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* Disney's 1994 stage adaptation of their animated film ''Theatre/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Theatre/MaryPoppins'', ''Theatre/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', ''Literature/CharlieAndTheChocolateFactory'', and ''{{WesternAnimation/Anastasia}}''.
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* Disney's 1994 stage adaptation of their animated film ''Theatre/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Theatre/MaryPoppins'', ''Theatre/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Franchise/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', ''Literature/CharlieAndTheChocolateFactory'', and ''{{WesternAnimation/Anastasia}}''.
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** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's fading as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, was the most infamous show in the company's first AudienceAlienatingEra). Tellingly, the shows of this sort that still draw audiences are more likely to be comedy-heavy and find new twists on the familiar, i.e. Creator/PennAndTeller, Mac King, and Mat Franco (who won ''Series/AmericasGotTalent'') while David Copperfield has endured thanks to an ability to keep his traditional act fresh.
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** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's fading as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', (''Theatre/CrissAngelBelieve'', a Creator/CirqueDuSoleil produced effort, was the most infamous show in the company's first AudienceAlienatingEra). Tellingly, the shows of this sort that still draw audiences are more likely to be comedy-heavy and find new twists on the familiar, i.e. Creator/PennAndTeller, Mac King, and Mat Franco (who won ''Series/AmericasGotTalent'') while David Copperfield has endured thanks to an ability to keep his traditional act fresh.
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** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's fading as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, was that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are more likely to be comedy-heavy and find new twists on the familiar, i.e. Creator/PennAndTeller, Mac King, and Mat Franco (who won ''Series/AmericasGotTalent'') while David Copperfield has endured thanks to an ability to keep his traditional act fresh.
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** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's fading as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, was that the most infamous show in the company's first DorkAge).AudienceAlienatingEra). Tellingly, the shows of this sort that still draw audiences are more likely to be comedy-heavy and find new twists on the familiar, i.e. Creator/PennAndTeller, Mac King, and Mat Franco (who won ''Series/AmericasGotTalent'') while David Copperfield has endured thanks to an ability to keep his traditional act fresh.
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* It was arguably the popularity of the Creator/AndrewLloydWebber take on ''Literature/ThePhantomOfTheOpera'' (itself inspired by a campier version by Ken Hill) that spurred the unsuccessful VampireMusicals trend, and gave a boost to ''Jekyll and Hyde''. In fact, since the novel is public domain, quite a few musical adaptations sprung up in the 1990s for community theatres and whatnot, as well a new lease on life for Arthur Kopit and Maury Yeston's ''Phantom'', which was actually developed around the same time as Webber's take but got lost in the shuffle.
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* It was arguably the popularity of the Creator/AndrewLloydWebber take on ''Literature/ThePhantomOfTheOpera'' (itself inspired by a campier version by Ken Hill) that spurred the unsuccessful VampireMusicals vampire musicals trend, and gave a boost to ''Jekyll and Hyde''. In fact, since the novel is public domain, quite a few musical adaptations sprung up in the 1990s for community theatres and whatnot, as well a new lease on life for Arthur Kopit and Maury Yeston's ''Phantom'', which was actually developed around the same time as Webber's take but got lost in the shuffle.
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* It was arguably the popularity of the Creator/AndrewLloydWebber take on ''Literature/ThePhantomOfTheOpera'' (itself inspired by a campier version by Ken Hill) that spurred the unsuccessful VampireMusicals trend, and gave a boost to ''Jekyll and Hyde''. In fact, since the novel is public domain, quite a few musical adaptations sprung up in the 1990s for community theatres and whatnot, as well a new lease on life for Arthur Kopit and Maury Yeston's ''Phantom'', which was actually developed around the same time as Webber's take but got lost in the shuffle.
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* Disney's 1994 stage adaptation of their animated film ''Theatre/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Theatre/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', ''Literature/CharlieAndTheChocolateFactory'', and ''{{WesternAnimation/Anastasia}}''.
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* Disney's 1994 stage adaptation of their animated film ''Theatre/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Theatre/MaryPoppins'', ''Theatre/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', ''Literature/CharlieAndTheChocolateFactory'', and ''{{WesternAnimation/Anastasia}}''.
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* Disney's 1994 stage adaptation of their animated film ''Disney/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Disney/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', ''Literature/CharlieAndTheChocolateFactory'', and ''{{WesternAnimation/Anastasia}}''.
