Mary Poppins’ Apocalypse, Now

During the ’30s, the Great Depression of America was over, world economy was picking up, and people wanted to feel good about themselves. In the mid-’40s, the World War was over, and once again people were ready to face the future with hope. Busby Berkeley gave us musical blockbusters with lavish sets. Esther Williams portrayed a strong yet sensual woman, singing and dancing in and out of water with amphibian-like ease. Fred and Ginger brought songs to our heart and set our feet tapping. Fred even proved that a hatstand can move as gracefully as any woman. Gene Kelly, with his athletic vibrance, partnered everyone including Mickey Mouse, and gave us one of the most uplifting solo numbers ever filmed, splashing his way through `Singing in the Rain‘. Seven brides-to-be partnered seven brothers in a rousting barn dance.

The ’60s ushered in Anti-War sentiment, Flower-Power and a rise of Mysticism. Hair was a ground-breaker in its time, and in On A Clear Day You Can See Forever, Barbara Streisand played a girl who proves that reincarnation exists.

The ’70s epitomised Disco. Suddenly the world was moving to a different beat. Thank God it’s Friday took us into the pulsating depths of a discotheque, and Saturday Night Fever spawned a generation of white-polyester-clad men.

In the ’80s, the musical genre started to peter out. Grease gave us a nostalgic view of the past. One relevant piece was All That Jazz, a dark and searing look at the mind and creativity of Bob Fosse, a man who changed the look of dance.

So what about the ’90s? Where are the new composers and vital pieces of the last decade? True, the musical format still thrives on Broadway and the West End, but the majority are a tired rehash of earlier works.

If each decade’s music has, in the past, been reflected in new creative works, where are the Hiop-Hop, Techno, Rap or Grunge musicals? Thematically, relevant issues should also follow the same pattern.

Perhaps the key elements of the past few years — the Net, Global Warming and impending Nudlear disaster — don’t lend themselves well to musicals. Perhaps we lack new creative genius. Or sadder yet, have we collectively lost the desire to feel good about ourselves? Pity.

Sohrab Ardeshir is a theatre actor.