FUNDAÇÃO GETULIO VARGAS

ESCOLA DE ADMINISTRAÇÃO DE EMPRESAS DE SÃO PAULO

A STUDY OF THE MUSICAL THEATRE INDUSTRY AND PRODUCTION IN SÃO PAULO: CHALLENGES AND OPPORTUNITIES

CANDICE LÚCIA CHRIS ACHÉ MONTANGERAND

SÃO PAULO 2017 CANDICE LÚCIA CHRIS ACHÉ MONTANGERAND

A STUDY OF THE MUSICAL THEATRE INDUSTRY AND PRODUCTION IN SÃO PAULO: CHALLENGES AND OPPORTUNITIES

Thesis presented to Escola de Administração de Empresas de São Paulo of Fundação Getulio Vargas, as a requirement to obtain the title of Master in International Management (MPGI).

Knowledge Field: Gestão e Competitividade em Empresas Globais

Advisor: Prof. Dr. Luís Henrique Pereira

SÃO PAULO 2017

Montangerand, Candice Lúcia Chris Aché A study of the musical theatre industry and production in São Paulo: challenges and opportunities / Candice Lúcia Chris Aché Montangerand. – 2017. 125f.

Orientador: Luís Henrique Pereira Dissertação (MPGI) - Escola de Administração de Empresas de São Paulo.

1. Teatro musical - São Pauo (SP). 2. Indústria do lazer. 3. Entretenimento. I. Pereira, Luís Henrique. II. Dissertação (MPGI) - Escola de Administração de Empresas de São Paulo. III. A study of musical theatre industry and production in São Paulo: challenges and opportunities.

CDU 792.5(816.11)

CANDICE LÚCIA CHRIS ACHÉ MONTANGERAND

A STUDY OF THE MUSICAL THEATRE INDUSTRY AND PRODUCTION IN SÃO PAULO: CHALLENGES AND OPPORTUNITIES

Thesis presented to Escola de Administração de Empresas de São Paulo of Fundação Getulio Vargas, as a requirement to obtain the title of Master in International Management (MPGI).

Knowledge Field: Gestão e Competitividade em Empresas Globais

Approval Date

13/12/2017

Committee members:

______Prof. Dr. Luís Henrique Pereira

______Prof. Dr. Benjamin Rosenthal

______Prof. Dra. Thelma Valéria Rocha ABSTRACT

The present research is a study of the musical theatre industry in São Paulo highlighting the major challenges and opportunities the industry is facing. This analysis enables to achieve the research main objective, which is generate insights and propose actions for the development of musical theatre productions in São Paulo. The research has an exploratory nature with a mixed method research, an approach to inquiry that combines both qualitative and quantitative forms. This paper is composed in one hand by the musical theatre industry analysis, through secondary qualitative data analysis and 6 interviews, and on the other hand a more specifically analysis of all the musical theatre plays produced in São Paulo from 2000 until 2015, through a quantitative data collection.

The study shows that the musical theatre industry is growing in terms of both production and investment, but with a hegemony of Broadway productions. On the other hand, Brazilian plays are gaining space as well, leveraged by medleys and biographies plays. The musical theatre industry dependency on the use of cultural incentive laws is its main facilitator and challenge at the same time, since Broadway and biographical plays are perceived as a safer bet not only for the sponsor and producer, but for the artist and public as well. This results into a lack of original dramaturgy. Thus, the two mapped opportunities to develop the industry are to develop an Off-Broadway segment to reduce the cultural incentive laws dependency and raise artistic autonomy and to create a quota for original productions within the cultural incentive laws.

KEY WORDS: strategy, musical theatre, cultural product, entertainment, industry analysis

RESUMO

A presente pesquisa é um estudo da indústria de teatro musical em São Paulo, destacando os principais desafios e oportunidades que a indústria enfrenta. Tal análise permite alcançar o objetivo principal do trabalho, que é contribuir para o desenvolvimento da indústria criativa no Brasil através da proposta de ações concretas. A pesquisa tem uma natureza exploratória com um método misto, uma abordagem de pesquisa que combina formas qualitativas e quantitativas. Este trabalho é composto por uma análise da indústria do teatro musical, através de análise de dados qualitativos secundários e 6 entrevistas, e também mais especificamente a análise de todas as peças de teatro musical produzidas em São Paulo entre 2000 e 2015, através a coleta de dados quantitativos secundários.

O estudo mostra que a indústria do teatro musical está crescendo em termos de produção e investimento, mas com uma hegemonia de produções da Broadway. Por outro lado, os musicais brasileiros estão ganhando espaço também, alavancado pelos medleys e biografias. A dependência do setor de teatro musical em leis de incentivo cultural é seu principal facilitador e desafio ao mesmo tempo, uma vez que os musicais da Broadway e biográficos são percebidos como uma aposta mais segura não só para o patrocinador e produtor, mas também para o artista e o público. Isso resulta em falta de dramaturgia original. Assim sendo, as duas oportunidades mapeadas para desenvolver a indústria do teatro musical são o desenvolvimento de um segmento Off-Broadway para reduzir a dependência das leis de incentivo cultural e aumentar a autonomia artística e criar uma quota para produções originais dentro das leis de incentivo cultural.

PALAVRAS-CHAVE: estratégia, teatro musical, produto cultural, entretenimento, análise de indústria LIST OF TABBLES

Table 1 - Major phases of the culture of consumption ...... 22 Table 2 - Interviewee profile ...... 44 Table 3 - Interview protocol ...... 48 Table 4 - Foreign musical theatre plays analysis plan ...... 50 Table 5 - Brazilian musical theatre plays analysis plan ...... 51 Table 6 - Foreign and Brazilian musical theatre plays comparison plan ...... 51 Table 7 - Foreign musical theatre plays running months ...... 56 Table 8 - Foreign musical theatre producers ...... 57 Table 9 - Foreign musical theatre plays venues ...... 58 Table 10 - Brazilian musical theatre plays average running months ...... 63 Table 11 - Brazilian musical theatre producers ...... 65 Table 12 - Brazilian musical theatre plays venues ...... 66 Table 13 - Musical theatre producers ...... 73 Table 14 - Musical theatre plays venues ...... 74

LIST OF FIGURES

Figure 1 – History of musical theatre timeline ...... 32 Figure 2 - History of musical theatre in Brazil timeline ...... 36 Figure 3 - Analysis plan ...... 49 Figure 4 - Foreign musical theatre number of plays ...... 53 Figure 5 - Investment in foreign musical theatre plays ...... 54 Figure 6 - How foreign musical theatre plays are financed ...... 55 Figure 7 - Brazilian musical theatre number of plays ...... 60 Figure 8 - Genre of Brazilian musical theatre ...... 61 Figure 9 - Investment in Brazilian musical theatre plays ...... 62 Figure 10 - How Brazilian musical theatre plays are financed ...... 62 Figure 11 – Musical theatre genre that dis not used incentive laws ...... 63 Figure 12 - Musical theatre plays origin ...... 67 Figure 13 - Musical theatre plays genre ...... 68 Figure 14 - Musical theatre number of plays ...... 69 Figure 15 - Investment in musical theatre plays ...... 69 Figure 16 - How Brazilian musical theatre plays are financed ...... 70 Figure 17 - Musical theatre origin that did not used incentive laws ...... 70 Figure 18 - Musical theatre plays cast size ...... 71 Figure 19 - Musical theatre plays average running months ...... 72 Figure 20 - Musical theatre plays venues map ...... 75 Figure 21 - Musical theatre direct stakeholders ...... 78 Figure 22 - Musical theatre indirect stakeholders ...... 81

TABLE OF CONTENT

1. Introduction ...... 11 1.1. Musical theatre ...... 11 1.2. The subject and objectives of the study ...... 12 1.3. Relevance of the study ...... 13 1.4. Structure of the dissertation ...... 14 2. Theoretical basis ...... 15 2.1. Culture of consumption ...... 16 2.1.1. Culture and Consumer ...... 17 2.1.2. Fundamentals of the culture of consumption ...... 18 2.1.2.1. First phase (1880 – 1945) ...... 18 2.1.2.2. Second phase (1945 – 1990) ...... 20 2.1.2.3. Third phase (1990 – nowadays) ...... 21 2.2. The consumption of culture ...... 23 2.2.1. Cultural industry ...... 23 2.2.2. Creative industry ...... 25 2.2.3. Cultural product ...... 25 2.2.4. Entertainment ...... 27 2.3. Musical theatre ...... 28 2.3.1. Conceptualising musical theatre ...... 28 2.3.2. Origins and history of musical theatre ...... 29 2.3.3. History of musical theatre in Brazil ...... 32 2.3.4. Current scenario of musical theatre in São Paulo ...... 36 2.4. The power of cultural industry ...... 39 2.4.1. Cultural product and its influences ...... 39 2.4.2. Cultural product as a hegemonic system of representation ...... 40 3. Methodology ...... 42 3.1. Type of study and research methods ...... 42 3.2. Analysis plan ...... 44 3.2.1. Interviews ...... 44 3.2.1.1. Interviewees profile ...... 44 3.2.1.2. Interviews protocol ...... 47 3.2.2. Musical theatre industry analysis ...... 48 3.2.3. Musical theatre plays analysis ...... 50 4. Musical theatre plays in São Paulo analysis ...... 52 4.1. Foreign plays analysis ...... 52 4.2. Brazilian plays analysis ...... 59 4.3. Foreign and Brazilian plays analysis ...... 67 4.4. Key takeaways ...... 75 5. Musical theatre industry analysis ...... 76 5.1. Musical theatre stakeholders ...... 76 5.1.1. Direct stakeholders ...... 76 5.1.2. Indirect stakeholders ...... 79 5.1.2.1. Education and training ...... 79 5.1.2.2. Local market ...... 79 5.1.2.3. Tourism ...... 80 5.2. Industry key characteristics ...... 81 5.2.3. The industry of mega ...... 81 5.1.2. Dependence on cultural incentive laws ...... 83 6. Conclusion ...... 87 6.1. Main challenges faced by original musicals ...... 87 6.1.1 Broadway and biographical plays perceived as a safer bet ...... 87 6.1.2. Lack of original dramaturgy ...... 90 6.2. Mapped opportunities for action in São Paulo ...... 92 6.2.1Off Broadway ...... 93 6.2.2. Quota for original production ...... 94 6.3. Challenges and limitations ...... 96 6.4. Implications for further research ...... 96 7. References ...... 98 Appendix ...... 107

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1. Introduction 1.1. Musical theatre

“When the emotion becomes too strong for speech, you sing, when it becomes too strong for song, you dance.” (Ben Wattenberg)

Let the one who never lost his breath with the “Phantom of the Opera, or was moved with “Les Misérables” cast the first stone. In our childhood memory or travel to New York, musical theatres have always surprised us by their magnitude, splendour, and songs.

Musical theatre is a genre in which music is one of the essential components, making it indispensable (Blumenfeld, 2010). All the emotional content and the story itself is communicated through dialogue, song, dance and other technical aspects of the entertainment integrated as a whole. That is why it differs from dramatic theatre (Brandão, 2010).

Therefore, musical theatre appropriates dramaturgy to create structure, characters, conflicts, situations and actions, but it is thanks to music that all these elements express themselves (Guinsburg, Faria & Lima, 2006). Music is, therefore, a structuring resource which, if deleted from these shows, these cannot survive. Thus, music is an essential and characteristic element of the genre (Brandão, 2010).

Musical theatre is often quite stylistic and can use a variety of theatrical techniques such as elements of physical theatre. But it reaches its grandiose aspect thanks to the use of technology, which is employed scenic and musically, transforming the spectacle into something grandiose (Guinsburg, Faria & Lima, 2006).

Being a theatrical strand, the musical theatre is inserted in the group of the performing arts, which are part of the creative industries within the entertainment category (Caves, 2000; Hartley, 2005). Entertainment means the act of entertaining; agreeable occupation for the mind; diversion; amusement; something affording pleasure, diversion, especially a performance of some kind (Ferreira, 2014). The entertainment industry is seen as a development of the cultural industry, initially theorized by Adorno and Horkeimer (1985), which will be deepened in the theoretical basis section.

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1.2. The subject and objectives of the study Since I am a child, I have strong interest for musical theatre, going to almost every production in São Paulo. But recently I moved to London, and started to notice some differences between the Londoner musical theatre industry and the São Paulo one. In London, you can find an entire district, known as West end or Theatreland, dedicated to theatre houses and operas. You can easily find all different types of musical theatre, from the Broadway productions to independent plays. On the other hand, São Paulo “suffers” from the “Broadway effect”.

In the past decades, Brazil has built several aspects to the success that is seen today. The aesthetics of musical theatre in the country, such as technological advances that allow greater exchange and research, the improvement in the practical and theoretical formation of the Brazilian artist and the fact that Brazil is living times with a greater "awareness of a cultural policy" (Rubim, 2010). But in what path is the Brazilian musical theatre in all this context?

Contradictorily to all these advances, in the past ten years is has been hard to develop, modernize and make a genuine Brazilian musical theatre, in terms of having its own genre, aesthetics, and dramaturgy. What can be witnessed is a predominance of million dollar productions by the majors of international entertainment that exclusively aim the commercialization of cultural projects (Esteves, 2013).