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* Disney's 1994 stage adaptation of their animated film ''Disney/BeautyAndTheBeast'' ''Theatre/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Disney/TheLittleMermaid'', ''Theatre/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', ''Literature/CharlieAndTheChocolateFactory'', and ''{{WesternAnimation/Anastasia}}''.
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** ''Theatre/MammaMia'' was a substantial hit when it opened at Mandalay Bay in 2003, inspiring the following legit musicals to mount Vegas productions -- ''Saturday Night Fever'', ''We Will Rock You'', ''Hairspray'', ''Theatre/AvenueQ'', ''Theatre/ThePhantomOfTheOpera'', ''Theatre/{{Spamalot}}'', ''Film/TheProducers'', ''Theatre/JerseyBoys'', and ''Disney/TheLionKing''. Only ''Theatre/JerseyBoys'' had staying power; ''The Lion King'' managed 2 1/2 years before being forced out to be replaced by Cirque's ''Theatre/MichaelJacksonONE'', ''Phantom'' ran for six years but ultimately was the ''only'' production of the show to lose money, and the others all ran less than two years apiece.
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** ''Theatre/MammaMia'' was a substantial hit when it opened at Mandalay Bay in 2003, inspiring the following legit musicals to mount Vegas productions -- ''Saturday Night Fever'', ''We Will Rock You'', ''Hairspray'', ''Theatre/AvenueQ'', ''Theatre/ThePhantomOfTheOpera'', ''Theatre/{{Spamalot}}'', ''Film/TheProducers'', ''Theatre/JerseyBoys'', and ''Disney/TheLionKing''.''Theatre/TheLionKing''. Only ''Theatre/JerseyBoys'' had staying power; ''The Lion King'' managed 2 1/2 years before being forced out to be replaced by Cirque's ''Theatre/MichaelJacksonONE'', ''Phantom'' ran for six years but ultimately was the ''only'' production of the show to lose money, and the others all ran less than two years apiece.
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** The French showgirl revue was introduced to Las Vegas in the 1950s with ''Lido de Paris'', and the style became the default setting for Vegas for years afterward with such shows as ''Folies Bergere'', ''Hallelujah Hollywood!'', and ''Jubilee!'' (the only one still performing today, albeit since 1981).
** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's verging on dead as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, is that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are mostly comedy-magic hybrids that find new twists on the familiar: Creator/PennAndTeller, the Amazing Johnathan, and Mac King. (The key exception to that rule is David Copperfield.)
** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's verging on dead as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, is that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are mostly comedy-magic hybrids that find new twists on the familiar: Creator/PennAndTeller, the Amazing Johnathan, and Mac King. (The key exception to that rule is David Copperfield.)
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** The French showgirl revue was introduced to Las Vegas in the 1950s with ''Lido de Paris'', and the style became the default setting for Vegas for years afterward with such shows as ''Folies Bergere'', ''Hallelujah Hollywood!'', and ''Jubilee!'' (the only one still performing today, albeit since 1981).
''Jubilee!'', the LastOfItsKind.
** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it'sverging on dead fading as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, is was that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are mostly comedy-magic hybrids that more likely to be comedy-heavy and find new twists on the familiar: familiar, i.e. Creator/PennAndTeller, the Amazing Johnathan, Mac King, and Mac King. (The key exception to that rule is Mat Franco (who won ''Series/AmericasGotTalent'') while David Copperfield.)Copperfield has endured thanks to an ability to keep his traditional act fresh.
** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's
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** Danny Gans' success in the late 1990s spawned a wave of shows based around one performer delivering a bunch of celebrity impressions.
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** Danny Gans' success in the late 1990s spawned a wave of shows based around one performer delivering a bunch of celebrity impressions. A common complaint about the impressionists that are still around is that they never update their acts to include any post-TurnOfTheMillennium reference points. The key exception is Terry Fator, who succeeded Gans at the Mirage's celebrity showroom and also has the novelty of being a ''ventriloquist'' who does impressions.
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* Disney's 1994 stage adaptation of their animated film ''Disney/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Disney/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', and ''Theatre/CharlieAndTheChocolateFactory''.
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* Disney's 1994 stage adaptation of their animated film ''Disney/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Disney/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', ''Literature/CharlieAndTheChocolateFactory'', and ''Theatre/CharlieAndTheChocolateFactory''.''{{WesternAnimation/Anastasia}}''.
