Podcast Musicals: A Manifesto
The word “theatre” originally meant “seeing place”. What happens when there’s nothing to see?
Podcast musicals, that’s what. Niche? Yes. Faintly ridiculous? Perhaps. But perhaps also a radically democratic new art form with the power to shake up Broadway.
To be clear, I’m the opposite of an impartial observer. I’m currently developing a podcast musical of my own: it’s called Echolocation, and you can read more about here. I started writing it because I think podcast musicals are an incredibly exciting, untapped art form. So let me try to convince you why you should think so too.
What is a Podcast Musical?
Let’s define a podcast musical as a musical designed to exist only for the ears. They’re usually episodic, but don’t need to be. They’re usually limited (i.e. not open-ended), but don’t need to be. There’s usually dialogue in between songs, but hey, there are no rules.
There are, however, some wonderful recent examples.
Like what? Well, some of the biggest hits include 36 Questions, Anthem: Homunculus and In Strange Woods – although Chris Littler, co-author of 36 Questions, has compiled a fuller list here. These podcast musicals have glittering casts and Broadway-level sound design. They’ve accumulated many millions of hits.
The earliest of these, 36 Questions, was released in 2017 – but concept albums have been around for decades, and produced some blockbuster hits: Jesus Christ Superstar, Hamilton. Skip Bronkie (co-producer of 36 Questions) once told me how the Hamilton album inspired him to create a podcast musical, because it showed him just how immersive and awesome the fusion of the two worlds can be.
So: podcast musicals tell stories acoustically, with the help of songs, and tell them dramatically rather than narratively. (They’re audiodramas, not audiobooks.)
Why might they shake up Broadway?
Here are five reasons.
Point 1: Podcast Musicals are an Art Form Unto Themselves
Podcast musicals aren’t just reduced musicals; they’re a distinct, parallel art form in their own right. Yes, compared with a stage show, you certainly lose some tools: sets, costumes, lighting, props. A large cast of characters can get confusing. It’s harder to make abstract dramatic choices, as you risk alienating the listener (who – unlike a theatre-goer – can simply switch you off).
But podcast musicals are a Sound Designer’s dream. There’s an intimacy almost impossible to achieve onstage; the characters can whisper, and it’s like they’re in your ear. Conversely, the whole world opens up: you can be underwater, in a rocket, trapped in the belly of a whale – and reach a level of realism unavailable to the stage.
The musicality throws up even more possibilities. Underscore can meld with soundscape. Voice doubling is easy. Orchestrations can be impossibly lush. Many of the practical constraints incumbent on a stage show simply evaporate.
It’s hardly surprising, then, that...
Point 2: Podcast Musicals are Already Extremely Popular
The history of (self-described) podcast musicals is brief, but illustrious.
36 Questions has been optioned by Netflix, who were keen to capitalize on a runaway grassroots hit. Anthem: Homunculus boasts a dazzling constellation of musical theatre legends: John Cameron Mitchell, Patti LuPone, Glenn Close, Cynthia Erivo. In Strange Woods was a cracking lockdown success, starring Patrick Page and winning acclaim from the New York Times and Wall Street Journal.
That’s not all. Cast albums, the sister of podcast musicals, are often insanely popular because they reach people that the live shows themselves cannot. Hamilton, Dear Evan Hansen, Be More Chill, Six: all had wildly successful cast albums that helped launch them into the phenomena they are. They were popular not just because of the songs, but because the songs told a story.
And the need for podcast musicals has been made more urgent by the pandemic.
When theatres were shut, millions of people flocked to “theatre by other means” – Zoom readings, filmed performances and so on. Podcast musicals are especially good theatrical escapism, because they aren’t a 2-D representation of a 3-D art form. With a podcast musical, you get the full experience, exactly as it was designed, at the touch of a button.
Point 3: Podcast Musicals are Dirt Cheap
An Off-Broadway show might cost a million dollars and reach a few thousand people. A podcast musical can easily reverse those numbers.
So what?