This observation led to this study, a study of musical theatre in São Paulo, in terms of industry as a whole and more specifically its productions, that means the offer side. In this context, what are the main challenges musical theatre productions face in São Paulo and what are the main opportunities in order to develop the industry? The entire dissertation is designed to try to answer this question in the most complete and holistic way through the accomplishment of the following objectives:

Main objective: - Present the musical theatre industry general framework to generate insights and propose actions for the development of musical theatre productions in São Paulo.

Specific objectives:

- Map the musical theatre industry as a whole, by identifying the key direct and indirect stakeholders and the key characteristics of the musical theatre industry; 13

- Present the musical theatre offer in São Paulo the last fifteen years;

- To determine the major challenges and opportunities the industry is facing.

1.3. Relevance of the study The musical theatre industry is a relevant study subject in different terms, economically and culturally. First of all, the musical theatre sector is on the rise worldwide (Veneziano, 2010; Souza, 2011; Gouveia, 2014). As for the economic impacts, it is estimated that by 2010, the industry has created about 25 million direct jobs, and generated BRL 60 million by attracting 6 million spectators in São Paulo (Brasil, 2010). In addition to direct income, musical theatre enable spin off to other economic sectors for the city, such as tourism and restaurants (Cohen, 2011). In terms of culture, musical theatre is very relevant because it has an easier language adapted for all audiences.

The creative industries are gaining increasingly importance, economically speaking, in the world. This can also be observed in the musical theatre industry. It is a phenomenon both worldwide and local. In Brazil, and more precisely in São Paulo, musical theatre seems to consolidate, not only because of the increase in presentations and number of musicals, but also because of the growing professionalization of the industry.

Currently, musical theatre experiences a new moment, the best moment in the last 20 years (Gouveia, 2014). The market is becoming more mature, with large public-private investment through millionaire sponsorships (Jeronymo, 2011), with an increase in demand for technical and artistic specialization courses (Martins, 2008), greater dissemination in the media and in social networks, and the consequent increase in the demand of the public for this kind of spectacle. This means that musical theatre needs every possible encouragement, attention, and training (Gouveia, 2014).

Just behind New York's Broadway and London's West End, Brazil has become the world's third producer of musical theatre (Veneziano, 2010, Souza, 2011, Gouveia, 2014) and would be able to become the first (Gouveia, 2015). This warming of the market gave a new title to the city, São Paulo became the “Brazilian Broadway" (Veneziano, 2010). This title shows two things, not only the importance of Broadway to the musical theatre genre, but also infers the influence that Broadway has on musical theatre in Brazil. In fact, São Paulo and Rio de Janeiro joined the circuit of international productions, where it is possible to watch some of 14 the most famous musical productions, in the form of franchise or Broadway adaptations (Souza, 2011, Sá, 2012).

What differentiates the production of musical theatre from other theatrical genres is the number of professionals directly involved in the productions, level of investments and presence of the technology evidenced in the sound, light and scenography projects (Rubim, 2010; Duarte, 2015). For instance, the play "A Madrinha Embriagada" is an adaptation of Miguel Falabella from the original text "The Drowsy Chaperone", the most prized show on Broadway in 2006. The musical featured a cast of 25 actors and an orchestra with 15 musicians. The project was budgeted at BRL 12 million to be on stage for 11 months, that is a total of 325 sessions (Gouveia, 2013).

In addition to the direct economic income for the sector, musical theatre promotes spin offs for other economic sectors, such as tourism, for example. This is due to the enormous local investment and apparatus that a musical theatre demands, which prevents the spectacles from going on national tour, forcing the audience to come to the place, in this case São Paulo. This promotes cultural tourism, which fosters other sectors of the economy, such as hotels, restaurants, transportation, and other tourist attractions (Cohen, 2011). Thus, musical theatre ends up being an attractive for the city as a whole, in both economic and cultural terms.

1.4. Structure of the dissertation In order to achieve the proposed objectives, this dissertation is divided into six chapters. Starting with this introductory chapter in which appear: the subject of the dissertation and its relevance, its primary and secondary objectives and the present structure of the dissertation.

The second chapter presents the theoretical basis for this study, which are theories related to culture of consumption, the consumption of culture and the power of the cultural industry. After that, the musical theatre is presented through its conceptualization, broadly origins and history and more specifically history in Brazil, to finish with its current scenario in the city of São Paulo.

The detailing of the methodology used in the research is presented in the third chapter with the presentation of methods designed in order to solve the research question. First is identified the type of study and the research methods. Then, the analysis plan is detailed, with the musical theatre industry analysis and the musical theatre plays analysis. 15

The fourth chapter is devoted to the musical plays in São Paulo analysis, which is divided in four main parts; the foreign plays analysis, the Brazilian plays analysis, the foreign and Brazilian plays analysis and finally the key takeaways of the musical plays in São Paulo analysis in a whole.

The fifth chapter presents more specifically the musical theatre industry analysis. Its direct and indirect stakeholders as well as the two main industry key characteristics are analysed.

Finally, the dissertation is concluded with a brief discussion about the research findings, with the main challenges faced by the industry and a map of opportunities for action in São Paulo. The challenges and limitations of the research and some suggestions for new studies on the musical theatre subject are also expose.

2. Theoretical basis

We are swiftly moving at present from an era when business was our culture into an era when culture will be our business.

(Marshall McLuhan).

In the first part, the culture of consumption is analysed. Culture here is understood as a particular way of life, whether of a people, a period, a group or humanity in general (Williams, 1976) and not only related to artistic practices, such as music, literature, painting, theatre and cinema. Then, the culture evolution is revealed, from the late nineteenth century until nowadays, as well as how the consumer was build and the fundamental of the culture of consumption divided into three chronological phases.

After this first panorama, the consumption of culture is presented with the appeal of the Frankfurt school theorists and their contributions in the study of the cultural industry, especially Adorno and Horkheimer (1978) and Benjamin (1978). The concept of cultural industry is then completed with the notions of creative industry, being the third largest market in the world (Moss, 2009) and entertainment.

The third part consists in the musical theatre presentation in a holistic vision. First, its conceptualization, then its origins and history. After this worldwide introduction, the section 16 focuses only on Brazil, with the history of musical theatre in the country and its main milestones. Finally, the current scenario of musical theatre in Brazil is shown.

At last but not least, the power that the cultural industry has, according to Stuart Hall (1997), is presented in two main parts. First of all, how the cultural products influence and shape people’s attitudes, tastes, values and beliefs. After that, the theoretical basis is completed with the perspective of cultural products as a system of representation that exist to maintain the hegemony of the dominant culture, in this case the culture of consumption.

2.1. Culture of consumption The contemporary culture, that is culture of consumption, has its roots in the late nineteenth century, forming throughout the twentieth century, coinciding with the birth of marketing as an academic discipline, and continuing shaping in the twenty-first century. This phenomenon has become worldwide, striking different groups and people around the world, and has strongly influence not only in people’s everyday activities but on intellectual and artistic activities as well.

This notion of culture of consumption is fully deeper understood by the scholar Isleide Fontenelle (2002 and 2017). The expression “culture of consumption reflects” the current culture, formatting much of what and how people behave and relate with the world and others, in which consumption took such proportions that it can be stated that consumption became the centre of the capitalist world and everything became merchandise (Fontenelle, 2017).

The culture of consumption, has always been closely associated with American society. Consuming has become synonymous of "American way of life”. Such association is due to the role that the United States has had not only in forging the culture of consumption on its own territory, but in expanding it into a worldwide culture (Fontenelle, 2017).

To get started and fully understand the culture of consumption is necessary to savvy that every product, independent of being a merchandise or not, is consumed symbolically. What specifies the culture of consumption is the exercise of control over this symbolic or cultural determination of these products or goods (Lee, 1993).

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2.1.1. Culture and Consumer

Let’s start with the definition of culture and consumer. According to Raymond Williams (1976), culture is one of the most complicated words to define in English. Its definition evolved during time and can have several meanings. In its first uses, culture was a noun referring to a process, to a care with something that in the beginning was related to cultivation and harvesting or animal care, until it was expanded to involve care for human development.

The author, Raymond Williams (1976) proposes three broad categories of the use of the term culture: “(i) the independent and abstract noun which describes a general process of intellectual, spiritual and aesthetic development from the 18th century; (ii) the independent noun, whether used generally or specifically, which indicates a particular way of life, whether of a people, a period, a group or humanity in general; (iii) the independent and abstract noun which describes the works and practices of intellectual and especially artistic activity "(p.121).

For the present part of the dissertation, the meaning (ii) of culture is used, “which indicates a particular way of life, whether of a people, a period, a group or humanity in general” (Williams, 1976, p.121). Here, "private way of life" is a shared and institutionally sustained set of ideas, values, beliefs, and behaviours. It is a more anthropological than an artistic definition of culture.

On the other hand, consumer is easier to define, and has been used since the fourteenth century, but had, at that time, an unfavourable meaning. Still according to Raymond Williams (1976), consuming meant to destroy, exhaust, dilapidate. This also holds true for the ancient “consumer” uses, which since the sixteenth century, had the same general sense of destruction until at least the end of the nineteenth century.

The author tells that the word only started to be used in the general and popular sense that it has today from the mid-twentieth century. It took a whole cultural construction so that the meaning of the word “consumption” would be taken away from its original and negative meaning and assume a positive value. This displacement of the historical figure of the consumer was born from the model of the modern bourgeois until it became today the principal commodity of capitalism. In other words, the consumer is a historically constructed being, having had previous epochs in which people were not thought as consumers, especially as consumers of goods. 18

According to the sociologist Don Slater (1997), the consumer was the product of a new mentality that was also in formation. It is a product of the predominant form of consumption in the formatting of social practices and identities, in ideals and values, and in the structuring of contemporary cultural life that can be found today.

To put in a nutshell, people live in the culture of consumption, in which the consumer is the main character. Now, it is needed to understand precisely the economic, social and cultural forces that forged this new way of life guided by consumption, as well as the production of the consumer himself. To do so, the three chronological phases of the culture of consumption are shown with their respective economics landmarks and social and cultural changes that enabled the instauration and evolution of the culture of consumption how it is known nowadays.

2.1.2. Fundamentals of the culture of consumption

2.1.2.1. First phase (1880 – 1945)

It can be said that the first phase of the culture of consumption started from the final decades of the nineteenth century and went until the first half of the twentieth century. This period also overlaps what the philosopher Gilles Lipovetsky (2006) named the first era of consumer capitalism, the era of mass consumption. In describing this first phase, Lipovetsky discusses the economic and social transformations that constituted what can be called a “consumer society”, among which the large-scale production and the formation of national markets instead of local markets and small-scale production.

But is important to have in mind that consumer capitalism could not only be the result of these technical developments. Consumer capitalism was also the fruit of a cultural construction, especially with the invention of marketing and public relations. Both disciplines helped forming a new consumer mentality. After all, it was necessary certain broader political, social and cultural factors to contribute to the formation of an epoch spirit that would legitimize a new way of living, based on the logic of consumption (Fontenelle, 2017). Therefore, it was possible to transform a society that lived under the logic of parsimony and savings could turn to the immediate gratification provided by the products. 19

Having said that, the culture of consumption is a result of such transformations coming from two revolutions: the French Revolution and Industrial Revolution. According to the historian Eric Hobsbawm (1962), the French Revolution was for the political transformations (bourgeois revolution guided by liberal principles) what the Industrial Revolution was for the economic transformations (important quantity of goods put into circulation for individual consumption and which needed to be rapidly consumed). It was only with the double revolution that they became central in shaping a new world governed by the triumph of "capitalist industry" and "liberal bourgeois society" (Hobsbawm, 1962).

Both revolutions then promoted a transformation in mentalities since there was a breakdown of stable references in the passage from a way of life based on the guaranteed belonging in a certain social position, to the moment in which the possibility of social mobility and free choice was instituted under a new era: the age of the individual. In this struggle for social differentiation, through consumption of objects, bourgeois and workers began to gain the new identity form of the consumer in the late nineteenth century (Fontenelle, 2017).

In fact, according to Hobsbawm (1962), these consumed objects had value in themselves, in the sense of promoting this new type of man, of expressing the new bourgeois personality. In addition, objects were not merely utilitarian, but they were also meant to be symbols of status and success. At that moment, objects were used in the construction of this "I" that wanted to “be” or “seem”. It is here that the industrial revolution and the political revolution converge to a transformation in the mentalities from which the culture of consumption is tributary (Fontenelle, 2017).

However, according to Michael Dawson (2005) the formation of the culture of consumption occurred with the marketing as a product and protagonist. After all, for the sociologist, the story of big business marketing was becoming the main actor in a new cultural setting that transformed the American landscape (with shopping centres and highways) as well as shaping the individual experience so that each one took the objects of consumption as mode of life.

But none of this would have resulted in a culture of consumption if there were no people willing to buy. Richard Sennett (1988) states that there is a psychic pre-disposition to believe that it is possible to be another person just by using a particular object and it would be necessary to instigate the purchase on its irrational side, that is, in fantasies and desires. Given that, a central consideration in psychoanalysis is that desire is produced by culture, so the basic idea 20 of Edward Bernays (Freud's nephew and pioneer of public relations) was to shape human desire by associating it with consumer objects (Ewen, 1996).