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See the Deader Than Disco cleanup thread: http://tvtropes.org/pmwiki/posts.php?discussion=14654177060A30520700
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** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's verging on DeaderThanDisco as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, is that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are mostly comedy-magic hybrids that find new twists on the familiar: Creator/PennAndTeller, the Amazing Johnathan, and Mac King. (The key exception to that rule is David Copperfield.)
to:
** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's verging on DeaderThanDisco dead as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, is that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are mostly comedy-magic hybrids that find new twists on the familiar: Creator/PennAndTeller, the Amazing Johnathan, and Mac King. (The key exception to that rule is David Copperfield.)
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** ''MammaMia'' was a substantial hit when it opened at Mandalay Bay in 2003, inspiring the following legit musicals to mount Vegas productions -- ''Saturday Night Fever'', ''We Will Rock You'', ''Hairspray'', ''Theatre/AvenueQ'', ''Theatre/ThePhantomOfTheOpera'', ''Theatre/{{Spamalot}}'', ''Film/TheProducers'', ''Theatre/JerseyBoys'', and ''Disney/TheLionKing''. Only ''Theatre/JerseyBoys'' had staying power; ''The Lion King'' managed 2 1/2 years before being forced out to be replaced by Cirque's ''Theatre/MichaelJacksonONE'', ''Phantom'' ran for six years but ultimately was the ''only'' production of the show to lose money, and the others all ran less than two years apiece.
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** ''MammaMia'' ''Theatre/MammaMia'' was a substantial hit when it opened at Mandalay Bay in 2003, inspiring the following legit musicals to mount Vegas productions -- ''Saturday Night Fever'', ''We Will Rock You'', ''Hairspray'', ''Theatre/AvenueQ'', ''Theatre/ThePhantomOfTheOpera'', ''Theatre/{{Spamalot}}'', ''Film/TheProducers'', ''Theatre/JerseyBoys'', and ''Disney/TheLionKing''. Only ''Theatre/JerseyBoys'' had staying power; ''The Lion King'' managed 2 1/2 years before being forced out to be replaced by Cirque's ''Theatre/MichaelJacksonONE'', ''Phantom'' ran for six years but ultimately was the ''only'' production of the show to lose money, and the others all ran less than two years apiece.
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* The runaway success of ''Irene'' in 1919 launched a wave of musical Cinderella stories over the next half decade. Two of the more successful ones, the Ziegfeld production ''Sally'' and the George M. Cohan production ''Mary'', helped inspire a show titled ''Sally, Irene and Mary''.
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* Creator/RodgersAndHammerstein's success with ''Theatre/{{Oklahoma}}'' and ''Theatre/{{Carousel}}'' led to a wave of musical period-piece Americana which included the Broadway musicals ''Theatre/AnnieGetYourGun'' (which Rodgers and Hammerstein produced but did not write), ''Bloomer Girl'', ''Up in Central Park'' and ''Seventeen'', as well as the movie musicals ''Film/MeetMeInStLouis'' (which was at one time to have included a CutSong from ''Oklahoma!''), ''Centennial Summer'' and ''Summer Holiday'' (which had the same director as ''Oklahoma!'').
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* Creator/RodgersAndHammerstein's success with ''Theatre/{{Oklahoma}}'' and ''Theatre/{{Carousel}}'' led to a wave of musical period-piece Americana which included the Broadway musicals ''Theatre/AnnieGetYourGun'' (which Rodgers and Hammerstein produced but did not write), ''Bloomer Girl'', ''Up in Central Park'' and adaptations of ''Literature/ATreeGrowsInBrooklyn'' and Booth Tarkington's ''Seventeen'', as well as the movie musicals ''Film/MeetMeInStLouis'' (which was at one time to have included a CutSong from ''Oklahoma!''), ''Centennial Summer'' and ''Summer Holiday'' (which had the same director as ''Oklahoma!'').
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* Disney's 1994 stage adaptation of their animated film ''Disney/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Disney/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', and ''Theatre/CharlieAndTheChocolateFactory''.
to:
* Disney's 1994 stage adaptation of their animated film ''Disney/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Disney/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''Theatre/{{Seussical}}'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', and ''Theatre/CharlieAndTheChocolateFactory''.
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* ''Theatre/MammaMia'' kickstarted the JukeboxMusical trend at the TurnOfTheMillennium and at this point it's inevitable that new examples will try their luck on Broadway and the West End every year.
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* ''Theatre/MammaMia'' kickstarted the JukeboxMusical trend at the TurnOfTheMillennium and at this point it's inevitable that several new examples will of the form try their luck on Broadway and the West End every year.year in TheNewTens. ''Theatre/WeWillRockYou'' and ''Theatre/JerseyBoys'' are the most successful of the successors.
