TV adds twist to tender Trapps
BBC reality series puts 'Idol' spin on 'Music,' but can TV produce a legit star?
But in the middle of the summer holiday season, the BBC has found a winning formula in "How Do You Solve a Problem Like Maria?" The Saturday night primetime musical-theater talent-show is a competition, wherein the winner will be cast as Maria in a West End revival of "The Sound of Music."
The hourlong TV show was conceived by Andrew Lloyd Webber, whodeveloped it with fellow theater producer David Ian, chair of Global Theater for Live National (formerly Clear Channel Entertainment). The duo then took it to the BBC's Kevin Bishop, now the program's creative consultant.
With the final airing on Sept. 16, it has so far peaked with an audience of 6.8 million and 32% audience share, an impressive reach considering it is up against ITV's aggressively marketed "The X Factor," one of the most branded shows on TV with celebrity judges Simon Cowell and Sharon Osbourne.
The key to the success of "Maria" is its harnessing of trusted TV structures to a significant production twist: a financial risk that puts the creators' reputations on the line. There's real tension for not only the contestants but also for the judges.
The winner won't be shepherded into a studio by a recording company manipulating and amping up the talent, far away from public exposure. Instead, the new Maria will immediately begin rehearsals at the historic 2,255-seat London Palladium six nights a week for six months, playing the world's best-loved singing nun.
The revival is being produced, at an equally split total cost of £3.75 million ($7.1 million) by two of the judges: Lloyd Webber and Ian. If, having triumphed on TV, their Maria fails to deliver the goods nightly live onstage, they could lose their financial shirts and their reputations.
It's that last element that attracted Ruth Wrigley, head of BBC Entertainment Events and the program's executive producer. "It's like 'The Apprentice' but where Donald Trump doesn't get to make the final decision."
Everyone concedes that this is a gamble. Lloyd Webber has held the rights to the show for several years and has always wanted Maria, who should be about 19 years old, to be played by a young woman, as distinct from the original casting of 46-year-old Mary Martin as the failed novitiate nun who "climbs a tree and scrapes her knee."
That decision led to younger, relatively untried talent. The show follows the traditional star search format, like "Pop Idol" (which spawned American Idol") where the winner is chosen by TV audience voting.
After two weeks, whittling 6,000 applicants to 10, the finalists have had intensive training from Lloyd Webber, vocal coaches, choreographers and acting teachers.
Each week, the two contestants with the lowest vote have to sing to stay in contention, with Lloyd Webber then "saving" one of them. But in the finale, there is no such safety net: It's strictly up to the voters at home.
TV viewers of similar programs often have rewarded underdogs or mavericks rather than true talent. Surely Lloyd Webber and Ian have safeguards to ensure their favorite will win, thereby shoring up their longer-term investment?
Ian is unequivocal. "No. There is absolutely no safeguard. But we're down to the last five, and everyone can see there are no mavericks. The public have voted on what they've seen and I've agreed with their choices."
Wrigley is equally forthright. "Viewers are too sophisticated to fall for production tricks. We've raised the bar on reality TV shows; we're dealing with people who really do have talent, so we're being open and honest. In the final, I'll get Andrew to say who he would like to be Maria, but it's up to the voters to decide if they agree."
Before the program began, the Palladium production had racked up $3.7 million four months ahead of the Nov. 14 opening night. Six weeks into the program's eight-week run, Ian says daily wraps have now hit $245,000, with the advance now just shy of $9.4 million.
The critical response to Lloyd Webber's endeavor has been decidedly sniffy. Trevor Nunn, who has worked with the composer on such shows as "Cats," was widely quoted as having turned down the chance to direct this revival of "The Sound of Music" because he disapproved of the TV casting as demeaning to the participants.
Lloyd Webber is unsurprised and unrepentant. "The reviews were exactly what we expected. But the audience figures are better than I hoped. Trevor sent me an email explaining he was misquoted and was speaking generally about reality TV competitions."
No one on the show buys the accusation of exploitation.
"Nonsense," says Lloyd Webber. "These girls are absolutely loving it. Those 10 finalists have a lifeline to my office for good. I've already steered one to an audition for Cameron Mackintosh; another may be up for a cover in 'Evita.' "
He and Ian have further headed off charges of exploitation by making the program with the publicly funded BBC (instead of a commercial station), which will not make any money from the phone voting. All profits go directly to a charity to provide funds to help young talent build careers in musical theater.
So if everything goes according to plan and the best girl wins what's the prognosis? Wrigley is keen to follow the show with a documentary following their Maria through to opening night. Lloyd Webber is looking further ahead.
"U.S. broadcasters know that if they get access to me, they could potentially get in as co-producers on other Really Useful Group copyright shows, such as 'Joseph and His Amazing Technicolor Dreamcoat,' 'Jesus Christ Superstar,' 'Cats,' even 'Evita,' because of its popularity through the film version."
He does, however, think there are limits to the idea of the TV audience as casting directors. "It can work with 'You're the One That We Want,' which will cast the leads in Ian's Broadway production of 'Grease,' but there are only so many musicals where the public knows and cares enough about the characters to pick up the phone and vote.
"But I've also had two approaches from the U.S. about programs about me writing a show specifically to be cast in this way. Personally, I think that's a little ambitious."
He's proudest of persuading the BBC to devote so much primetime to musical theater. "We almost never get TV exposure for it, and when we do it's usually tacky beyond belief. But mark my words, if this comes off, you won't have heard the last of it."