That means when a purchase is made, it is not based only on one's own judgment, but from a sum of images and speeches imprinted on his psyche by external influences that often unconsciously command his actions (Ewen, 1996). Thus, cultural aspects of an era are re- signified considering the objects to be consumed through the media and public relations professionals.

Therefore, it was those several events that together formed the first phase of the culture of consumption, which can be understood from the moment that the large capitalist corporations together with the government and the beginning of propaganda and public relations gave meaning to a system ideology that proposed a lifestyle and your own identity shaped by consumption. Thus, the "bourgeois ethos," which preached work, compulsive savings and a morality of self-denial, opened space for new values that gave entitlement to leisure, compulsive spending, and the morality of individual achievement (Lears, 1983).

2.1.2.2. Second phase (1945 – 1990)

With the end of World War II, what Lipovetsky (2006) called "the purest model of mass consumption" began, which coincides with the period known as the "golden decades" of capitalism between 1945 and 1975. This was also the golden age of advertising, as well as market research based on psychoanalytic and behaviourist knowledge. Thus, it was the period in which the culture of mass consumption, with its corresponding marketing tools, became hegemonic (Lipovetsky 2006).

With this new level in the culture of consumption, mass culture, there was an intensification in the search for the differentiation of the goods, and soon began greater investments in images. It can be said that the second phase of consumer culture is characterized as the era of images, but not of any images, an era of images to be sold, to be consumed by themselves or as a support for the sale of another commodity (Fontenelle, 2017). With the appearance of television, it was possible to have a salesperson in each household (Ogilvy, 1963).

In the first phase of the culture of consumption, the industrialized objects charmed by their new form and by the sale of the dream, now, in the second phase, it is the spectacular 21 images of television, the cinema, and the visual arts, which began to sale. However, this detachment between the image and the merchandise conveyed still had to indicate the necessary association of the merchandise with positive images of happiness, entertainment, sport and harmony, among others (Fontenelle, 2017).

With this development, the body is also presented as an image, and more precisely as an image ready for transformation. This constant exposure, along with cultural and psychic transformations, altered the relationship of man to the image of his body (Featherstone, 2000). If the basis of psychoanalytic literature is taken, the body was never an autonomous project, which has always been dependent on the other's gaze, and for this reason the experience of the body itself is from the beginning submitted to a mental scheme (Safatle, 2004). It means that the body is an image produced through the introjection of socially desirable images.

2.1.2.3. Third phase (1990 – nowadays)

Unlike the first two phases, the third phase of the culture of consumption was characterized by the proliferation of new hybrid formats of advertising, that is, formats with a greater imbrication with social reality and with new cultural productions (Fontenelle, 2017). This phase can be defined as "cultural consumption, emotional, hedonic, aesthetic, experiential". Brands no longer define only products, provenance, quality, but become an authority providing everything, as well as products and services such as entertainment, information and even ethos. At this stage, "lived experience" became commodity as well (Rifkin, 2000).

It is during this same period that corporations cease to seek inspiration in representations and images and have come to the task of producing themselves as culture. According to Naomi Klein (2002), the emergence of branding indicates the moment when culture became a commodity. For her, the branding effect is to push the host culture to the bottom of the stage and make the brand the star. Thus, the brand is culture.

Then, there was what is called a dilation of the product sphere to the field of culture, shaping a moment in which Lipovetsky and Serroy (2015) termed "artist capitalism" or "transesthetic." The product, or in this case already the brand, ended up integrating its other spheres, including the cultural sphere, into the sphere of economic exchanges. 22

To put in a nutshell, according to the sociologist Mike Featherstone (1995), consumer culture can be analysed from three different perspectives "consumption production", "modes of consumption" and "emotional pleasures of consumption". From the perspective of the "production of consumption", the culture of consumption is premised on the expansion of the capitalist production of commodities, passing through a process of commodification of life and culture. In the perspective of "modes of consumption", a more sociological perspective, people consume goods in order to create bonds, establish social distinctions, lifestyle and identity. Lastly, by looking at the "emotional pleasures of consumption," consumption and its specific locations produce various kinds of physical excitement and aesthetic pleasures.

Therefore, it was discussed in this paper how consumer culture has been transformed over time, socially constructing the consumer through the production of consumption, the re- signification of consumption and the displacement of consumption of goods, in a first time in the consumption of image and then the in consumption of experience. This is allied to new marketing techniques such as public relations, advertising and branding, which not only produced symbolic images, but also translated unconscious desires and dictated culture. This evolution has brought the world into the culture of consumption as such it is known, in which everything has become consumable merchandise that defines the identity.

The evolution of the culture of consumption as it is conceived today can be simplified by the table below, Table 1.

Table 1 - Major phases of the culture of consumption

Phases Marketing Where to What you Communication Examples discipline buy buy

1st (1880 - PR Department Dream Shop window and Shop window with photo of 1945) store orchestrated duchesses “manifestations”

2nd (1945 - Advertising Shopping Image Television United Colors of Benetton 1990) centre advertising

3rd (1990 - Branding Concept Experience Culture – in the terms of Coca Cola Festival Music nowadays) store artistic manifestation

Source: Fontenelle (2017). 23

2.2. The consumption of culture

Contrarily to the first and previous part of the theoretical basis, in which culture was understood as a particular way of life, whether of a people, a period, a group or humanity in general (Williams, 1976), in this part, culture is defined as related to artistic practices, such as music, literature, painting, theatre and cinema.

To be able to have a holistic perspective about the consumption of culture, the cultural industry is presented thought the Frankfurt school theorists, mainly Theodor Adorno, Max Horkheimer (1978) and Walter Benjamin (1978). Then, the concept of cultural industry is complemented with different and complementary perspectives from both, creative industry and entertainment concepts.

2.2.1. Cultural industry

In the final decades of the twentieth century, culture had become the main merchandise of capitalism, and any human experience could be transformed into an idea that could contain value, when the cultural sphere was driven to the commercial sphere (Rifkin, 2000). Rifkin (2000) then defines the cultural industry as the long process of transforming art and culture into entertainment and business.

However, the notion of experience consumption had already been discussed much earlier by the writer and futurist Alvin Toffler (1970). According to him, the experiences are presented as the only product that, once acquired by the consumer, can no longer be taken from him. In this analysis, the characterization of the experience as a merchandise is already evident, as it would become, in the future, the fundamental product of the culture of consumption.

Therefore, cultural industry is a concept marked by the process of industrialization and commercialization of the field of the arts, a stage of culture in which, in fact, everything would become entertainment, there would no longer be high and low culture, insofar as everything would be mediated by the average consumer and the pursuit of mass entertainment (Adorno & Horkheimer, 1978).

Adorno and Horkheimer and Benjamin have widely divergent views on what the cultural industry is. The first two authors have a somewhat more elitist conception, denying any aesthetic experience that is not considered classical (Martin-Barbero, 2001). For them, the 24 cultural industry linked to fun and leisure is the depravity of culture (Adorno & Horkheimer, 1978). On the other hand, Benjamin (1978) defends the conception that the techniques and the masses, provided by the cultural industry, allow an emancipation of the art.

It should be noted that, like any industry inserted in the culture of consumption, the cultural industry is also governed by immediate economic objectives that determine the production of a cultural product, as well as its aesthetic specificities (Ponte, 2012). In this way, more people will have access to these cultural products, but this does not mean that the logic of social distinction is eliminated in the process (Hercovici, 1995).

This means that although mass culture broadens access to cultural products, there are still cultural segments where there is no greater "massification" and accessibility. Therefore, when a cultural product is consumed, its symbolism and image linked to it are also consumed. Having said that, it is impossible to have a complete cultural unity in a society, although mass culture enables communication between the different social layers (Martin-Barbero, 2001).

For Bourdieu (1998), each cultural product is unique, even if it is produced industrially and following a market and capitalist logic. For the author, a unique cultural product is due to its value of use. However, the process of distinction that Bourdieu (1998) calls a cultural hierarchy persists. In this structure, which works through social legitimation, products that have a greater power of distinction occupy the top of the hierarchy because they have a formal and conceptual complexity, thus constituting a legitimate culture.

Nevertheless, it becomes increasingly difficult and complex to differentiate between erudite and mass products, because the marketing process occurs in any sphere of cultural production (Silva, 2008). Furthermore, different artistic manifestations, both erudite and mass, receive influences from each other.

Nowadays, cultural industries, forms of artistic expressions produced and distributed commercially, are the most rapidly expanding sector of the global economy in which the emotional age of consumption is characterized by an incessant search for hedonistic and sensitive experiences (Lipovetsky & Serrroy, 2015).

25

2.2.2. Creative industry

After analysing different, both divergent and complementary, definitions of the creative industry, it can be said that the creative industry corresponds to a field of convergence between art, culture, entertainment, technology and business (Hartley, 2005), through the production of creative and symbolic goods (Throsby, 2001), using as input the creativity, skills, individual talent (Hartley, 2005) and intellectual work (Howkins, 2001). The creative industry has great potential for economic and urban development (Florida, 2002).

Here are some examples of creative industries: design, advertising, cinema and video, architecture, arts and crafts, fashion, music, performing arts, radio and television, software development, video games and computer games, but also museums, galleries, education for the arts, literature and libraries (Hartley, 2005).

In a broader perspective, the sum of the creative industries is at the core of a creative economy (Howkins, 2001), which also covers the impact of their goods and services on other sectors of the economy and the connections established between them, provoking and incorporating profound social, organizational, political, educational and economic changes (Reis, 2008).

Although creativity and economics do not represent new concepts, understanding the creative economy as a mere reordering of sectors in a coined category of "creative industries" is a limited view (Reis, 2008), since the novelty is the extent of the relationship between economy and creativity and how these two elements interact with the goal of generating value and wealth (Howkins, 2001). The convergence between arts, culture, technologies and globalization is a new socioeconomic context that attributes to creativity the role of motivating and creating new business models (Reis, 2008).

2.2.3. Cultural product

The creative industry and its activities produce various goods and services, which can receive different denominations, such as "creative goods and services", "cultural goods" or "symbolic goods". These goods and services are characterized by their association with cultural, artistic or entertainment activities (Caves, 2000). The common fact to all of them is the application of creativity, talent and skills as productive inputs (UNCTAD, 2008). 26

It can be said that “creative goods and services” and “cultural goods and services” are similar, but not totally identical, terminologies. Cultural products are part of the larger set of creative products, but with certain differences, which point to the differences between the cultural industry and the creative industry (UNCTAD, 2010). That is, a cultural product is necessarily a creative product, but a product can be a creative product without necessarily being a cultural product, as in the case of software and fashion for example (UNCTAD, 2010).

As seen, the initial input to produce cultural goods and services, that is cultural products, is a certain level of creativity and thus become vehicles of symbolic messages to those who consume them. This means that a cultural product serves a greater purpose, it is not a merely utilitarian product, but it also serves a communicative purpose. In addition to these two aspects, a cultural product also contains a degree of intellectual property attributed to those who produced the good or service (UNCTAD, 2010).

According to the cultural economist David Throsby (2001) the cultural product is characterized not only by its economic value but also by its cultural value. That is, the cultural product is a combination of aesthetic, spiritual, social, historical, symbolic and authenticity. The economist claims that only the economic value is incapable of representing the cultural value of a given cultural product. For this, it is necessary to analyse a variety of attributes such as spiritual meaning, social function, symbolic meaning, among others, to identify the cultural value associated with the cultural product. This perspective presented by Throsby (2001) refers to what Bourdieu (1998) called symbolic goods, which are goods and meanings, whose value is predominantly cultural, even if in some cases economic value reaffirms the cultural consecration of the product.

If the definition of cultural value of David Throsby (2001) is adopted, from the point of view of the consumer, public or reader (depending on the type of cultural product) and the process of cultural products consumption, two new characteristics of the cultural product can be noted, its non-utilitarian character and the uncertainty inherent in it. Because cultural products are symbolic and experience goods, they deal with more expressive and aesthetic issues than necessities or utilities, cultural products have a non-utilitarian character (Hirsch, 1969).

For not being utilitarian, there is uncertainty about the satisfaction promised by the cultural product consumption, since their consumers lack information about them before 27 consumption. The response to a book, or a film is not known until being read or seen. The satisfaction promoted by these goods and services is subjective and largely intangible (Caves, 2000). Such products are consumed in a social context. Therefore, the satisfaction of a consumer of a cultural product is not in its utility, but rather depends on the presence of others at the moment of consumption and the memories of the experience (Caves, 2000).

Therefore, cultural products depend on the user or final consumer (consumer, public or reader) to exist. They depend on decoding to find cultural value in these meanings (Hirsch, 2000). Thus, the consumer is a co-creator of the cultural product and the boundaries between audience and artists in their active or passive roles become difficult to establish (Randall, 2010).

2.2.4. Entertainment

According to the dictionary (Ferreira, 2014), entertainment means the act of entertaining; agreeable occupation for the mind; diversion; amusement; something affording pleasure, diversion, or amusement, especially a performance of some kind. The entertainment industry is seen as a being part of the creative industry and cultural industry.