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* The Las Vegas casino show scene has been and is prone to this:
** The French showgirl revue was introduced to Las Vegas in the 1950s with ''Lido de Paris'', and the style became the default setting for Vegas for years afterward with such shows as ''Folies Bergere'', ''Hallelujah Hollywood!'', and ''Jubilee!'' (the only one still performing today, albeit since 1981).
** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's verging on DeaderThanDisco as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, is that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are mostly comedy-magic hybrids that find new twists on the familiar: Creator/PennAndTeller, the Amazing Johnathan, and Mac King. (The key exception to that rule is David Copperfield.)
** 1983's ''Legends in Concert'' was the first all-celebrity impersonator show; the format remains popular whether it's a revue tackling many performers or one performer/group representing one act. The original is still running, and has launched several other companies elsewhere.
** Danny Gans' success in the late 1990s spawned a wave of shows based around one performer delivering a bunch of celebrity impressions.
** The country music boom spearheaded by Garth Brooks inspired several revues in the mid-1990s.
** Any dirty ventriloquist act (such as Jeff Dunham) is heavily influenced or sometimes downright copying an act called Otto and George. Otto and George never hit the mainstream, but his limited fanbase includes Creator/PennAndTeller, Howard Stern, Opie and Anthony, and back when they were still alive, George Carlin and John Lennon.
** Creator/CirqueDuSoleil was likely the inspiration for the importing of dubious foreign variety revues at the turn of the millennium, as well as mostly unsuccessful direct imitators (''Imagine'', ''Storm''). Ultimately Cirque mounting as many as ''eight'' different ongoing productions in the city at once broke the trend, especially after the nasty reception ''Le Reve'', mounted by a former Cirque director, received upon opening in 2005. (Said director also mounted Celine Dion's first Vegas show.) At this point, many are ''fervently hoping'' for a new megahit show that will break Cirque's dominance, but the ongoing economic downturn has left rival producers without the means to create worthy competitors.
** ''MammaMia'' was a substantial hit when it opened at Mandalay Bay in 2003, inspiring the following legit musicals to mount Vegas productions -- ''Saturday Night Fever'', ''We Will Rock You'', ''Hairspray'', ''Theatre/AvenueQ'', ''Theatre/ThePhantomOfTheOpera'', ''Theatre/{{Spamalot}}'', ''Film/TheProducers'', ''Theatre/JerseyBoys'', and ''Disney/TheLionKing''. Only ''Theatre/JerseyBoys'' had staying power; ''The Lion King'' managed 2 1/2 years before being forced out to be replaced by Cirque's ''Theatre/MichaelJacksonONE'', ''Phantom'' ran for six years but ultimately was the ''only'' production of the show to lose money, and the others all ran less than two years apiece.
* ''Theatre/MammaMia'' kickstarted the JukeboxMusical trend at the TurnOfTheMillennium and at this point it's inevitable that new examples will try their luck on Broadway and the West End every year.
** The French showgirl revue was introduced to Las Vegas in the 1950s with ''Lido de Paris'', and the style became the default setting for Vegas for years afterward with such shows as ''Folies Bergere'', ''Hallelujah Hollywood!'', and ''Jubilee!'' (the only one still performing today, albeit since 1981).
** Siegfried and Roy got their start in Vegas performing between showgirl acts in revues, but were so popular they became headliners in the late '70s and proved a magic show format could work. Especially after they opened a gigantic production at the Mirage hotel in 1989, many casinos created their own magic-themed productions, making it the go-to genre of the '90s. Nowadays, it's verging on DeaderThanDisco as older productions close and newer ones fail to bring anything new to the table (''Criss Angel Believe'', a Creator/CirqueDuSoleil produced effort, is that company's first DorkAge). Tellingly, the shows of this sort that still draw audiences are mostly comedy-magic hybrids that find new twists on the familiar: Creator/PennAndTeller, the Amazing Johnathan, and Mac King. (The key exception to that rule is David Copperfield.)
** 1983's ''Legends in Concert'' was the first all-celebrity impersonator show; the format remains popular whether it's a revue tackling many performers or one performer/group representing one act. The original is still running, and has launched several other companies elsewhere.
** Danny Gans' success in the late 1990s spawned a wave of shows based around one performer delivering a bunch of celebrity impressions.
** The country music boom spearheaded by Garth Brooks inspired several revues in the mid-1990s.
** Any dirty ventriloquist act (such as Jeff Dunham) is heavily influenced or sometimes downright copying an act called Otto and George. Otto and George never hit the mainstream, but his limited fanbase includes Creator/PennAndTeller, Howard Stern, Opie and Anthony, and back when they were still alive, George Carlin and John Lennon.
