Our Anglofiles series celebrates the brilliant Brits and Commonwealth creatives making waves in New York.
This week, we’re catching up with theater critic and content creator Mickey-Jo Boucher. Mickey-Jo reviews theatre in the West End, on Broadway, and across the globe. As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: MickeyJoTheatre is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 100,000 subscribers.
You started out as a passionate theater fan before building a career and reputation as one of the UK's most recognizable theatre commentators. How has your relationship with theater changed since becoming a critic and content creator? Can you still enjoy a production in the same way as someone who is simply there for the experience?
I think what I’ve come to realize is that I was always watching theatre through a critical lens, even before I realized that’s what I would end up spending so much of my time doing - not that I was “born to critique” so much as I was always an opinionated youth! I’m glad to say that I still enjoy terrific theatre, and I find it often. The day I stop genuinely loving theatre is also the day I ought to stop reviewing it.
British audiences are often characterized as being a little more reserved, whereas American audiences are perhaps more outwardly enthusiastic. Have you noticed this yourself, and do you think it influences the way productions are staged or performed when transferring?
In my experience, the more audiences I’m amongst, the fewer differences I notice. Comedy is certainly something that divides crowds across the Atlantic, both in terms of what we find funny and how we respond to it. Funnily enough, this afternoon I was reading the observations of a Dutch theatregoer, noting how much more boisterous British audiences are in contrast to their own - really puts it in perspective! As for what influence this has, I think you can still detect the origin of a piece in its identity, but the best stories transcend their geography and appeal to all audiences quite similarly.
Based on these cultural audience differences, have you seen any trends with British productions that are commercially successful in the U.S. and vice versa? What do you attribute this to? Have you noticed producers making similar types of business decisions or predictions based on these trends?
One interesting recent development is the lack of separation between British and American producers - many of them are working across both markets, especially now that Broadway shows take a prohibitively long time to become profitable. Creatively, I often remark that British shows favor the bittersweet or downright sombre, our reference point for great theatre being tragic plays, while American theatremakers are better at joyous celebration without qualification, harkening back to golden age musicals and Vaudeville.
Is there a British production that you think deserves a Broadway transfer but hasn't made the leap yet?
Last year I flew to Chicago to catch the US premiere of 42 Balloons, an exciting new musical from Jack Godfrey and Ellie Coote, the Broadway arrival of which I’m impatiently waiting for. New York’s audiences also deserve the chance to see 1536, the celebrated, scorching play from rising star Ava Pickett.
With dynamic pricing becoming increasingly common in theater, how do you think the UK and US compare in ticket pricing and making theatre accessible and affordable for younger audiences?
At a glance, it seems as though much London theatre pricing is creeping troublingly towards Broadway’s less accessible heights, though plenty of our venues have brilliant schemes geared towards younger audience members, which I think is important. Not only is it vital we welcome the next generation of audiences, but I can recall the days when I only had the chance to see as much as I did because of discounted tickets. I sat in the back row of just about every theatre in the West End, although that lowest tier price has just about tripled.
Rent, Spring Awakening, and then Hamilton clearly changed the game in what a successful musical could be and the industry overall. How do you imagine musical theater will change once again in the next 10 years?
I sincerely hope that musical theatre surprises me in the coming years - I do think audiences are growing dissatisfied with screen to stage adaptations as well as the Pasek and Paul-esque contemporary musical theatre sound. What Rent, Spring Awakening, and Hamilton have in common is the way in which they responded to cultural shifts in the world around them and empowered previously overlooked audiences. That’s a great lesson to learn from their success rather than emulating them stylistically, which doesn’t work. Producers, meanwhile, are looking for the next Six, a global hit that costs less than most.
Lastly, what is your favorite original production, and what’s your favorite revival that you’re always keen to see reimagined?
Few things have me quite as excited as revivals of Sondheim scored musicals - unlike a Wicked or a Les Misérables these shows have been reconceived for years now and offer creatives so much in their endless intellectual and emotional wealth. My favourite original production? Not a musical, but the two part play The Inheritance, which remains the most staggering and impactful theatrical experience of my life so far