Being more precise, the French sociologist Joffre Dumazedier, cited by Taschner (2000), defines entertainment as a set of occupations to which the individual surrenders voluntarily after getting rid of professional, family and social obligations. In other words, unlike the other activities, entertainment is a choice.

The academic Limeira (2006), points out the causes of consuming entertainment, which are distraction and amusement. For the author, entertainment is different from art as far as art requires rationalization or intellectualization at the time of consumption, while entertainment is linked to a more passive and pleasurable activity, more connected with mass culture itself.

Considering the different definitions and points of view, one can define, in a simplistic way, entertainment as being any product and service that manages to retain voluntarily the consumer for a certain period of time, providing some sensations as amusement and distraction.

It should be highlighted that the entertainment industry is the third largest market in the world. This industry includes many types of entertainment, such as live music shows, bars, 28 pubs and clubs, cinema and film, theatre, family entertainment, broadcast media, audio-visual media, internet, gaming, printed media, commercial gambling, spectator sports, thrillertainment, sellertainment, spiritual entertainment, health entertainment and adult entertainment (Moss, 2009).

After this macro perspective of the consumption of culture with the cultural and creative industry, then more specifically the presentation of entertainment, the musical theatre is presented as one of many type of cultural product, classified as entertainment.

2.3. Musical theatre

As briefly presented in the introduction, musical theatre can be characterised as a spectacle in which there is the union between the performing arts of singing, acting and dancing, and is usually presented in large theatres and for numerous audiences. However, these aspects, although not false, are insufficient to define musical theatre, especially for its variety, different origins and continuous innovations, both artistic and technical (Alpert, 1991). Therefore, this part is dedicated to the conceptualization of musical theatre, its origins and history. Going beyond, the history of musical theatre in Brazil is discussed, as well as its current scenario in order to have an industry backdrop.

2.3.1. Conceptualising musical theatre

Scholars do not always agree in one and only definition of the real essence of musical theatre (Alpert, 1991). But what is unanimous is that this genre is recognized by the possibilities of innovation and individualization of each spectacle (Salzman & Dési, 2008), with of course the use of performing arts of singing. Therefore, in a simple way, musical theatre can be conceptualized by the fact of being a genre in which music is one of the essential components, making it indispensable (Blumenfeld, 2010). All the emotional content and the story itself is communicated through dialogue, song, dance and other technical aspects. This is the main difference between dramatic theatre and musical theatre (Brandão, 2010).

Therefore, musical theatre is not only about the singing and dancing. It appropriates dramaturgy to create structure, characters, conflicts, situations and actions. The music enables all these elements to express themselves (Guinsburg, Faria & Lima, 2006). Music is, therefore, 29 a structuring resource, essential and characteristic element of the musical theatre genre, but not the only one (Brandão, 2010).

Musical theatre is also often quite stylistic and can use a variety of other theatrical techniques and elements of physical theatre. Different grandiose spectacles are produced thanks to the use of technology and innovations, which are employed scenic and musically, transforming the spectacle into something majestic (Guinsburg, Faria & Lima, 2006).

Consequently, it is necessary to try to understand musical theatre origins and influencing aspects in order to understand what, how and why it really is nowadays (Pirotta, 1992). It is a somehow hybrid genre with different characteristics that distinguish it from other theatrical genres, such as drama, comedy or farce, and is conquering crowds, both spectator fans and investors.

2.3.2. Origins and history of musical theatre

Musical theatre, as it is known today, is a contemporary hybrid theatrical format, considering its variety, both origins and development. Again, scholars do not always agree on musical theatre origins and influences. For the professor of Theatre Studies at the University of Kent, Patrice Pravis (2005), musical theatre distances itself from opera or operetta while it approaches the experiences of Brecht and Weill, for integrating music, dance and dramaturgy in the form of spoken text and not only sung text. On the other hand, for theatre director and researcher, Neyde Veneziano (1991), musical theatre is the fruit of popular influences from the early Greek and Roman times, passing through the Latin, mainly Italian, French and Portuguese such as Goldoni, Molière and Gil Vicente.

Then, it can be considered that musical theatre descends from different theatrical formats, such as the opera, burlesque, operetta, vaudeville, revue and musical comedy (Vasconcellos, 1987). All these theatrical formats, which directly influenced the musical theatre, have clear differences in terms of the proposal, format, audience and places in which they appeared and were presented. However, what is common to all of them is the use of presentations of musical scenes in the course of the plays.

So, the spoken theatre can be separated from the sung theatre. Such separation would have taken place in the period of the European Renaissance (end of century XIV to the end of century XVI). The spoken theatre would have been created in Europe only in the sixteenth 30 century. While the opera, classical form of theatre non-religious sung, would have appeared only a century later, in the seventeenth century (Salzman & Dési, 2008). However, there are records of other forms of musical theatrical expression that arose in parallel to the operas and some even are previous.

Vaudeville, genre also referred as an influencer of musical theatre, emerged in the eighteenth century as a French term used to refer to musical comedies that refer to popular music pieces. They used songs known by the public and presented complicated intrigues, based on the ambiguity and comedy of situations, such as ridicule and beatings (Guinsburg, Faria & Lima, 2006).

The operettas, unlike the operas, originated in the nineteenth century in France. Such denomination came from the opera Bouffe Orphée aux Enfers, staged in 1855. This genre is characterized by its satirical tone allied to musical performed by an orchestra. As it is spread throughout Europe, the genre has acquired its own style in each nation, as is the case in Austria, Italy, Germany and England, for example (Guinsburg, Faria & Lima, 2006).

Speaking about England, it was there that appeared in the eighteenth century the first recognized work of musical comedy, The Beggar's Opera. Presented in 1728, the play used songs known as part of the story to be presented. However, the term “musical comedy” was not used at the time. The play was then initially categorized as ballad-opera and the term musical comedy emerged only at the end of the nineteenth century (Green, 1990).

From Europe, musical comedies arrived in the United States in the eighteenth century, with the first performance of The Beggar's Opera in 1750. However, similar theatrical manifestations were already present in the country since the colonial period (Green, 1990). But it is The Black Crook, in 1866, which is singled out as the first really American musical comedy. It is the first record of presentation with innovative scenic effects in terms of light, colours and grandiose and luxurious settings (Pirotta, 1992). Being accepted by a wide- audience, The Black Crook is billed as Broadway's first major hit (Alpert, 1991), making it what it is today, an entertainment hub in New York City, the capital and synonymous with musical theatre.

At the same time, European musical comedies production was also active, especially in London, which was the gateway to an exchange of productions and professionals between Europe and the United States for the ease of language. Thus, many plays were premiering in London and following Broadway and vice versa (Hartnoll, 1983). 31

Therefore, American musical comedy developed from the end of the nineteenth century and throughout the twentieth century distinguished by the emphasis on dramatic narrative much more elaborate, the interplay of spoken and sung language and the high level of their productions. One of the first great American musicals was Show Boat, which debuted in 1928 (Vasconcellos, 1987). This play represents the milestone of the creation of a "modern musical", which would later be called simply a musical (Pirotta, 1992) in which the plays were no longer confined to comedy or light themes, they began to address, among other topics, the terrible economic situation of the United States in the 1930s and the constant threat of a second world war (Green, 1990).

In a second moment, a greater emphasis was placed on choreography and dance, as a consequence of the work of directors who were also choreographers (Green, 1990). In addition to the Bible itself and classics of literature, comics and films have also acted and still act as a source of inspiration for musicals (Hatnoll, 1983). In addition to being enriched by artistic transformations and revolutions, the new musical theatre has also absorbed the technological innovations of the twentieth century in terms of scenography, design, machinery, light, audio and video (Selzman & Dési, 2008).

Thus, although musical theatre descends from other earlier theatrical forms and genre that even used music before, it was in the United States in the twentieth century that all these influences were consolidated, matured and enriched with their own characteristics (Hartnoll, 1983). Musical theatre became world-renowned and Broadway its capital (Alpert, 1991).

This section showed that the evolution of musical theatre has taken place over a long time with diverse influences and origins. This process and evolution are still occurring, since musical theatre is characterized by its continuous innovations and this diversity is reflected in its most varied subgenres, such as musical dramas and comedies, jukeboxes and dance musical (Taylor 2012). All this evolution is showed in the following timeline of the Figure 1.

32

The first step towards theatre musical creation is the XVII CENTURY separation between spoken theatre and sung theatre with the appearance of the opera. OPERA APPEARANCE

XVIII CENTURY French term used to refer to musical comedies. They used songs known by the public and presented VAUDEVILLE complicated intrigues, based on the ambiguity and comedy of situations.

In England, the first recognized work of musical 1728 comedy. However, the term “musical comedy” was not used at the time. The play was then initially THE BEGGAR’S OPERA categorized as ballad-opera.

XIX CENTURY Originated in France, this genre is characterized by its satirical tone allied to musical performed by an OPERETTA APPEARANCE orchestra.

First really American musical comedy. It is the first 1866 record of presentation with innovative scenic effects in terms of light, colours and grandiose and luxurious THE BLACK CROOK settings.

1928 Creation of the "modern musical”, in which the plays were no longer confined to comedy or light themes, SHOW BOAT they began to address, among other topics, the terrible economic situation.

Figure 1 – History of musical theatre timeline Source: Own authorship

2.3.3. History of musical theatre in Brazil

Different formats and genres of musical theatre plays in Brazil integrated the evolution of the theatre genre from the end of the nineteenth century to the entire twentieth century. During this period, Brazil experienced several forms of the genre, such as operettas, magazines, Broadway productions, biographical and resistance musicals (Rubim, 2010). It is necessary to emphasize that it is difficult to put accurate historical landmarks and to point out when each of the tendencies begins and ends, since many of the styles coexisted and still continue to influence what it is called musical theatre, in a broader sense.

The earliest records of the presence of musical theatre in Brazil refer to the nineteenth century, under strong influence of the French companies that presented their spectacles in the court. Thus, the first manifestations of the musical genre in Brazil were in Rio de Janeiro (Rubim, 2010). These first formats offered a French repertoire that included spectacle of variety and vaudevilles composed by singing, dancing, gymnastics and beautiful French dancers that 33 presented joyful, popular and amusing musical numbers, in order to distract and to offer the novelties of the French bohemia to the Brazilian male audience (Veneziano, 2010).

In general, the Carioca (people from Rio de Janeiro) public, who wished to be French, was very receptive to the genre and very soon they were in the era known as the golden age of the French operetta in Brazil. However, the genre was also heavily criticized by newspapers, catholic ladies and intellectuals who sought a more serious and intellectual theatre (Veneziano, 2010). Another recurring criticism denounced the fact that musical theatre was elitist, far from the most popular audience. This was because the pieces were presented in their original version, or in French, and required a certain level of knowledge, as for example about Greek mythology (Veneziano, 2010).

In response to previous criticism, Brazil met a new musical theatre movement around 1870, parodies of French operettas, such as “Orfeu na Roça” (parody of Orphée aux Enfers), “A Baronesa de Caiapó” (parody of La Grande-Duchesse de Gerolstein), “Barba de Milho” (parody of Barbe-Bleue), “A Filha de Maria Angu” (parody of La Fille de Madame Angot) among others (Guinsburg, Faria & Lima, 2006).

It can be stated that, as in the European countries, the operettas went through a process of nationalization. It was then revealed that Brazil had a parody vocation and then the Brazilian musical theatre began. Thus, preparing the ground for the installation of the revue theatre in the late 1880s (Veneziano, 2010). Revue theatre is a mixed spectacle that united prose and verse, music and dance in the presentation of facts inspired by the news, using joking caricatures with the purpose of criticizing and amusing the public (Guinsburg, Faria & Lima, 2006).

The revue theatre loses in dramaturgy and gains in the area of entertainment, once it comes to gather on the same stage artists with different backgrounds, experiences and diverse languages, no longer importing a dramaturgy specially constructed for that spectacle. These artists, usually from the circus, made a contribution to Brazilian musical theatre through music frames, usually parodies or original songs, and jokes organized in an almost random manner (Esteves, 2013). Its origin is also French, but it came to Brazil through Portugal in the form of revue-of-year, whose main characteristic was "to review" the facts of the year that just ended, in a theatrical, musically, humorous and critical way (Porto, 2010).

The revue theatre is an elastic genre, since it adapts quickly to the country in which it is to approach the daily life and local music. The revue genre in Brazil immediately 34 incorporated Brazilian characters such as malandros, mulatas and caipiras (vagabond, mulatto women, countrymen), in addition to the social and political events and, above all, the music, being considered also one of the main vehicles of popular Brazilian music dissemination (Guinsburg, Faria & Lima, 2006). By assuming this Brazilian identity, the revue theatre has transformed itself into a genuinely Brazilian music theatre.

Developing for decades and with a strong influence from outside like the féerie française as Lido, Follies Bergère and Moulin Rouge and of the American rhythms, as for example foxtrot, boogie-woogie and tap dance, the revue theatre was transformed. In the 1940s and 1950s, the luxury of productions mainly characterized the genre, uniting Brazilian signs like carnival to dazzling scenarios, arriving at a formula of its own: first-rate cast, modern scenic effects and large and monumental apotheoses (Veneziano, 2010).

