Without a doubt, 2021 is shaping up to be the greatest year for the movie musical since… I don’t even know when. As a big fan of the genre, I’m used to my options being paltry. I once showed up to Cats (2019) on the opening weekend just to see the incomplete effects. 2020 was slightly better as it produced the masterful Hamilton (2020) and light calories in Over the Moon (2020) and The Prom (2020), but 2021 is going to be our year. Whereas most years would be happy to give us two or three titles to mull over, this Fall promises to have a little of something for everybody… and I cannot wait to consume all of them.
It’s important to note that when I mention movie musicals, I’m talking about those both heading to theaters and above-average titles going to streaming sites. There’s so much on the calendar that it will likely become a weekly ritual. For now, I rewatch those trailers, imagining what those two hours will be like, or think about when I can finally buy In the Heights (2021) on Blu-Ray and enjoy the exploits of Usnavi again. There’s so, so much that is out there that I felt the need to highlight them all, if just to give a sense of how lucky we’ll be.
This is not going to be presented in any significant order. None of them are ranked in terms of anticipation nor by chronological release dates. This is just a chance to talk about everything that stands to fill my Top 10 of the year with an eclectic sense of life and joy.
Speaking of In the Heights, it only feels right to discuss the true star of 2021. Leading the pack with an amazing four films is composer-lyricist-actor-director (whatever else he does) Lin-Manuel Miranda. Everyone knows his name by now and there’s a good chance that you’re lining up at The Pantages Theater soon to try and get into Hamilton. He’s infectious and, quite literally, about to become inescapable. While I’ve enjoyed his brief dive into cinema with Moana (2016) and Mary Poppins Returns (2018), I’m looking forward to seeing which one of his films will reign supreme. Given that In the Heights has already been personally dubbed as the most accomplished movie musical since Bob Fosse was doing jazz hands, it’s going to be an exciting bar to try and cross.
I think the easiest place to start is with his two animated films. The higher profile film is Disney’s Encanto (2021) which he wrote the music for. Early trailers have a familiar story about an outsider trying to feel like they belong. It’s awesome to see the studio continue to explore different cultures, this time in a mystical version of Colombia, and I find the early trailers to be amusing. There’s plenty of fun gags and I can only hope the music is so vibrant and full of life. Similarly, I hope for fun things from Vivo (2021), which feels less significant but films Miranda playing a singing monkey. It sounds more like a gimmick, but with the right story, it can be a lighthearted romp worthy of a fun afternoon.
For me, the biggest Miranda film to look forward to is Tick Tick… Boom! (2021) Full confession, I do not like Jonathan Larson’s more popular show Rent. I find it obnoxious and it’s one of my least favorite theater experiences. With that said, I think the conceit of his OTHER musical is a lot more promising. It’s more experimental, featuring the struggles of turning 30 set inside a clever twist on the movie musical. Also, it stars personal favorite Andrew Garfield in the lead role, who is also looking to have a great Fall with The Eyes of Tammy Faye (2021) not far behind. This is Miranda’s directorial debut and I can only hope he’s got the eye for adaptation because more than anything, that is what we sorely need.
Of course, for most people, the biggest movie musical for the rest of the year is Steven Spielberg’s update on West Side Story (2021). Early trailers definitely look like an accomplished production with plenty of dazzle and a promising cast of actors. There are parts of me that are skeptical, in part because West Side Story (1961) is a personal favorite, but also because recent trends suggest that Spielberg might not be able to pull it off. He may be The King of Blockbuster, but he hasn’t necessarily directed a musical before, nor does he strike me as a filmmaker most in tune with bringing this story to life. I am enthused to see where it goes, especially with racially correct casting and excellent cinematography (the jury’s out on dancing), but it’s going to be an uphill battle to personally love especially since the story feels antiquated by nature, making one wonder what it’s ham-fisted earnestness can bring to the zeitgeist. At least Rachel Ziegler is sure to be awesome in it, as she has been in Hamilton and The Prom.
Topping the list in terms of personal anticipation is Dear Evan Hansen (2021), which is adapted from a show that means a lot to me. I have made it very clear how partial I am to Ben Platt as an artist, only wanting him to succeed in everything he does. Even though I’m skeptical about his new doo, the early trailers have managed to hit those sweet spots. Setting it to “You Will Be Found” has a way of overwhelming me, and I think that there’s something to enhancing the world with a bigger cast and maybe even a few more songs from personal favorite composers Benj Pasek and Justin Paul.
For as much as I’m tied to the original production’s minimalism and abstraction, I am curious to see if this can translate to a wider audience. As a result, it’s one of the films that I may be the most critical of, though I’m also very forgiving of its flaws in marketing. Nothing will ever be as good as the original show, but hopefully, this version will do. Along with Platt, I hope there are cameos from original cast members including Laura Dreyfuss and Rachel Bay Jones. I hope every song is here and that the Fall is full of people singing them. I admit that there are aspects of autotune or potential plot deviances that bother me, but I’m hoping for the best. Director Stephen Chbosky knows his high school angst well, having created both the book and film version of The Perks of Being a Wallflower (2012), and I can hope he brings the same energy here.
