Rob Kendt of the Wicked Stage links us to Johann Hari’s insightful article regarding the glut of escapist musicals populating the West End. 

“Every summer, we are told London’s commercial theatre is getting more saccharine and stupid. Where are the serious plays? Why must we drown in Andrew Lloyd Webber’s flopsweat? But the truth is that the energy for serious plays in London has always come from the subsidized sector, which is still as healthy as a plump baby…”

The article goes on to site several musicals running in the West End that are good for a belly laugh, but still have some meat to them (Avenue Q, The Drowsy Chaperone), as well as a couple that run a bit deeper in their message, subject matter and symbolism (Cabaret, Sunday in the Park with George).

Hari suggests that rather than scoff at the escapist nature of some of these shows, that we instead embrace the chance to escape from the stresses of our lives for a few hours’ entertainment.

He also makes the point that every theatergoer needs a balanced diet, and as The Playgoer points out, via this preview of what the New York International Fringe Festival has to offer, there is plenty available that may push the envelope, change the rules, and make us think a little more than, say Jersey Boys.

I have always been one to go to theatre (or film) that I don’t really know much about, in the hopes that I will discover a gem ([title of show], The Sleeper, All in the Timing, Floyd Collins). Of course, this sometimes results in a painful evening of theatrical torture, after which I am willing to buy back that two (or three) hours of my life at any price (Bombay Dreams, Fame, too many productions of La Ronde). But I usually leave pleasantly surprised, with a new point of view, thrilled by the display of creative talent, or shocked into a temporary numbness that I eventually shake off as I continue to mull over the images and language that has taken me there.

So rather than kvetching about the dirth of serious theatre, or sticking only to the “safe bets,” I say “Just Go.” Go to the theatre—any theatre—and escape, get angry, discuss, think, laugh, cry, sing—then repeat as necessary.

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