WHEN I first heard about plans for 1916 – The Musical, I thought it must be a joke. And not just a joke, but a joke in rather poor taste. Who would even think of such a thing, I wondered? Then I searched T he Irish Timesarchive to see if anyone had written about it before, and was surprised to find a mention from as far back as December 1999. On closer inspection, this was a joke. And, er, it was by me: part of an eve-of-millennium spoof previewing events that might happen in the early decades of the 21st century, writes FRANK MCNALLY
Here’s the relevant extract: “On the arts front, 1916 – the Musical is slammed by critics after its opening night at the Point. But producer Michael Flatley rejects the criticisms, especially concerning a controversial dance sequence in which Padraig Pearse (Ronan Keating) tears the skirt off Countess Markievicz (Britney Spears) while the latter sings: ‘Is that an Easter Rising or are you just pleased to see me?’ People should ‘lighten up’, Flatley says.” Oh dear. I would like to apologise belatedly for any offence caused to republicans or Britney Spears fans. And I would also like to express sincere regret at the possibility that I planted the idea of such a musical in someone’s head. Now I know how Yeats felt: “Did that play of mine send out . . .?” While I’m at it, I should also apologise to Michael Flatley, who it turns out has no involvement with the real-life 1916 – the Musical: plans for which by an Anglo-Irish production team have now reached the point of no return.
Vocal auditions are to be held in London next month (see www.1916themusical.com for details), with successful applicants proceeding to record the soundtrack CD. Some may also feature in the stage show. But separate auditions for the cast will follow next year, at venues throughout Britain and Ireland.
Barring a countermanding order issued the night before, calling off all manoeuvres scheduled for the following day, the plan is that the production will open in Dublin some time during October 2011. After that, all going well, it will transfer to the West End, or Broadway, or both. It’s hoped the show will still be wowing audiences come the centenary of the events it celebrates.
Republicans will be relieved to know that there are no skirt-ripping scenes planned. The production will, however, observe most of the conventions of the stage musical, including comic interludes. These will centre on an upstairs/downstairs sub-plot, set in an aristocratic household where, according to the storyline, “the cleaners sprinkle wisdom, wit, and light relief, unaware of the secretive forces at work”.
In retrospect, I suppose it had to happen. The history of the musical suggests that nothing is sacred; or that even if it is, it can still be boiled down to a series of song-and-dance routines. Remember Jesus Christ Superstar, the record-breaking hit from the decade that taste forgot: in which, for example, King Herod interviews the Messiah with a catchy, swing-style number, viz: “Prove to me that you’re no fool/Walk across my swimming pool!”.
At the other extreme, even the Nazis have made it onto the New York stage, albeit satirically, in Mel Brooks's dubious tribute to the genre. In fact, if 1916 – The Musicaldoes prove a hit, Padraig Pearse will be following the footsteps of Max Bialystock in illustrating the triumph of failure on Broadway.
Perhaps a more obvious role-model – and one the producers would clearly love to emulate – is Les Misérables: based on Victor Hugo’s tale of revolution and redemption in 1830s France.
The cautionary tale, on the other hand, is another Irish-themed show: The Pirate Queen, which sank with all hands in 2007 after savage reviews. In this respect, the team behind 1916 – the Musical cannot afford to emulate Pearse by banking on the longer-term popularity of their ideas. Unlike a rebellion, a stage musical needs to be an immediate success to survive.
Although the show is being designed for an international audience, much of which may never have heard of Easter 1916, an important issue for the producers will be how Irish people, and Irish republicans in particular, react. In this respect, my favourite comment about the project so far is from Arthur Morgan, the Sinn Féin TD, who – quoted on the official website – gives it a guarded welcome.
“Of course, there is a requirement that these things will be handled sensitively and wouldn’t be mocked in some way,” he said. Then he added: “I will hold my fire until I see the show.” This last promise will be of some reassurance to everyone involved, but the opening night nerves may be even worse than usual if Arthur is in the audience.