achieved really well." (07:45)

3. Plot Possibilities and Narrative Structure

Addressing the potential storyline, Jo proposes that the musical doesn't need to mirror the film's plot exactly. Instead, it can explore rich narratives within the Barbieland universe, allowing for creative freedom while still addressing essential themes.

• Quote:
  • "Mary Poppins is a great example. It has all the hallmarks without following exactly the same plot." (11:20)

He envisions a plot that could delve into deeper emotional and existential themes, utilizing musical theatre's strength in portraying dualities and inner conflicts.

• Quote:
  • "Musical theatre is very good at doing that, at showing us duality and allowing people to explore their angsty inner narratives." (15:10)

4. Writing and Musical Composition

Jo explores potential collaborators for writing the musical, suggesting talented individuals who could infuse both humor and depth into the production.

• Quote:
  • "Someone like Robert Horne could give us something campy and cheesy." (18:35)

He also discusses the musical composition, debating between various styles—from the pop-infused sounds of Six to eclectic contributors akin to the SpongeBob musical. Jo emphasizes the importance of a soundtrack that reflects the theatrical essence while staying true to Barbie's vibrant energy.

• Quote:
  • "Give us a slightly more theatricalized version of that [the film's soundtrack] for the stage, and it could be brilliant." (22:50)

5. Design and Visual Aesthetics

One of Jo's favorite segments is the discussion on set and costume design, where he envisions a spectacle of pink plastics, oversized props, and dynamic stage mechanics that embody the Barbie aesthetic.

• Quote:
  • "There are so many terrific designers who could have so much fun giving us this pink plastic set." (26:05)

He compares potential costume designs to the iconic work of Bob Mackie for the Cher show, suggesting that the visual elements could be both stunning and award-worthy.

• Quote:
  • "Whoever did this costume design would automatically get a Tony Award nomination." (28:40)

6. Casting Considerations

Jo provides a comprehensive overview of potential casting choices, blending established musical theatre talents with screen stars to ensure both quality performances and commercial appeal.

• Quotes:
  • "Carrie St. Louis would be great at this. Maybe Laura Bell Bundy." (32:15)
  • "Ashley Park would be a great Barbie. I think Alex Newell would be a great Barbie." (38:20)

He underscores the importance of diversity and inclusivity in casting, reflecting the film's commitment to being trans-inclusive, disability-inclusive, and body-positive.

• Quote:
  • "There are so many brilliant performers. I would really enjoy being part of the Barbie universe immediately." (35:00)

For the role of Ken, Jo suggests actors capable of blending humor with sincere performance, citing Aaron Tveit and Jeremy Jordan as ideal candidates.

• Quote:
  • "Aaron Tveit is perfect Kennergy. So much Kennergy and he can give us like the 80s power ballad vocal." (40:50)

7. Final Thoughts and Cultural Impact

Wrapping up, Jo reflects on the broader cultural significance of a Barbie musical, positing that it could offer much-needed escapism and uplifting entertainment amidst Broadway's financial struggles. He also touches upon the "Barbenheimer" phenomenon, suggesting that the musical could resonate with contemporary audiences seeking both fun and meaningful narratives.

• Quote:
  • "A Barbie musical perfect. I think that's a big part of why everyone is going to see it in the theater." (45:30)

Jo remains optimistic about future developments, promising to keep listeners updated as more concrete plans emerge.

Conclusion

Mickey Jo's exploration of a Barbie musical on Broadway presents a thoughtful and enthusiastic case for its potential success. By addressing creative, thematic, and practical aspects, Jo paints a vivid picture of what such a production could achieve both artistically and commercially. Whether it becomes a reality or not, this episode serves as a compelling blueprint for integrating beloved cultural icons into the vibrant world of musical theatre.

Notable Quotes with Timestamps:

• "Surely it cannot be too long before we see a Barbie musical on Broadway." (00:00)
• "Mattel is probably going to be in conversations, if they aren't already about a Barbie stage musical." (02:30)
• "If there's going to be a Barbie musical, it should be set in Barbieland." (04:15)
• "Barbie and Ken are a great metaphor for gender roles in society. This is what the film achieved really well." (07:45)
• "Mary Poppins is a great example. It has all the hallmarks without following exactly the same plot." (11:20)
• "Musical theatre is very good at doing that, at showing us duality and allowing people to explore their angsty inner narratives." (15:10)
• "Someone like Robert Horne could give us something campy and cheesy." (18:35)
• "Give us a slightly more theatricalized version of that [the film's soundtrack] for the stage, and it could be brilliant." (22:50)
• "There are so many terrific designers who could have so much fun giving us this pink plastic set." (26:05)
• "Whoever did this costume design would automatically get a Tony Award nomination." (28:40)
• "Carrie St. Louis would be great at this. Maybe Laura Bell Bundy." (32:15)
• "Ashley Park would be a great Barbie. I think Alex Newell would be a great Barbie." (38:20)
• "Aaron Tveit is perfect Kennergy. So much Kennergy and he can give us like the 80s power ballad vocal." (40:50)
• "A Barbie musical perfect. I think that's a big part of why everyone is going to see it in the theater." (45:30)

For more insightful theatre discussions, reviews, and interviews, subscribe to MickeyJoTheatre on YouTube.