Abstract
For more than ten years the mega-musical has been a constant resident in Canada, particularly in Toronto. What began with Cats, now and forever, has led to Les Miserables, Phantom of the Opera, Miss Saigon, Joseph and the Amazing Technicolor Dreamcoat, Aspects of Love, Tommy, Beauty and the Beast and Sunset Boulevard. All of these productions, with the lone exception of Beauty and the Beast, have been “made in Britain” and have come to Canada with the tell-tale signs of the franchised product: the audition process that has been a national sweep of our singer-dancer-actor triple threats; the newspaper coverage of these same auditions that have whipped up enthusiasm as much as a year in advance of the first rehearsal; and the original Broadway television commercials that have flooded prime-time hours – the shows that cast Canadians in principal roles and then advertise the shows by broadcasting the New York actors are especially troubling.
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