This movement was a result of an ambitious bourgeoisie willing to realize a cultural product without the concern about expenses. Brazilian musical theatre then began to find a thirsty audience not only for the communication and aesthetic pleasure that art provides, but also for its spectacularization. It was when the first Brazilian theatre company appeared, the Brazilian Comedy Theatre, representing the first national theatre label, curdled with foreign names that gave it international company status (Esteves, 2013).

This strong external influence was intensifying and brought to Brazil a new creative energy, a greater degree of professionalism and a technical perfectionism never seen before in the country. It was the first time that the Brazilian theatre was concerned with set-up machinery, assembly, light tuning and production of costumes, which were once owned by the artists themselves. On this occasion, directors, set designers, costumers, illuminators and other professionals were “imported” directly from Europe (Esteves, 2013). This exchange was a preponderant factor for the professional development of Brazilian artists (Rubim, 2010).

The next decade, period of 1960s, saw great changes for the scenario of Brazilian musical theatre. On one hand, musical theatre from Broadway began to gain space on Brazilian stages with translated and adapted versions, such as “My Fair Lady”, staged in 1962, bringing Bibi Ferreira and Paulo Autran to the cast (Veneziano, 2008). On the other hand, the censorship of the military regime imposed on the media and the theatre brought forth the resistance musicals (Guinsburg, Faria & Lima, 2006).

At that time, imported plays, mainly from the United States, were rejected, being considered as an alienated theatre, a model imposed by the bourgeois oppressors. It was then 35 that the musicals sought in the resistance genre their national interest subjects, with more elaborate characters, with stories well told and with more complex contents, engaged and committed to the social issues of the time (Veneziano, 2010).

Brazil found in the resistance theatre a place of agglutination of the most politicized sectors of society, of affirmation of forbidden ideas and of starting point for songs of protest against repression (Guinsburg, Faria & Lima, 2006). Thus, a new fertile ground was sown, aimed at audiences formed by students and others interested in hearing and discussing social injustices (Campos, 1988). One of the main representatives of this movement was Chico Buarque de Holanda, with the following plays of “Morte e Vida Severina” in 1965, “Roda Viva” in 1967, “Os Saltimbancos” in 1977 and his main work “A Ópera do Malandro” in 1986. Other significant representatives of the genre were Vinícius de Moraes and Tom Jobim (Veneziano, 2010).

Biographical musicals, as they are today, only appeared in the 1980s. According to Rubim (2010), the formula for the guaranteed success of this genre is to highlight an idol of the past, to tell episodes of its history and to use songs from its repertoire. Since then, great international and Brazilian stars have been represented on Brazilian stages, such as Nelson Gonçalves, Linda and Dircinha Batista, Chiquinha Gonzaga, Dolores Duran and Elza Soares.

The Era Collor (1990 to 1992) does not bring any type of innovation, quite the contrary, it stuns the processes of project viability and what can be called Broadway musical and Brazilian musical theatre were suffering a brief decline. Only with the stabilization of the currency and with the creation of many laws to encourage culture, the producers interested in implementing musical theatre projects will begin to arise. Musical theatre was formed by young people with little habit of attending theatre but passionate about American musicals (Esteves, 2013).

As it was presented, the Brazilian musical theatre knew diverse influences of genre and origins throughout the time from the nineteenth century. Some genres have been adapted, combined and evolved. This is part of the history of Brazilian musical theatre, and its milestones are presented in the following timeline in Figure 2.

36

First manifestations of the musical genre in Brazil were BEGINNING OF XIX CENTURY in Rio de Janeiro where French companies presented their spectacles in the court. VAUDEVILLE

1870s Movement that denounced the fact that musical theatre was elitist, far from the most popular audience OPERETTA PARODIES because the plays were presented in their original version, or in French.

No longer importing a dramaturgy specially 1880s constructed for that spectacle. Loses in dramaturgy and gains in the area of entertainment. REVUE THEATRE

1940s and 1950s Strong influence from outside like Lido and Moulin Rouge, foxtrot, boogie-woogie and tap dance. Genre LUXURY PRODUCTIONS unites Brazilian signs like carnival to dazzling scenarios and modern scenic effects.

Musical theatre from Broadway began to gain space 1960s on Brazilian stages with translated and adapted versions. BROADWAY PLAYS

1970s and 1980s Against American plays and the military censorship, resistance theatre gained place among most politicized RESISTANCE THEATRE sectors.

Figure 2 - History of musical theatre in Brazil timeline Source: Own authorship

2.3.4. Current scenario of musical theatre in São Paulo

The Brazilian theatrical scene has always been marked by the musical genre in its different forms, as it was exposed in the previous section. However nowadays, musical theatre in Brazil seems to experience a new moment, started just over a decade ago (Rubim, 2010). This new moment has been characterized, above all, by productions from Broadway, by the greatness of the spectacles, by the technological and scenic apparatus necessary, by the increasing professionalism and quantity of the professionals involved directly in the productions (Rubim, 2010). In this subsection, these aspects are explored, seeking to offer a brief overview of this more contemporary scenario of musical theatre in Brazil, both in terms of economics and cultural aspects.

Economically speaking, it is estimated that, by 2010, the musical theatre industry created around 25,000 direct jobs, a turnover of BRL 60 million and attracted 6 million spectators (Brazil, 2010). And according to the scholar Mirna Rubim (2010), this warming in 37 the musical theatre industry has been occurring thanks to technical and commercial progress, combined with the favourable economic moment of Brazil and the establishment of more efficient production infrastructures. She believes that Brazil, and more specifically the cities of Rio de Janeiro and São Paulo, is today an effective market for musical theatres. The professionals of the area are experiencing a rare moment in history and effectively envisioning a solid career, which was not the case some decades ago.

Therefore, it can be affirmed that currently musical theatre experiences a new moment, the best one in the last 20 years (Gouveia, 2014). The market is becoming more mature, with large public-private investment through millionaire sponsorships (Jeronymo, 2011). Just behind New York's Broadway and London's West End, Brazil has become the world's third producer of musical theatre (Veneziano, 2010, Souza, 2011, Gouveia, 2014) and would be able to become the first (Gouveia, 2015). This warming of the market gave a new title to the city, São Paulo became the “Brazilian Broadway" (Veneziano, 2010).

According to a study conducted by Bravart Entertainment, the estimated audience in 2016 was 1.1 million people, while in 2014 the plays reached 1.3 million spectators. The audience estimate was made considering an average occupation of 70% in the sessions. The longest seasons were in São Paulo in the 1st place) and Rio de Janeiro in 2nd (Agência Estado, 2016). These numbers show the strength of the Brazilian musical theatre industry, which has managed to sustain the number of premieres despite the 3.8% decline in GDP in the period.

Another strong indicator of the musical theatre industry consolidation and growth in Brazil is the growing competition for the acquisition of rights and license for Portuguese language versions of Broadway plays. The producer buys the right of the play as a kind of guarantee that no one will adapt the play in the country. But those who acquire the right have a fixed term to set the stage, in general for up to two years (Fioratti, 2010). This "boom" of the industry in Brazil is part of a boarder international context, in which there has been an increase in the demand for rights among Latin American countries, Russia, China and India (Fioratti, 2010).

In addition to the direct economic income for the sector, musical theatre promotes spin offs for other economic sectors, such as tourism, for example. This is due to the enormous local investment and apparatus that a musical theatre demands, which prevents the spectacles from going on national tour, forcing the audience to come to the place, in this case São Paulo. This promotes cultural tourism, which fosters other sectors of the economy, such as hotels, 38 restaurants, transportation, and other tourist attractions (Cohen, 2011). Thus, musical theatre ends up being an attractive for the city as a whole, in both economic and cultural terms.

In Brazil, and more precisely in São Paulo, musical theatre seems to consolidate, not only because of the increase in presentations and number of musicals, but also because of the growing professionalization of the industry (Rubim, 2010). In 2015, for example, more than 3,200 job openings were created thanks to the various musical productions that took place in São Paulo (Agência Estado, 2016). In fact, the city joined the circuit of international productions, where it is possible to watch some of the most famous musical productions, in the form of franchise or Broadway adaptations (Souza, 2011, Sá, 2012).

In terms of musical theatre play, there is no exact consensus on the starting point of this new contemporary phase, so that two shows are generally identified as milestones or drivers of this more recent moment, being "Rent" in 1999 and "Les Misérables" in 2001 (Martins, 2008).

For the specialist Veneziano (2010), “Rent” set up in 1999 in São Paulo was the milestone that definitely introduced Brazil on the million-dollar musical theatre industry. However, this opinion is not unanimous, mainly because it did not reach a large public and because some professionals questioned its technical quality (Martins, 2008). Some professionals believe that "Rent" was a kind of market test carried out by the CIE (current T4F) before making an investment in a larger production. On the other hand, others such as Matins (2008) defend that “Rent” played an important role because it started the process of qualification and professionalization of the castings.

For other experts in the field, it was with the premiere of "Les Misérables" that market numbers began to stand out. The musical attracted 350,000 spectators in just eleven months (Cohen 2011), a fact that proved to be an important indicator of market potential. In addition, this production inaugurated the "Broadway phase" in the national theatre with the arrival of grandiose spectacles, and from this moment a generation of interpreters and technicians capable of attending to an increasing and complex market (Brazil, 2010).

What can presently be perceived is that the public has increasingly identified itself with this genre that uses dance, music, song and interpretation in the same time, with visual effects, costumes and scenery. In addition to bringing different themes, from musicals with children's themes such as "Beauty and the Beast" and "Lion King", to political themes such as "Hair" and “Miss Saigon”, by revealing touching stories about a different culture, such as "The Violinist on the Roof," or portraying the lives of many Brazilian culture idols, such as Tim Maia, Elis 39

Regina, Chacrinha, Cazuza and Luiz Gonzaga, among others. The eclecticism of these productions has diversified the options of culture, with titles that end up appealing to audiences of diverse ages.

That being sad, the musical theatre industry cannot be consider as an ephemeral phenomenon. Quite the opposite, it is a permanent and perennial genre that, despite external influences, reveals much of the Brazilian's taste in entertainment, and allows the creation of a culture of consumption of a unique artistic manifestation, professional and solid in the entertainment industry.

2.4. The power of cultural industry

2.4.1. Cultural product and its influences

Cultural products, such as music, movies and media, influence tastes and behaviours in different ways. Therefore, when analysing a cultural product, one must take into account the context of creation, performance and consumption (Denisoff & Peterson, 1972). These three elements interact and produce meaning for both audience and performers. For Bernays, quoted by Ewen (1996), people would like to believe that each citizen creates his or her own ideas on public issues and matters of private conduct, but in practice this does not occur. If everyone had to analyse for themselves the difficult data of understanding the economic, political and even ethical world, it would be impossible to reach a decision. Therefore, the field of choices is not free from certain manipulation, this being through cultural products as well. Stereotypes can be cited as an example. They are "created" and widely disclosed by the cultural industry in films and lyrics, for instance. According to Riesman (1957), they furnish stereotypes for youth, women, and blacks. Of course, these stereotypes are incorrect generalizations, which are often biased and do not reflect a direct perception (Allport, 1954). On the contrary, they are reflections of prevail ideas in society (Ross, 1992), which are imposed by the dominant group and can be founded in almost every cultural product (Hatrman & Husband, 1974). These stereotypes may end up legitimizing ethically intolerable behaviour towards minorities, such as gender violence for instance. Besides influencing attitudes of individuals, the cultural industry also shapes the tastes for cultural products. Some scholars affirm that the media co-creates taste with the producers 40 and audience. The music could be an example of it. According to Adorno (1950), the favourite songs will be those most often on radio. That means that the taste of music is a looping. On one hand, music played in radio has greatest chance of success because the public has expressed preference for it, and on the other hand, the public expressed preference for the music because it was played in radio (Hirsch, 1969). That been said, cultural products have then a crucial role into cultural production, distribution and consumption.

2.4.2. Cultural product as a hegemonic system of representation

Besides this direct impact in the audience attitudes and taste, cultural products can be seen as a system of representation, in which following a cultural analysis, represent ideology and discursive practices, where discursive formations mediate the social reality (Hall, 1997).

In other words, beyond being just cultural products, they also acquire meaning through a mental representation which gives them a certain socio-cultural meaning. Therefore, this is a process that acts on the regulation of relations and on social practice, since meaning is not inherent to them, but constructed and produced. What links the meaning to culture is the representation, that is an essential part of the process by which meaning is produced and exchanged between the members of a culture (Hall, 1997).

The post-colonial cultural scholar, Stuart Hall (1997), keep wondering why certain cultures, mainly the western ones, are hegemonic. For him, the culture and the capitalism, that is the culture of consumption, have a tight relationship. In fact, the cultural industry was born in the capitalism logic. Therefore, the culture, through its cultural products, is essential in order to maintain the capitalism in the world. As presented previously, during the evolution of the culture of consumption, the culture became the representation of the new values and mentality. The capitalism promises, reproduced by different cultural products, seduce.

