With the recent influx in the Popular-ity of movie musicals (and especially adaptations of stage musicals), it seems that we are finally approaching a new musical renaissance. Films like Wicked (2024) have rightfully stolen the attention of the public, as well as audience and critic awards alike. Hopefully, we’ve managed to overcome the phase of “hidden musicals” that overtook the movie theaters in late 2023 to early 2024 (when everybody became so embarrassed of musicals, they wouldn’t even admit that they were one in the trailer of the movie *cough, cough, Mean Girls*). Some musical adaptations, like Wicked, have stood out above the rest, paying homage to their precursors with a true love for the art they originated from. However, whether due to a disconnect from source material to the adaptation or an inherent disrespect of the musical as a genre, there are some film adaptations that have not managed to capture the essence of the original musical.
Of course, this is all subjective. But, in my own humble opinion, here are some of the best and some of the worst movie adaptations of stage musicals, and why.
First, some honorable mentions:
God, That’s Good!:
- Sweeney Todd (2007): Of those who have seen the musical, a lot of people did not like the movie adaptation, but having seen both, I still love the film and its play-doh-esque CGI ground meat.
- Tick, Tick… Boom! (2021): A wonderful recontextualization of the musical to reflect Jonathan Larson’s life post-mortem. You should watch it.
- Most adaptations from before 2000 (Rocky Horror Picture Show (1975), The Sound of Music (1965), The Wizard of Oz (1939), Annie (1982)): There’s a reason when you think of these, you likely think of the movie versions first (or didn’t even realize there was a stage musical first). These classics have surpassed the popularity of their source material —maybe by too much.
- Chicago (2002): I have too much to say about this musical to fit in this article. Go watch the movie, and the musical if you get the chance!
Dyin’ Ain’t So Bad:
- Cats (2019): I haven’t seen either version of this musical, and don’t particularly feel any need to see the film, so I feel like I have no right to say anything of substance about it. There’s some great video essays out there that explain why it sucks much better than I could.
- Dear Evan Hansen (2021): There’s a reason when you think of this, you think of the musical first. (Also, they removed so many of the best songs, and for what?)
- Into The Woods (2014): I have too much to say about this musical to fit in this article. Go watch the 80’s PBS pro-shot of the stage production.
- Moulin Rouge! (2001): My dislike for this film is personal. I had a migraine while watching it, which was only made worse by the watching of the insanely oversaturated, bright and loud film, and I feel it would be unfair to discuss it with this in mind. Apologies to anyone who enjoys this movie. I really tried.
Ladies and gentlemen, please silence your phones and refrain from flash photography. Without further adieu, the moment you’ve been waiting for:
BEST
One of my first soirees into musical horror comedies, and I haven’t been able to escape since. With Frank Oz as director and one of the most iconic practical effects in film history, Little Shop never fails to be darkly entertaining in whatever form it may take (it’s bigger than hula hoops!). The ending differs significantly from the stage musical, but it doesn’t feel like a loss. The puppetry and stagecraft is so integral to both the film and the musical that they feel like equally interesting, but alternate, versions of one another. If you happen to have a free hour after Suppertime, check out the original ending that was completely filmed before the test audience decided it was too dark, so they went with the happier ending currently in the film. For any curious students out there, the Little Shop of Horrors musical will be showing at the Denver Center for Performing Arts from April 11 to May 25, 2025!
Worst
This was one of the first musical movies that managed to sorely disappoint me. I hadn’t seen the musical, but I listened to the soundtrack religiously after a friend recommended it to me at summer camp back when I was still a tiny lesbian trying to find any representation at all. Since I wasn’t able to go see it live, I was ecstatic to hear there’d be a film adaptation, but evidently, this film was not about to change any lives. The Prom (2020) may have taken a hit in quality due to the unfortunate timing of the pandemic, and despite the star-studded cast, the film as a whole was lacking in “Zazz,” substance, or any real understanding of the satire of the stage musical. Scenes that felt intentionally cringeworthy in the musical fell short in their delivery in the adaptation —a lack of self-awareness that didn’t make the film easy or fun to watch.
BEST
After the beginning of 2024, I was starting to lose hope in movie musicals altogether. Wicked holds a special place in my heart — I fondly recall it as my “gateway musical” from when I first watched it back in fifth grade and my life was positively ruined forever. I was honestly terrified to discover there would be a movie adaptation, and one that would be split into two parts — my fears would only multiply when I saw the first trailers, but I decided to give the film a chance when it eventually did come out.
When I walked out of the movie theater over winter break, I was left with a profound sensation of hope for the future of musical theatre. It was Wonderful. The respect and love for the original cast, crew and musicians of the musical was clear to see throughout the film — most of the creative team behind the original musical was heavily involved in the creation of Wicked: Part One, and I’m sure that care and love will be just as heavily involved in the second part of the movie. Wicked takes a refreshingly additive approach in a world where adaptations and remakes all seem intent on subtracting from and changing their source material however they may see fit. I may be a sentimental man, but it’s genuinely beautiful to see someone take so much care, passion, and attention towards an adaptation of anything, let alone a musical that means so much to me personally. Thank Goodness for that.
Worst
And now we come to the reason this article was written in the first place. Mean Girls is a 2024 film based on the 2017 musical based on the 2004 movie inspired by the 2002 nonfiction novel, Queen Bees and Wannabes. After having seen the stage musical live, I honestly have no idea why the people who made the movie decided they wanted to be the ones to adapt this into a film— with the number of changes and cuts they decided to make to Nell Benjamin and Jeff Richmond’s original soundtrack, it feels like they didn’t enjoy anything about the original stage musical at all. Angourie Rice, who played Cady Heron in the film, could not sing, and so they cut most of her songs and gave her singing roles to the other characters, destroying necessary context and character development and making the main character much more unlikeable. The songs that remained were so “pop-ified” that they became a pale, flat, and unfunny imitation of their former selves.
On top of the music, the product placement was laughably obvious (Elf makeup, anyone?) and the entire production felt less like a labor of love and more like a labor of continuing to wring out a popular IP for all it’s worth, while somehow managing to remove everything that made the musical work in the first place.
One of the songs they cut from the movie explains it better than I can: More IS Better. If you’re looking for a fun Friday night movie with your friends, just watch the 2004 film instead.
In the end, it seems that the biggest part of a successful adaptation is a genuine love and appreciation for the original source material — not just an interest in the bottom line. Here’s hoping the work that went into adaptations like Wicked can change the musical adaptation landscape for the better and For Good.