Well, because podcast musicals are such nimble, flexible propositions, they’re often able to attract big stars. 36 Questions starred Jonathan Groff, and took a mere nine days to rehearse and record. John Cameron Mitchell, describing the recording process of Anthem: Homunculus, quipped, “There were great flexibilities... Glenn [Close] would be in Montana and I’m like, ‘I need you to tell me to f*** off; could you put a towel over your head and record yourself in your iPhone and text it to me?’ She’s like, ‘No problem. How many f***s?’”.
And, crucially, because podcast musicals are so cheap to produce, that means...
Point 4: Podcast Musicals are Radically Accessible
Broadway shows – often seen as the crème de la crème of American theatre – are horrendously expensive. A halfway decent seat might easily set you back $200. For the 99% of people who don’t live in NYC, there are travel and accommodation costs as well.
And that’s assuming you can even get in.
Some theatres, designed in the merry days of yore, lack proper accommodations for disabled patrons. The ancient buildings are hostile to wheelchair-users. Captioning devices are few and far between. Blind and low-vision people often get little to no assistance. Not to mention, the shows themselves rarely feature disabled folks, even in parts where the character is disabled. (And I’m no authority: please check out the work of my incredible friend Alie B. Gorrie to learn more and feel generally inspired!)
Podcast musicals aren’t a panacea – nor should they be compensating for mainstream theatre’s shortcomings – but, in themselves, they’re radically accessible on both ends. They’re financially accessible for listeners and producers alike. They’re accessible to listeners and actors with disabilities.
They also provide emerging writers with a route into the fortress of American theatre.
Point 5: Podcast Musicals are Great for Emerging Writers
There’s famously no formula for making it in showbiz. You throw spaghetti at a wall and hope some of it sticks.
Podcast musicals are an awesome spaghetti-maker.
Stage shows are bulky and expensive. Producers are understandably hesitant to take a million-dollar chance on an unknown writer. But podcast musicals open up lush vistas. Writers can essentially self-produce high quality work, at literally any price point – you can do it for free, or five grand, or fifty. You just need to watch enough Youtube tutorials on how to navigate Logic Pro.
And hey, at the end of it all you might go viral. Even if you don’t, you’ll probably reach several thousand people. Even if you don’t, it’s a heck of a business card.
All Right, So Why Haven’t I Heard Of Them?
I have no idea why more folks haven’t given podcast musicals a go. But I have a few guesses.
There aren’t that many musical theatre writers, and audiodrama is quite weird. Fully- fledged podcast musicals are new enough that they probably haven’t registered on too many people’s radars. And at some point, you’ll need to create a “proof of concept” – which demands sound engineering skills that writers may lack.
But most importantly, a limited fiction podcast is a hard sell to advertisers. Why?
Well, unfortunately, commercial podcasts make money largely through advertising, and advertisers often don’t want to sink money into a podcast with only a few episodes, especially if it won’t have another season.
But as Lauren Shippen (producer of In Strange Woods) pointed out to me, that may be changing. Arguably, fiction podcasts should an especially fruitful place for advertisers to advertise, because they’re evergreen. People don’t listen to yesterday’s news, but art lasts forever. It may be “limited”, but only in the same way as Hamilton is.
By the way, Hamilton started as a concept album. And before that, Lin-Manuel Miranda wrote a cracking little musical that works brilliantly as an audio-only piece: 21 Chump Street.
So... What Next?
In an interview, Jonathan Groff once explained how he became involved with 36 Questions: “I met with the producers... and they were talking about how they wanted to break form with the pdocast and try something new and different. That excited me. They also spoke to how expensive it is to see a musical... and how wouldn’t it be great if we could start a trend of people creating musicals that people could listen to for free?”
It’s a wonderful vision. A new art form, fusing the popularity of musicals with the accessibility of podcasts. Never the enemy of live theatre – that’s what we all fell in love with – but a friendly cousin, each inspiring the other to greater imaginative heights.
What next?
In the words of one of my favourite songs, the work begins.
Got any scintillating thoughts about podcast musicals? Want to tell me I’m an idiot? Get in touch!