According to Stuart Hall (1997), nowadays the cognitive capitalism is present more than ever, capitalism in which people consume not only products but symbols. The societies are less and less organized in terms of class identity, but they are more and more organized in terms of social movements that have different articulations. But one must wonder how these identities are formed, articulated and differentiated from each other. They are through the representation and signifying of the social movements (Hall, 1997). 41

Therefore, representations are signifying practices, which is a continuous process (production, circulation and consumption/interpretation) saturated with power. Power here, is not only in a negative perspective of control and repression, but as something that is also productive. Power induces pleasure, forms of knowledge and produces speeches. Wherefore, power needs to be thought as a productive network that runs throughout the entire social body (Foucault, 1980).

On the top of it, with the new technologies and the internet, it is common to say that nowadays everyone can produce content. But is this really the truth? Can everyone produce content or there is inequality of access? Can everyone make his content circulate with the same efficiency? Does every language have the same power? According to Marian Meyers (1994), cultural products are hegemonic and their role is to shape common, they support hegemonic power structures by providing ideological support. Cultural products also provide maintenance and reproduction of dominant culture by its dissemination, not only locally, but widely as well (Dow, 1996).

To conclude, throughout the theoretical reference it can be summarised that people live in the era of culture of consumption, in which everything has become consumable merchandise, among which the experience. The experience, which can take many forms, among them musical theatre, fits into entertainment, which is part of the creative industry, and being consumed in mass is also part of the cultural industry. In this perspective, culture also becomes a consumable commodity.

The reasons why people consume were also presented. It may be for hedonistic pleasure, but people consume primarily to define their own identity and social distinction. By combining the two loose ends, on one hand there is cultural products, among which musical theatre, which is a consumable good and on the other hand the fact that people consume to create their identity. By now, it is conclusive that as consumers, people consume culture to define who they are. Besides that, the cultural industry, like any other social relationship, helps to spread the present culture and its values. It has a direct influence in everyone attitudes, tastes, values and beliefs. Being considered as a social representation, cultural products exist in order to maintain the status quo and the hegemony of the dominant culture. At this point a paradox is faced. In the quest to define their own identity, socially constructed consumers consume cultural products. But these cultural products are systems of 42 representation, saturated with power, built by capitalism to remain as the hegemonic culture in the present days. Therefore, maintaining the status quo of the world powers, notably the western powers. It is then, at that exact moment, that people lose their real identity. In the specific case of this study, American Broadway is synonymous with musical theatre, being then considered as the hegemonic culture in terms of production, language, aesthetics and dramaturgy. After studying the theories presented previously, one may wonder if it is possible to detach the musical theatre from this hegemony, once again American? Is it possible to construct, if it does not already exist, a real language and identity for Brazilian musical theatre? Besides being produced, would it be distributed and thus consumed by the public? All these questions lead to the following methodology.

3. Methodology

3.1. Type of study and research methods

First of all, the nature of this study needs to be understood, its main characteristics and objectives. In fact, the objective of this study is to elicit questions and raise propositions to become hypotheses in order to explore and understand how the musical theatre industry is set. In any case this study attempts to draw a cause and a consequence phenomenon. It is not a question of causality. Instead, is a study that seeks to understand how the musical theatre industry works to generate insights to be able to raise opportunities for change proposals. In addition to that, few researches have been conducted on this subject. Therefore, considering all the aspects mentioned above, the research has an exploratory nature and the more appropriate methodology to use in exploratory studies is a mixed method research, an approach to inquiry that combines both qualitative and quantitative forms (Creswell, 2014).

A mixed method research is more than simply combining qualitative and quantitative data. It also involves it the use of both approaches in tandem. That means that the strength of a mixed research study is greater than either qualitative or quantitative research, where quantitative and qualitative data are used side by side to reinforce each other (Creswell & Plano Clark, 2007). A mixed method research can be sequential, concurrent or transformative (Creswell, 2014). In this study, the concurrent mixed method is used. This method consists in converging quantitative and qualitative data with the objective to provide a comprehensive analysis. In this research both, quantitative and qualitative, data are collected at the same time, then integrated in order to be interpreted and lead to overall results (Creswell, 2014). 43

This research is composed in one hand by the musical theatre industry analysis, through qualitative data analysis, and also more specifically the analysis of the musical theatre plays in São Paulo from 2000 until 2015, through a quantitative data collection. This methodology is set to have not only a general idea of the specific industry but also some concrete numbers to support the main ideas, to led to conclusions and further to be able to map opportunities and give recommendations.

The musical theatre industry analysis is composed by qualitative data that was collected through primary and secondary data. Concerning primary data, semi structured interviews were conducted with different musical theatre industry specialists. One on one semi-structured interviews are useful when participants cannot be directly observed, and they can provide historical and personal information, that cannot be found anywhere. On the top of it, semi- structured interviews allow the researcher have control over the line of questioning. On the other hand, the collected data is indirect information filtered through the views of interviewees and can be biased. And of course, not all people are equally articulate and perceptive (Creswell, 2014).

Besides the interviews, secondary sources were analysed as well, such as industry reports and surveys, articles, news, cultural agendas, professional blogs, books, social media, financial data of the main events promoters and producers, and data provided by associations. The advantages of collecting secondary data from public and private documents are many, such as they can be accessed countless times at any time, being an unobtrusive source of information. They also represent data which others have already given attention to compiling them (Creswell, 2014). But the main drawback of this collecting data source is that materials may be incomplete, since the protected information may be unavailable to public or private access, then it requires the researcher to search out the information in hard-to-find places (Creswell, 2014).

The analysis of the musical theatre plays in São Paulo from 2000 until 2015 is composed by both, quantitative and qualitative data, but only issued from secondary sources, such as articles, news, cultural agendas, professional blogs, producers websites and reports, different digital cultural databases such as Itaú Cultural, and government portals with financial information about culture subsidy.

Besides the exhaustive list of plays, different aspects, qualitative and quantitative, are analysed and compared. They are: play running months, cast with the number of actors, number 44 of spectators, amount of investment, if the play uses incentive laws to be financed, the theatre where it was on stage with the number of seats, origin of the play if it is Brazilian or came from oversea like Broadway or West End, kind of play meaning if the play is a foreign play, it can be whether franchise or an adaptation. If it is a Brazilian play, it can be an adaptation, a biography, a medley or original. And finally, the producer of the play is listed. All these aspects aim to highlight the similarities and mainly the differences between foreign and Brazilian musical theatre plays in terms of investment, audience, actors and running time. The kind of the play is also relevant to be able to see and study if there is any pattern among foreign and Brazilian plays and to have a clear idea about the industry as a whole.

3.2. Analysis plan

3.2.1. Interviews

3.2.1.1. Interviewees profile

The interviewees were chosen in order to cover the industry holistically. In other words, specialists were chosen from different areas, with different, complementary and sometimes divergent point of views, in order to be able to triangulate different sources. All the interviewees profile is described as the following Table 2 with their name, profession, how long she/he is working in the musical theatre industry, the main musical she/he participated in, a short biography, the reason why the interviewee is important to the study and finally what is the interview main goal.

Table 2 - Interviewee profile

Interviewee Name Profession Time in the industry Main musicals

Short biography

Importance to the study Interview goal How the interviewee was accessed 45

The interviewee number 1 is a young actor working in musical theatre for over a year and a half. Interviewee number 1 has always been in love with theatre since he was a child. In addition to his musical theatre formation at Escola Superior de Artes Célia Helena, interviewee number 1 holds a degree in business administration from Fundação Getulio Vargas. He managed to combine his artistic career with his incipient managerial career until he decided to devote himself exclusively to theatre, when he obtained the role of Jeffrey in the adaptation of the famous off-Broadway musical “Godspell” in São Paulo in 2016. In 2017, he went on a tour with “Godspell” through the state and also starred in “The Fantastics”. His inputs are of great relevance to this study, since interviewee number 1 has knowledge of both the musical theatre area, participating directly in productions, and a business look.

The interviewee number 2 interview is a young actress who has accumulated diverse courses and formations as much of theatre as of musical theatre. After joining the “Beatles num céu de diamantes” cast in 2015, the interviewee number 2 joined the second class of the technical course of music theatre offered by SESI, which she judges to be the most complete in the industry, with practical and theoretical classes and a workload of college. Her participation made it possible to gain insight into the prospects and ambitions of a young starting a career in the industry as well as insights into the training and formations of professionals in the field.

After interviewing two actors, it is time to diversify a little and this is where it comes the interviewee number 3, author, composer, performer and director with more than 20 years of professional experience. He has performed in various theatrical and musical productions, performing different functions. His major works in musical theatre include the musicals Rent, as Mark, Pocket Broadway, as musical director and “Cazas de Cazuza”, whit arrangements and musical direction. He is the director and founder of “Círculo Teatro”, a floating company dedicated to language research and identity search in musical theatre. He also works with Walt Disney Company as a musical producer since 2005. Being one of the most important protagonists to raise the importance of the need for an original dramaturgy creation in musical theatre in Brazil, his thoughts are very valuable for the present study. The main goal of this interview is to understand how important for the national culture to have own productions and how it is possible. 46

The interviewee number 4 has a multi-pronged footing in the creative industry. Graduated in cinema, with master's degree in Literature, works a lot with classical music and graphic design. Thus, she has a holistic perspective of the industry, allowing the parallel between the different strands. In addition to having worked in the production of several opera in São Paulo, the interviewee number 4 was an assistant costume designer and graphic designer for the musical New York, New York in 2011 and “Ghost - O Musical” in 2016. Her holistic point of view is valuable for the study in order to understand other creative industry correlated fields, and see opportunities for the Brazilian original musical theatre.

The interviewee number 5 is the idealizer do portal A Broadway É Aqui! He is a journalist graduated from the Faculdades Integradas Hélio Alonso with an MBA in Strategies and Consumer Sciences from ESPM. A lover of the genre since always, he decided to enter the universe of musical theatre professionally since 2012, with the creation of the online portal. A Broadway É Aqui! has become a reference portal for lovers and professionals of the area, with guidelines dedicated to novelties of musical theatre in Brazil and around the world, with exclusive content such as interviews, premieres, closings, behind the scenes and backstage and space dedicated to auditions, courses and workshops. A valuable interview where the focus is to understand how the industry is set, with their main stakeholders.

At last but not least, the interviewee number 6 has a very interesting story. She started as a professional tennis player, then she graduated in business administration at Fundação Getulio Vargas to start working on marketing at Playcenter and Hopi Hari, when she has her first contact with the entertainment industry. Sometime later, she went to work at CIE Brasil, currently T4F, where she stayed for 14 years, being responsible for several areas of the company, including Theatre and Family Shows. In 2015, she decided to leave the T4F to undertake in the area of musicals and joined IMM sport and entertainment. Since then, she had produced musical theatre plays such as “My Fair Lady”, “Cantando na chuva” and in 2018 Disney's “A Pequena Sereia”. Her strong business point of view and background in one of the most prestigious company in the entertainment industry, and more specifically in franchise musical theatre, make this interview so important and enriching. The main goal of having a clear understand on the production value chain as well of the industry value chain and ecosystem is achieved.

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3.2.1.2. Interviews protocol

As said previously, part of this research consists in 6 semi-structured interviews. Due to the fact that the researcher is not in Brazil, all the interviews were conducted by internet interactive tools, such as Skype or Google Hangout. Even not face to face, these tools enable the interviewer and interviewees to have a more personal contact, than email or by phone, and to see each other.

Furthermore, since not all the interviewees speak fluent English, it is thought to be more revealing and assertive to do all the interviews in their mother tongue, that is in Portuguese. As it can be observed in the Table 3, the interviews are structured in 8 main blocks, introduction, industry evolution, value chain, stakeholders, competitive landscape, influencing aspects, financing and finally the ending. It is worth pointing out that the questions written in the interview protocol are only suggested questions and should not be all asked, they are only to guide the conversation with the interviewee through all the important points. The interview is designed to be held individually and to last on average one hour to one and a half hour. The original interview structure, that is the Portuguese version, can be found at the end of this paper, in the appendix section. 48

Table 3 - Interview protocol

Interviewee Name Professional position How long in the industry Interview Date Duration Support Suggested questions Tell us a little about your professional background and path What motivated you to pursue a career in the musical theatre industry? Introduction What are the key features a professional needs to have in order to build a successful career in the field like you? How do you choose the musical you are going to work with? How do you see the musical theatre industry in São Paulo nowadays? On what level is the city? Can we say that the musical theatre industry is consolidated in São Paulo? Industry evolution How did this evolution take place? What are the main aspects that have changed over the last decade? How do you see this industry in 2, 5 and 10 years? What are the main differences between Broadway and São Paulo? What are the main steps to be taken from the moment you have the idea of putting the musical up to its realization? How would you design the industry value chain? Value chain Give three main points that characterize the industry. What sets the musical theatre industry apart from other creative industries (eg, theater, shows, etc.)? What are the main direct stakeholders of the industry? What are the main indirect stakeholders of the industry? Stakeholders How do these stakeholders relate? Who is the most powerful stakeholder (eg, producer, actor, financier, etc.)? Among these stakeholders, which are the main players? Competitive landscape Is it a very competitive and fierce industry? What are the entry barriers for a new player? What directly influences the musical theatre industry? What indirectly influences the musical theatre industry? Influencing aspects With which other industry(s) is/are the musical theatre directly related? Has there been an event lately that shaked the industry? What is the current scenario of Brazilian musicals? Why is this scenario like this? Brazilian musical theatre What would change this scenario? What are the growth opportunities for Brazilian dramaturgy? How do most musicals get financed? Financing How to use the culture incentive laws to finance a musical? In your opinion, what are the impacts of changing the culture incentive law in industry? Do you have any highlights? Ending Do you have any other subject / point you would like to add about the musical theatre industry? Thank-you statement to acknowledge the time the inter- viewee spent during the interview

3.2.2. Musical theatre industry analysis

As stated previously, the musical theatre industry analysis is supported by qualitative methods of data collection through primary and secondary sources. The qualitative collected data is analysed according to Creswell (2014) methodology, according to the following scheme of the Figure 3.