** Creator/CirqueDuSoleil was likely the inspiration for the importing of dubious foreign variety revues at the turn of the millennium, as well as mostly unsuccessful direct imitators (''Imagine'', ''Storm''). Ultimately Cirque mounting as many as ''eight'' different ongoing productions in the city at once broke the trend, especially after the nasty reception ''Le Reve'', mounted by a former Cirque director, received upon opening in 2005. (Said director also mounted Celine Dion's first Vegas show.) At this point, many are ''fervently hoping'' for a new megahit show that will break Cirque's dominance, but the ongoing economic downturn has left rival producers without the means to create worthy competitors.
** ''MammaMia'' was a substantial hit when it opened at Mandalay Bay in 2003, inspiring the following legit musicals to mount Vegas productions -- ''Saturday Night Fever'', ''We Will Rock You'', ''Hairspray'', ''Theatre/AvenueQ'', ''Theatre/ThePhantomOfTheOpera'', ''Theatre/{{Spamalot}}'', ''Film/TheProducers'', ''Theatre/JerseyBoys'', and ''Disney/TheLionKing''. Only ''Theatre/JerseyBoys'' had staying power; ''The Lion King'' managed 2 1/2 years before being forced out to be replaced by Cirque's ''Theatre/MichaelJacksonONE'', ''Phantom'' ran for six years but ultimately was the ''only'' production of the show to lose money, and the others all ran less than two years apiece.
* ''Theatre/MammaMia'' kickstarted the JukeboxMusical trend at the TurnOfTheMillennium and at this point it's inevitable that new examples will try their luck on Broadway and the West End every year.
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* Disney's 1994 stage adaptation of their animated film ''Disney/BeautyAndTheBeast'' was successful enough to lead to a whole line of {{Screen To Stage Adaptation}}s of their animated and live-action musicals: ''Theatre/TheLionKing'', ''Film/MaryPoppins'', ''Disney/TheLittleMermaid'', ''Film/HighSchoolMusical'', even ''Film/{{Newsies}}''. From there, other producers (often in association with film companies) sought out more family-friendly properties to bring to the stage in {{Spectacle}}-laden productions, resulting in such Broadway and/or West End musicals as ''Film/ChittyChittyBangBang'', ''Doctor Dolittle'', ''Literature/HowTheGrinchStoleChristmas'', ''WesternAnimation/{{Shrek}}'', ''Film/{{Elf}}'', ''Theatre/{{Matilda}}'', ''Film/AChristmasStory'', and ''Theatre/CharlieAndTheChocolateFactory''.
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* Creator/RodgersAndHammerstein's success with ''Theatre/{{Oklahoma}}'' and ''Theatre/{{Carousel}}'' led to a wave of musical period-piece Americana which included the Broadway musicals ''Theatre/AnnieGetYourGun'' (which Rodgers and Hammerstein produced but did not write), ''Bloomer Girl'', ''Up in Central Park'' and ''Seventeen'', as well as the movie musicals ''Film/MeetMeInStLouis'' (which was at one time to have included a CutSong from ''Oklahoma!''), ''Centennial Summer'' and ''Summer Holiday''.
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* Creator/RodgersAndHammerstein's success with ''Theatre/{{Oklahoma}}'' and ''Theatre/{{Carousel}}'' led to a wave of musical period-piece Americana which included the Broadway musicals ''Theatre/AnnieGetYourGun'' (which Rodgers and Hammerstein produced but did not write), ''Bloomer Girl'', ''Up in Central Park'' and ''Seventeen'', as well as the movie musicals ''Film/MeetMeInStLouis'' (which was at one time to have included a CutSong from ''Oklahoma!''), ''Centennial Summer'' and ''Summer Holiday''.Holiday'' (which had the same director as ''Oklahoma!'').
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* Creator/RodgersAndHammerstein's success with ''Theatre/{{Oklahoma}}'' and ''Theatre/{{Carousel}}'' led to a wave of musical period-piece Americana which included the Broadway musicals ''Theatre/AnnieGetYourGun'' (which Rodgers and Hammerstein produced but did not write), ''Bloomer Girl'', ''Up in Central Park'' and ''Seventeen'', as well as the movie musicals ''Film/MeetMeInStLouis'' (which was at one time to have included a CutSong from ''Oklahoma!''), ''Centennial Summer'' and ''Summer Holiday''.
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