I loved Pippin, myself, but I was the music director/pianist for our high school production of it, so I may be biased. Still, I loved the 70s music in it, the storyline, and it very much reflected the sorts of thoughts I was wrestling with in my head as a kid about to embark on his future, trying to find meaning and place. It was very relatable. I’ve seen a university production of it twice since, as it just speaks to my soul. I still play the original cast recording (not the new one) from time to time in its entirety. It’s the only musical I’ve seen that I’ve truly loved through and through.
In fact, I was referring to the Roger Corman film-- I’m a huge Corman fan. Also, Nicholson played the masochistic patient, not the dentist himself. The ending of Corman’s film is horrifying.
I’m a big fan of Pippin, mentioned a few times already, but I don’t think it’s a great introduction to musical theater. The first act is great, the second act is too slow (common for a lot of muscial theater, IMO).
A more recent show is The Producers, which has a lot of great characters, humor, and catchy tunes with a plot that anyone can understand.
I’m curious, what are ‘normal’ prices these days?
Yeah, I think in the end, it’s going to vary so much by person. I didn’t find anything objectionable about Pippin’s pacing. For me, it was the ideal introduction. Like if I were introduced to musicals via Gilbert and Sullivan, I’d probably never see a musical again. (Yes, I know they’re genius, and, yes, Pippin has a G&S homage song, but I couldn’t stomach two hours of it.)
IIRC around $180/ticket (give or take $25).
ETA: That is in Chicago which is more expensive than most other places except New York and London.
Cuba was a glamorous destination spot. Tons of people went there to party before the revolution. Especially gangsters. They basically ran all the casinos and nightspots. Lots of the “beautiful people” went to Havana to party.
Grease never took itself seriously and that worked for me. I have only seen a few since, including Little Shop of Horrors, and Grease is the only one I’d see again.
We saw an excellent kid production of Les Miz. It was staged in a quonset hut on an old Pt. Mugu naval base (I think it was a naval base since it was near the ocean). Really great singing. The only flaw was an old lady in the audience whe hadn’t turned her phone … and it rang right during Fantine’s solo!
People have varying (and often incoherent) tastes, and those tastes are likely going to make it hard to predict how one might respond to any of a wide variety of shows, even if that person is open to musical theatre as an art form.
Lots of shows that are considered “good” shows have already been listed, but knowing 0 about my potential advisee, other than that they are already skeptical about or dislike the art form, I don’t know what to recommend. What else do they like? What do they dislike about musical theatre? Are there subjects they are passionate about? Periods in history? Styles of music?
I figure if, in 2025, someone tells me they don’t really like musical theatre, I am likely not going to try to change their minds with anything written before 1980 (to pick a not-arbitrary but not-precise date).
Golden age? Gilbert and Sullivan (as a genre musical theatre adjacent, but truly in proto-form and not a good representation of musical theatre)? 1970s abstract choreo-extravaganzas? I’ve got to imagine that these are the very things our imaginary person thinks of when they say they don’t like musicals. I doubt that seeing My Fair Lady vs. The Music Man vs. South Pacific is going to be the decision that unlocks it for them.
Sorry if I’m being overly negative, but without more info, this all just turns into a list of “stuff I think is really good”.
Little Shop is one of my favorite, but I’ve been shocked at how many people don’t really like it, and/or find it too weird. To me, it’s one of the more perfect small-scale musicals.
I like the recommendation of Hairspray. As has been noted, really catchy tunes, the story is fun and thoughtful, there is a strongly-realized setting of time, place and politics supporting the fantasy musical-theatre world (1962 Baltimore ‘is a character’) that adds relevance and realism, and the music fits the era, which provides a sense of authenticity and also maybe takes one out of the world a bit less than some other musical approaches.
In The Heights is a recommendation for similar reasons.
In the end, if someone is just not excited about musicals, and assuming they have experienced a sample size of at least 2, I wouldn’t try to change their opinion. It’s like if someone watched one or two Star Wars properties and then said, “eh, I don’t really care much about Star Wars”.
You might be inclined to say “but that’s just because you haven’t yet seen [A New Hope/The Mandalorian/The Phantom Menace/Andor]! Come over and I’ll have you watch this one that I’m sure will change your opinion!”
… maybe occasionally that works, but most of the time, they’ve already decided how they feel about the whole thing. Watching the right episode or movie isn’t going to radically shift their thinking, and now they’re going into each new experience knowing that it’s something they probably won’t like but have to watch it because their friend/spouse/relative has some emotional need for them to like this thing.
I caught this on Broadway and really loved it as well. I think folks don’t talk/think about it because it doesn’t get done that much- the casting needs are difficult to meet in amateur/community companies.
[Ed McMahon] You are correct, sir! [/EMcM]
Also true for Porgy and Bess.
Can confirm. I do a lot of TV these days, and I find closed captions to be a must.
When it comes to seeing a musical on stage, I’ve found that listening (sometimes numerous times) to a cast recording has been very helpful, in terms of understanding what I’m hearing and relating to what I’m seeing. I didn’t do that before I saw Company, and I feel that that kept me just a bit behind the curve during the performance (or it could have just been Sondheim being Sondheim).
Several of my favorites have been listed, Little Shop, Hairspray, Cabaret, Jesus Christ Superstar, Les Miz. Another favorite is Fiddler on the Roof. The stage version is very intimate. I was fortunate to see Topol doing it. Another favorite is Sweeney Todd. Very epic. The movie underplayed it, as it’s very operatic.
My introduction was Pirates of Penzance. On Broadway with Kevin Kline/Linda Ronstadt/Rex Smith/Tony Azito. Loved it, way over the top acting and production. Later I saw a traditional Pirates by a light opera company - still enjoyed it, but mainly because I knew the material. Would not have impressed me as my first experience - lots of standing around, not much swashbuckling.
I think the OP is impossible to answer without knowing the person in question. Last fall we took a trip to New York and saw Hadestown, &Juliet, Suffs, and A Wonderful World (busy weekend). All fantastic shows, but each very, very different from the others. Any one would be good for a noob, but for very different noobs.
I thought about seeing Hadestown, based on hearing a couple of the songs, but when I got the whole soundtrack, it gave me a sad, dark vibe overall (I know, go figure, right?)
Also, I’ve probably missed Patrick Page by now!
I saw that on Broadway with Brent Spiner as John Adams. It was excellent. Great cast.
Les Mis is my favorite musical. I’ve seen it several times on Broadway and I’ll see it again when it comes back.
I saw The Producers with the original cast. I don’t think that will be matched.
I saw Spamalot with the original cast. I would hesitate to bring someone who doesn’t like Python.
The last play I saw was Book of Mormon. Not the original well known cast but they were excellent. I would never bring someone who wasn’t ready for the humor. It can be rough for someone who doesn’t know what they are in for.