After its collection, the data is analysed following six main steps, which are organizing and preparing data for analysis, reading through all data, coding the data, themes and description, interrelating themes and description and finally interpreting the meaning of themes and description. 49

Interpreting the meaning of themes and description Interpretation derived from a comparison of the findings with information gleaned from quantitative data collection as well.

Interrelating themes and description The approach is to use a narrative passage to convey the findings of the analysis with a detailed discussion of the several themes and a discussion with interconnecting themes.

Themes and description Use the coding to generate a small number of themes: stakeholders, correlated industries, professional qualification, plays financing, incentive laws changes, lack of Brazilian dramaturgy, new trends and projects.

Coding the data Validating the accuracy of Organizing the material into categories, and labelling those categories: musical theatre ecosystem, industry key the information characteristics, incentive laws and Brazilian musical theatre.

Reading through all data Obtain a general sense of the information and to reflect on its overall meaning. Think about general ideas and how they can be categorized into clusters.

Organizing and preparing data for analysis Transcribing all the interviews, downloading all the digital material, sorting and arranging the data into different types depending on the sources of information(Cf. Raw data).

Raw data Interview transcripts, articles, news, professional blogs, producers websites and reports, digital cultural databases, government portals with financial information.

Figure 3 - Analysis plan Source: Adapted from Creswell (2014).

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3.2.3. Musical theatre plays analysis

All the musical theatre plays in São Paulo from 2000 and 2015 are analysed in this paper. First of all, this time period was chosen mainly because is since from 2000 that the musical theatre landscape changed in Brazil and the country face a boom in the industry, in terms of numbers of plays as well in terms of investment (Rubin, 2010).

This analysis is done in three stages, and follows the analysis plan presented in the following three tables. First, the analysis of foreign plays, then the parsing of the Brazilian plays, to finally analyse the industry as a whole, comparing the foreign plays with the Brazilian ones. All these analyses are through descriptive statistics.

Table 4 - Foreign musical theatre plays analysis plan

What Why Assumption Metrics Test Reasons that could explain Foreign plays Between 2000 and 2015 Quantitative: Count the number of Understand the number there was an annual Origin foreign plays each year. Analyse the Market maturation. offer evolution. evolution increase in foreign plays. evolution.

Franchise/adapta Franchise/adaptation Quantitative: Calculate the Understand the tion plays ratio plays ratio increased over Type franchise/adaptation plays ratio each Market maturation. offer evolution. evolution time. year. Analyse the evolution.

Investment in foreign Quantitative: Calculate the investment in Investment Understand the plays has been increasing Investment foreign plays each year. Analyse the Market maturation. evolution market evolution. over time. evolution. Understand the Producers Is a concentrated segment Quantitative: Count the number of Requires a high initial investment. competitive Producer concentration with few producers. foreign plays producers. Barriers to entry into this segment. landscape. Is a concentrated segment Quantitative: Count the number of Franchise plays Understand the Requires a high initial investment. with even fewer franchise Broadway plays producers. producers' competitive Producer Barriers to entry into this segment. producers than Broadway Compare with the number of Broadway concentration landscape. Specific know-how. plays producers. plays producers.

Specific know-how. Understand the There are producers Qualitative: Analyse whether any Franchise plays Easier to produce, no need to adapt the play competitive dedicated only to Producer producer works only with franchises producers (only translate it). Lower risk of failure (play landscape. franchise Broadway plays. Broadway plays. success already proven abroad). High demands on technical material offered by Foreign plays Understand the Franchise plays run in few Quantitative: Count the number of Theatre few theatres. theatres theatre offer. theatres. theatre that receive foreign plays. Need for large theatres to welcome the public.

Understand the Difference difference On average, franchise between Play Quantitative: Average comparison between plays run for more Has to do with the correlation of higher franchise and running between the franchise and adaptation franchise and months than adaptation investment. adaptation plays months plays running months. adaptation plays plays. running months offer.

Use of incentive Understand how Use of All foreign plays are Qualitative: Analyse whether any foreign laws in foreign foreign plays are incentive Need for higher investments. financed by incentive laws. play is not financed by incentive laws. plays financed. laws

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Table 5 - Brazilian musical theatre plays analysis plan

What Why Assumption Metrics Test Reasons that could explain Between 2000 and 2015 Quantitative: Count the number of Brazilian plays Understand the offer there was an annual Origin Brazilian plays each year. Analyse the Market maturation. number evolution evolution. increase in Brazilian evolution. Percentage of Quantitative: Calculate the biography, Percentage of original Understand the offer percentage of biography, adaptation, adaptation, plays increased over Type Market maturation. evolution. medley and authorship plays each medley and time. year. Analyse the evolution. original plays

Investment in Brazilian Quantitative: Calculate the Investment Understand the market plays has been Investment investment in Brazilian plays each Market maturation. evolution evolution. increasing over time. year. Analyse the evolution.

Requires a lower initial The segment is not a Producers Understand the Quantitative: Count the number of investment. concentrated and has Producer concentration competitive landscape. Brazilian plays producers. Less barriers to entry into this many producers. segment.

Lower demands on technical Brazilian plays Understand the theatre Brazilian plays run in Quantitative: Count the number of material offered by few theatres. Theatre theatres offer. many theatese. theatre that receive Brazilian plays. But still need large theatres to welcome the public.

Difference Understand the between On average, biography Quantitative: Average comparison difference between biography, plays run for more between biography, adaptation, Has to do with the correlation of biography, adaptation, Play running months adaptation, months than original medley and original plays running higher investment. medley and original medley and plays. months. plays offer. original plays Use of incentive Understand how All Brazilian plays are Qualitative: Analyse whether any laws in Brazilian foreign plays are financed by incentive Use of incentive laws foreign play is not financed by Need for higher investments. plays financed. laws. incentive laws.

Table 6 - Foreign and Brazilian musical theatre plays comparison plan

What Why Assumption Metrics Test Reasons that could explain Musical theatre Between 2000 and 2015 there Quantitative: Count the number of Understand the offer plays number was an annual increase in Origin foreign plays each year. Analyse Market maturation. evolution. evolution musical theatre plays. the evolution. Foreign/Brazilian Quantitative: Calculate the Understand the offer Foreign/Brazilian plays ratio plays ratio Type Foreign/Brazilian plays ratio each Market maturation. evolution. increased over time. evolution year. Analyse the evolution. Investment in musical theatre Quantitative: Calculate the Investment Understand the plays has been increasing over Investment investment in musical theatre Market maturation. evolution market evolution. time. plays each year. Analyse the Foreign/Brazilian Foreign/Brazilian plays Quantitative: Calculate the Understand the plays investment investment ratio increased over Investment Foreign/Brazilian plays investment Market maturation. market evolution. ratio evolution time. ratio each year. Analyse the Use of incentive Understand how Qualitative: Analyse whether any All musical theatre plays are Use of laws in musical musical theatre plays foreign play is not financed by Need for higher investments. financed by incentive laws. incentive laws theatre plays are financed. incentive laws. Difference Understand the Quantitative: Count the number of Foreign plays require a higher Foreign plays is a more between foreign difference between foreign plays producers. Count the initial investment. concentrated segment with few Producer and Brazilian plays foreign and Brazilian number of Brazilian plays Foreign plays segment has higher producers than Brazilian plays. producers' plays offer. producers. Compare. entry barriers. Difference Understand the On average, foreign plays run for Quantitative: Average and median between foreign difference between Play running Has to do with the correlation of more months than Brazilian comparison between the foreign and Brazilian plays foreign and Brazilian months higher investment. plays. and Brazilian plays running months. running months plays offer. Difference Understand the Quantitative: Average and median between foreign difference between On average, foreign plays have a Has to do with the correlation of Cast comparison between the foreign and Brazilian plays foreign and Brazilian bigger cast than Brazilian plays. higher investment. and Brazilian plays cast. cast plays offer. Difference Understand the On average, foreign plays run in Quantitative: Average and median between foreign difference between Has to do with the correlation of bigger theatres than Brazilian Theatre comparison between the foreign and Brazilian plays foreign and Brazilian higher investment. plays. and Brazilian plays theatres. theatre plays offer. 52

After interviewing the specialists and analysing the musical theatre plays in São Paulo from 2000 until 2015, it is time to triangulate all the collected data and sources in order to have a holistic perspective about the musical theatre industry in São Paulo. This triangulation revealed how the musical industry was built in São Paulo and its current scenario nowadays.

4. Musical theatre plays in São Paulo analysis

To be able to analyse the musical theatre industry in São Paulo, foreign and Brazilian plays from 2000 until 2015 were analysed. In total, data from 143 plays were collected concerning the play, the year and running months, cast with the number of actors, number of spectators (when the information was available), amount of investment, if the play used incentive laws to be financed, the theatre where it was on stage with the number of seats, origin of the play if it is Brazilian or came from oversea like Broadway or West End, kind of play meaning if the play is a foreign play, it can be whether franchise or an adaptation, if it is a Brazilian play, it can be an adaptation, a biography, a medley or original, and finally the producer of the play (Appendix 3).

This section is dedicated to the analysis of the data collected according to the plan presented in the methodology chapter. First of all, the analysis of foreign plays is presented, then an analysis of the Brazilian plays, to finally analyse the industry as a whole, comparing the foreign parts with the Brazilian ones, highlighting their differences and similarities.

4.1. Foreign plays analysis

Between 2000 and 2015, 67 foreign musical theatre were played in São Paulo. Among them, 85% came from Broadway in New York and 15% came from West End in London. The foreign musicals were only 2 in 2000 and in 2015 they reach the number of 11. Representing a growth of 550% in 15 years. As can be seen in the following chart (Figure 4), this growth was not constant and positive over the last 15 years. In fact, it remains between 1 and 4 plays until 2008. After that, the only “bad year” for foreign musicals was 2014.

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Foreign musical theatre number of plays

12

10

8

6 Number of franchise plays

4 Number of adaptation plays Number of plays

2

0 2000200120022003200420052006200720082009201020112012201320142015 Year

Figure 4 - Foreign musical theatre number of plays

Among the 67 musicals, 60% of them are adaptations of a Broadway or West End musical theatre play and 40% are American franchises. But there is no clear evolutionary trend and a ratio evolution is not conclusive. However, what can be seen is that in 2008 and 2009 there was no franchise play, it can be due to the fact that in 2008, the value of the dollar increased 31.94% in relation to the real (Vallone, 2009), influenced by a strong capital exit of the country after the worsening of the financial crisis, in September of the same year. In terms of BRL, this valorisation increased the price of copyright and then the possible franchises. Since the number of observations is not high enough, the adaptation and franchise ration don’t lead to any conclusion.

Taking a look into the sum of investment (Figure 5) can be tricky, since it was not possible to access and found all the data concerning the amount invested in all musicals. It was the case for 2004 for the musical “Lado a lado com Sondheim”, in 2006 for the musical “Sweet Charity”, in 2009 for “Nossa Canção” and “Bark! Um latido Musical”, and finally for 2014, for “As Noviças Rebeldes – O Musical”. Nevertheless, the average investment per foreign play persists more or less constant between 2000 and 2004, around BRL 5 million, then maintains an average around BRL 8 million per musical, with the exception of 2009. During this period, there was two picks of investment, in 2005 with BRL 26 million invested in the “Fantasma da Ópera” play and in 2012 with “A Família Addams” which costed BRL 25 million. In total, more than BRL 440 million were invested in foreign musicals between 2000 and 2015. 54

Investment in foreign musical theatre plays

70

60

50

40 Sum of Investiment

30 Average Investment per play RS Million 20 Average Investment per adaptation play

10 Average Investment per franchise play

0 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Year

Figure 5 - Investment in foreign musical theatre plays

When comparing the average investment per adaptation play with the average investment per franchise play it become clear that franchise musicals receives on average much more money than adaptations. In some cases, this value invested can be the double. This difference of investment can be attributed to the fact that Broadway franchise plays concern mega productions, whit high standards and requirements to follow, thus they need greater investments. Adaptation plays can be mega productions or not, it depends on what and how the producer want to adapt the original musical. But it remains to be seen how these musicals are financed.

According to the following pie chart (Figure 6), 94% of the foreign musicals, brought to São Paulo between 2000 and 2015 either by adaptation or franchise, used incentive laws such as Lei Rouanet to be financed. That means that 6% of them did not used incentive laws. Within this 6%, 100% were adaptation. That means that 100% of the franchise musicals did used incentive laws to be financed. On the other hand, 9% of the adaptation franchise musicals did not used incentive laws to be financed. This data shows how much the foreign plays, either by adaptation or franchise, are able to raise money from companies through the use of incentive laws.

