It’s Friday night. 8 p.m. After scanning Facebook for last minute status updates from friends and scrolling through a nearly endless number of tweets, it’s time to figure out what to do around New York City. My iPhone lights up with an alert message. A friend has just checked in on Foursquare at the rooftop bar at the Metropolitan Museum of Art. Another alert. Someone else is at a Sara Silverman book signing at the Barnes and Noble in Union Square. Alert. Party at the Hotel on Rivington. Alert. Drinks at Mason Dixon.

So many friendly recommendations. But, wait a minute. I’m a theatre reporter. Why haven’t I seen an alert telling me someone is seeing La Cage aux Folles or Hair? After all, Broadway has just experienced an onslaught of show openings and the Tony Awards are coming up. Yet, none of my Foursquare friends are checking in to a show tonight, which is the case mostly every night.

Since this year’s South By Southwest festival, it seems like every news outlet has been latching onto Foursquare, a social networking tool that hipsters in New York City have been playing with their friends since it debuted in March of last year. A person could hardly consider themselves digital insiders, up until now, unless they were checking in to a location around town that was swarming with other in-the-know individuals.

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Fox’s Glee is a hit, again.

Tuesday night’s return of the singing and dancing series scored its best ratings ever, pulling in 13.7 million viewers, which is a vast improvement over its series premiere numbers last year (9.6 million).

News of a ratings smash should come as no surprise to the millions of dedicated fans, otherwise known as “gleeks.” Social networks are constantly abuzz about the Fox series and watch parties are popping up all over the country.

Perhaps the most obvious fan base is the Broadway community — last year the New York Times mentioned that the teenage cast of Bye Bye Birdie gathered after their show was over to watchGlee. Similar gatherings are still taking place, including amongst college students, as happened last night at an outdoor screening of the show on Columbia University’s main campus.

Who knew that a show that followed a dysfunctional high school glee club, complete with stereotypical characters straight out of a John Hughes script, would turn into a major phenomenon, one that spawned CDs, a national concert tour and a performance at the White House? Certainly not the show’s co-creators, Brad Falchuck and Ian Brennan.

“I thought that it would kind of be like a niche hit that was good and people liked,” Brennan said. “But, somehow it just struck a chord with people, and that is a real, real pleasant surprise.”
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There was a time when Broadway melodies would play on radio stations across the country, a time when showtunes were part of a crooner’s nightly set list at the club. Those were the days of musical heavyweights like Oscar Hammerstein II, George Gershwin, Leonard Bernstein and Irving Berlin. When one of these musical masterminds crafted a song, chances are, people around the country wanted to hear it.

It was called the Golden Age of Broadway — a period of time between the 1940s and 1960s that is often recalled by theatrical historians and Broadway devotees. Sadly, nostalgia does not pay the bills, nor does the current exposure Broadway musicals have been getting these past few years.

While the average twenty-something isn’t dying for another Gershwin-like hit, innovative musicals have been offering up songs that could strike a chord with the iTunes and YouTube generation. If only someone in the marketing community would hurry up and figure out a way to reach these unaware future fans.

The musical ‘Next to Normal’ uses a contemporary sound to deal with themes of depression and emotional crisis — dark themes reminiscent of Emo rock. ‘In the Heights,’ another currently running show, takes soft-rap music and combines it with Latin flair, making it an easy fit for contemporary hit radio playlists. And the soon-to-open ‘American Idiot’ is, well, full of music by the already hit mainstream band Green Day.

It is the latter musical, ‘American Idiot,’ that’s making the biggest strides in Broadway marketing, thanks in major part to Green Day’s lead singer Billie Joe Armstrong and his push to get the Broadway actors on stage at this year’s Grammy Awards telecast. Musicians joining Broadway shows as producers isn’t a new concept, and this season has a few big names joining the crowd, including ‘Fela,’ which boasts an affiliation with Jay-Z. It’s time to take advantage of that relationship.

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Looking at the current Broadway season, both at shows that have already closed and upcoming productions, the most prevalent trend is star power. And by star, I don’t mean theatrical heavyweights like Ethel Merman, George M. Cohan or Bert Lahr — these names certainly mean little to nothing when it comes to the current theatregoing masses. Stars on Broadway this season mean Jude Law, Catherine Zeta-Jones and Scarlett Johansson.

All of these actors have names that transcend the stage — something producers surely hope will fill seats as tourists roll into town. While some of these recognizable names won over even the toughest of Broadway critics, and proved more than capable of handling a live production, it was name alone that won them the role.

The trend of casting Hollywood celebrities in Broadway shows is nothing new, and has been griped about by many a theatre columnist, however, with news of Ragtime, a completely star-less musical closing after a brief revival, the subject should once again be analyzed.

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There’s a scene in the 1960 film Spartacus that captures the mindset of screenwriter Dalton Trumbo — a man that had just suffered years of persecution after being listed as one of the Hollywood Ten. Defeated by the Romans, Spartacus and his rebel army’s lives are threatened unless they give up their fearless leader.

With not a moment of hesitation the entire slave army leaps to their feet and bellows “I’m Spartacus.” Kirk Douglas’ character slowly bows his head, seemingly overwhelmed with emotion. His brotherhood would risk torture and ultimately death just so that Spartacus isn’t singled out. Sadly, such solidarity was a mere Hollywood construct. This ideal was something that Trumbo would never find in real life.

In 1947 Trumbo was one of ten Hollywood writers and directors jailed for refusing to give information to the House Un-American Activities Committee (HUAC). The government agency was on a mission to expose communists in America. Hollywood became a clear target. Rather than stand as one, some in the creative community decided to single their comrades out when asked to name names.

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