Shifting to the streaming options, I would like to start with director Kay Canon’s Cinderella (2021). No, it’s not based on the new Andrew Lloyd Webber show. It’s the OTHER 2021 take on everyone’s favorite midnight maiden. With Camilla Cabello taking the lead, I think that it’s already looking to reinvent the archetypes in ways that seek to make the musical component more unique. I imagine that it will be more pop-oriented, playing into the style of her hits like “Havana.” Given that Canon’s previous film Blockers (2018) was a ribald comedy full of heart and queerness, I imagine this will be more of the same.
Nowhere is that more evident than in casting Billy Porter. Fresh off of Pose, Porter has gained attention for playing The Fairy Godmother (you read that right) and is sure to bring the familiar sass that he has given the ballrooms for three seasons on TV. While there’s not a whole lot of advertising available for the film, what’s out there looks to be an enjoyable ride full of brilliant costuming and ensemble dancing. Will it be the best musical of the year? I sincerely doubt it, but I will love watching Porter on my screen again, making everyone’s dreams come true.
Speaking of queerness, another high point is sure to be Everybody’s Talking About Jamie (2021). While it hasn’t become a hit stateside, this European musical has the benefit of a lively soundtrack and a show about a high school drag queen. I personally don’t know much about it, but marketing makes it look like a dazzling romp, and one that will hopefully be a superior version of The Prom’s defiant joy of saying “Be yourself!” I’m a bit concerned that reports suggested that it bypassed a theatrical release in favor of streaming, but given that what songs I’ve heard are toe-tapping, I’m at least willing to give it a chance.
Another exciting thing about this Fall is the promise of TWO professionally shot versions of live shows. The most noteworthy is actually one that I’ve been looking forward to. Come From Away (2021) is among my favorite shows of the past decade and feel that it is a vital piece of theater. Having a recording of the show out in time for the 20th anniversary of The 9/11 Terrorist Attacks is very important to me, especially as it’s a celebration of humanity in times of tragedy and is a perfect evergreen message. I don’t think it could ever work if adapted to traditional film, but in its planned form, I imagine that it will quickly become one of my most watched recordings in recent years.
On the more questionable side is Diana (2021). Following in the wake of The Crown’s excellent season featuring Princess Diana is a Broadway musical that has yet to open on stage. It’s likely that it would’ve had the pandemic not shut down live theater. With that said, I did see a brief performance on NBC last year and it was fine. While the experience of enjoying new musical performances, it wasn’t necessarily the most encouraging song. I am curious to see how it goes, though its writer Joe DiPietro also penned Memphis which isn’t my favorite musical. Still, in absence of being in a live theater watching it, I’ll take a chance to give it a gander.
For those who want something more obscure and arthouse along the lines of The Lure (2015) or Tokyo Tribe (2014), I highly recommend Annette (2021). When it premiered at Cannes this summer, it was met with applause and long conversations about how weird its plot became. Then again, would you expect any less from acclaimed weirdo Leos Carax, whose last film Holy Motors (2012) was a loving tribute to cinema while being a deranged kaleidoscope on the subject? Still, when you have Adam Driver and Marion Cotillard doing numbers in odd time signatures and exploring strange themes, the effort is sure to be worth it. If nothing else, I am excited to know that it’s being released by Amazon and is sure to get a wider audience (maybe even a theatrical presence) because of that. I’m confident it will be the most divisive movie musical of this short decade, but how much I enjoy it is a question that I cannot wait to answer.
Closing out the list is a title that I know very little about nor am I confident that it’s getting the Christmas Day release that is suggested. From director Joe Wright is Cyrano (2021), which is based on the story “Cyrano de Bergerac.” I am not familiar with the original show, but given that it is a period piece, I am confident that Wright can bring at least a dazzling detail to the costumes and set design, giving the world a lush elegance that promises to make it the best-looking of any film this year. Compared to everything that I’ve mentioned, there are absolutely no available details to deconstruct. For now, I will admit that I’m cautiously optimistic, hoping for the best even though the show doesn’t particularly inspire me sight unseen.
Given that there’s many more on the horizon in years to come, I’m excited to see if this is a new Golden Age of movie musicals, if we’re about to see directors create these momentous works of art. If not, 2021 will at least stand as a unique year where there were so many options that you cannot help but admire the potential of the medium. I’m sure that I left a few off, but that’s more because the research didn’t produce these answers (and no, I didn’t exclude Music (2021), which was a movie musical but also very bad). Still, how awesome is this year going to be if all of these are at bare minimum good? I’m sure something will slip up, but for now, my toes are tapping and I’m marking days until I can watch all of them. It’s going to be a great Fall, I just know it will be.
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