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How foreign musical theatre plays are financed

6%

Used incentive laws

Did not used incentive laws

94%

Figure 6 - How foreign musical theatre plays are financed

Comparing the franchise musicals with the adapted musicals in terms of running months, it is crystal clear that franchise run for more months (Table 7). In fact, in the studied period, an adaptation play ran on average for 3 and a half months, while the franchise musicals ran on average almost 3 times longer, that is running for 9.3 months. What could explain such a difference? Since the franchise investment is higher than an adaptation investment, a franchise play should run longer in order to amortize and monetize the investment. Another fact that could explain this, it that franchises attract more audience, then the franchise producers have more bargain power over the theatres owners and will have enough audience to fill the room for more months. Besides having a higher investment, on average, franchises may be considerate as less risky, specially for the theatre, because they can predict how long they are able to run since their success has already been proven not only on Broadway, but usually on other world tours.

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Table 7 - Foreign musical theatre plays running months

Average of play running months Adaptation Franchise 2000 6 2001 2 11 2002 5 19 2003 3 2004 8 2005 0.5 24 2006 3.5 2007 6.5 10.5 2008 3.5 2009 3.3 2010 3.8 8.75 2011 3.7 3.5 2012 3.5 9 2013 4.3 14.5 2014 2.8 3 2015 3.6 6 Average 3.6 9.3

It should be highlighted that the audience is not analysed since the data available was insufficient. With only 17 observations within a universe of 67, their analysis could lead to wrong conclusions raising wrong hypothesis.

After analysing the musicals as units, let’s take a broader look into the industry, paying attention to the producers and theatres where these musicals were played. Concerning the producers of foreign plays, 24 different producers were listed to bring to the stage 67 musicals, between 2000 and 2015 (Table 8). So, it can be said that is an “open” industry, with diverse players. But when looking closely, only 3 producers stand out, T4F (Time For Fun) with 17 musical, Chaim Produções with 10 productions and Aventura Entretenimento with 8. That means that 52% of the market of foreign musical theatre plays are in the hand of only 3 producers. This leads to the conclusion that the market is somewhat concentrated.

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Table 8 - Foreign musical theatre producers

Producers Adaptation Plays Franchise Plays Total T4F 17 17 Chaim Produções 9 1 10 Aventura Entretenimento 8 8 Takla Produções Artísticas 5 5 LS Produções Artísticas 3 3 4ACT Entretenimento 2 2 Jekyll & Hyde 2 2 M&B 2 2 Master Produções Artísticas e Culturais 2 2 Agência Popcorn 1 1 Asa Produções Culturais 1 1 Atelier de Cultura 1 1 Bottega D´Arte 1 1 Brainstorming Entretenimento 1 1 Estamos Aqui Produções Artísticas 1 1 Fabula Entretenimento 1 1 GEO Eventos (Rede Globo) 1 1 Ideias & Ideais Produções 1 1 Maestro Produções Artísticas & Culturais 1 1 Néctar Cultural 1 1 Núcleo Experimental 1 1 O Atelier de Cultura 1 1 Oz. 1 1 Sem info 1 1 Synapsys 1 1 Total 47 20 67

But the industry becomes more concentrated when analysing only franchise plays producers (Table 8). In fact, there is only 4 producers working in this segment, which one of them, GEO Eventos, do not exist anymore. T4F in the main player in this segment that is almost a monopoly, producing 85% of the franchise plays between 2000 and 2015. The hypothesis that could explain this data is the fact the producing franchise plays need a specific know-how, and requires a higher initial investment. It is worth to highlight that T4F is the only producer that works with only one type of musicals, the franchise.

This concentration phenomenon does not occur in the adaptation plays segment, where the market share among producer is more equilibrate with 21 different producers (Table 8). Different from the franchise plays, the two main producers, Chaim Produções and Aventura Entretenimento are responsible for 36% of the adaptation plays produced in São Paulo. In fact, this segment has space for small producers that are entering the market. This difference between the two segments, franchise and adaptation musicals, can be due to the fact that 58 adaptations are easier to produce, with less restrictions and guidelines, and relatively lower investment, comparing to franchise musical plays.

Now, looking into the theatres offer side, the 67 foreign musicals were played in 22 different theatres between 2000 and 1015 (Table 9), but only 3 of them received more than 5 musicals, Teatro Renault and Teatro Bradesco with 10 plays each and Teatro Alfa with 9 musicals. That means that 43% of the market of foreign musical theatre were played in 3 different theatres. This data shows that even having a convenient set of theatres able to receive foreign musicals, there is a concentration in the main 3 ones. In terms of seats, these three theatres were designed to receive an audience of over a thousand people, but contrary to what one may imagine, they are not the biggest venues, which are Via Funchal with 2,000 seats and Tom Brasil with 1,800 seats. It is worth noting that Via Funchal theatre stops its activities in 2012. Even not being the bigger ones, Teatro Renault, Teatro Bradesco and Teatro Alfa are the ones with more advances and technological devices. On the other hand, the smallest theatre that hosts foreign musicals is the Teatro Imprensa, which has a capacity for 452 people, which is not little at all compared to other theatres in the city.

Table 9 - Foreign musical theatre plays venues

Theatres Number of seats Adaptation Plays Franchise Plays Total Teatro Bradesco 1439 7 3 10 Teatro Renault 1552 10 10 Teatro Alfa 1110 9 9 Teatro Frei Caneca 600 5 5 Teatro Cetip 627 1 3 4 Teatro Procópio Ferreira 662 4 4 Teatro Brigadeiro 700 2 1 3 Theatro NET 799 3 3 Credicard Hall 1205 2 2 Teatro Copa Airlines 769 2 2 Teatro do Sesi-São Paulo 456 2 2 Teatro Imprensa 452 2 2 Teatro Sérgio Cardoso 835 2 2 Teatro Cultura Artística 1560 1 1 Sesc Vila Mariana 608 1 1 Teatro Commune 85 1 1 Teatro Cultura Artística 1560 1 1 Teatro FAAP 500 1 1 Teatro Gazeta 700 1 1 Teatro Porto Seguro 508 1 1 Tom Brasil 1800 1 1 Via Funchal 2000 1 1 Total 47 20 67

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Now analysing the franchise segment, all the 20 musicals from 2000 until 2015 were played in only 6 different theatres (Table 9). One hypothesis that might explain such theatre concentration is the need for specific devices and technologies capable of reproducing great Broadway productions, with all the effects necessary to impress the public as well as being large theatre rooms to monetize the cost of production. It is worth mentioning that the Teatro Renault is responsible for 50% of the plays. Which makes sense since the theatre is owned by the T4F group. That means that only musicals produced by the group are showed there, that means only franchise musicals.

4.2. Brazilian plays analysis

After analysing the foreign plays, highlighting the main difference between franchise musicals and adaptation, it is time to take a look into the Brazilian musical theatre offer. A Brazilian musical can be either an adaptation, an original, a biography or a medley.

An adaptation occurs when the Brazilian musical was already played in the past, but they adapt and create a new version. A musical is original when everything was created from 0 for the musical, both dramaturgy and music. This does not mean that the musical cannot be inspired from another cultural manifestation like a tale, a book, a play, etc.

A biography musical is when the musical shows the life of a famous celebrity, this being a singer, musical group, politician, a TV presenter, etc. In the case of Brazilian biographical musicals, the most common, but not exclusively, are musical about singers, as is the case of Charlie Brown Jr, Claudia Raia, Wilson Simonal and Cássia Eller, among many others. Usually, consecrated songs of the artist himself are used to tell the story.

Medley, also known as Jukebox, are musicals that uses familiar songs to build the story. The songs can be regrouped by epoch, band, musical style, etc. The most famous jukebox is the musical Mamma Mia, in which the story is told through songs from the Swedish group ABBA.

Between 2000 and 2015, 76 Brazilian musical theatres were played in São Paulo. They were only 4 in 2000 and in 2015 they reach the number of 16, representing a growth of 400% in 15 years. As can be seen in the following chart (Figure 7), this growth was not constant and positive over the last 15 years. In fact, it remains inconstant with highs and lows from 2000 to 60

2007, between 1 and 7 musicals a year. In 2010 and 2011 there was no Brazilian production. The year of 2010 coincides with the boom, and the better year of Broadway musicals in São Paulo with 11 productions (Figure 4).

Brazilian musical theatre number of plays

18 16 14 12 10 Number of medley plqys 8 Number of biography plays 6

Number of plays 4 Number of original plays 2 Number of adaptation plays 0 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Year

Figure 7 - Brazilian musical theatre number of plays

It is from 2012 that the Brazilian musical theatre experienced a constant growth, with an average growth in the period of 49% per year. This Brazilian musical theatre grow was led by the medley and biography grow, while in the same period the original plays remain almost constant with an average of 3 musical a year. Adaptations musicals are inexpressive at this same period, representing only 8% of all Brazilian musical theatre offer between 2000 and 2015 (Figure 8). The medley, or jukebox, genre is the most widespread in São Paulo, consisting of 35% of all Brazilian musical theatre offer, followed by biography genre with 32% and original musicals with 25%.

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Genre of Brazilian musical theatre

8%

Adaptation 35% 25% Original

Biography

Medley

32%

Figure 8 - Genre of Brazilian musical theatre

Between 2000 and 2015, more than BRL 134 million were invested in Brazilian musical theatre, but the data of only 55 observations among 76 Brazilian musicals was available. As can be observed on the following graph (Figure 9), there was a boom on investment and average investment per play in 2013 and keeping the level of investment high since then. The average investment per musical between 2000 and 2009 was BRL 870 thousand and from 2013 to 2015 the average investment per musical increased, reaching the unprecedented mark of 2.87 million. In 2015, this average was the highest of the period, with BRL 3.79 million invested per musical, which suggests that the trend is to have a growth of the average investment per Brazilian musical. This growth in 2015 was led by the investment of 12 million in the biographical musical “Chacrinha, o Musical”.

What strikes the attention is that the investment in original plays is much lower than the average investment per Brazilian musical theatre play. On average, 1.41 million were invested per original musical while investing 2.08 million per biographical musical and 2.01 million per medley. It remains to be seen how these musicals are financed.

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Investment in Brazilian musical theatre plays

60 6

50 5 Sum of Investiment 40 4 Average investment per adaptation play 30 3 Average investment per authorship play R$ Million 20 2 Average investment per biography play

10 1 Average investment per medley play

0 0 Average investment per Brazilian play 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Year

Figure 9 - Investment in Brazilian musical theatre plays

According to the following pie chart (Figure 10), 90% of the Brazilian musicals produced in São Paulo between 2000 and 2015 used incentive laws such as Lei Rouanet to be financed. Within the 10% that did not used inventive laws, 57% were medley musicals, 15% were adaptations and 14% were biographical and original musicals (Figure 11). It means that 95% of the biographical and original musicals did used incentive laws to be financed. This data shows how much the Brazilian musical theatre plays depend on incentive laws to raise money from companies through the them.

How Brazilian musical theatre plays are financed

10%

Used incentive laws

Did not used incentive laws

90%

Figure 10 - How Brazilian musical theatre plays are financed

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Genre that did not used incentive laws

14% 15%

Adaptation

14% Biography Medley

Original 57%

Figure 11 – Musical theatre genre that dis not used incentive laws

Comparing the different types of Brazilian musical theatre, adaptation, biography, medley and original, in terms of running months, there is no much difference between them (Table 10). In fact, the biggest difference is between biographical and adaptation musicals. In average, biographical musicals ran for 2.9 months, while adaptation musicals ran only for 1.5 months. In terms of evolution over the years, there are also no major changes.

Table 10 - Brazilian musical theatre plays average running months

Average of play running months Adaptation Original Biography Medley 2000 1.0 - 5.0 1.8 2001 - 3.0 - - 2002 2.0 - 3.5 3.0 2003 - - - 2.0 2004 - 1.5 2.0 - 2005 - 2.0 1.7 4.0 2006 - - 2.0 1.0 2007 2.0 2.3 3.5 1.5 2008 - - 2.5 3.0 2009 - 2.0 - 3.0 2010 - - - - 2011 - - - - 2012 1.0 2.0 5.0 2.5 2013 - 2.0 2.7 2.0 2014 1.0 2.3 2.7 2.3 2015 - 2.3 3.1 2.8 Average 1.5 2.2 2.9 2.5

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It should be highlighted that the audience is not analysed since the data available was insufficient. With only 15 observations within a universe of 76, their analysis could lead to wrong conclusions raising wrong hypothesis.

Concerning the Brazilian musical theatre producer, it can be seen on the following table (Table 11) that 43 different producers put on stage 76 Brazilian musicals, between 2000 and 2015. So, it can be said that is an “open” industry, with diverse players. When looking closely, only 3 producers stand out with more than 3 productions. They are Aventura Entretenimento with 8 musicals, then just behind it there is Chaim Produções with 7 musicals and finally M&B with 4 own productions. That means that 25% of Brazilian musical theatre plays were produced by 3 producers. On the other hand, 33 producers did not produce more than 1 musical in São Paulo between 2000 and 2015.

When looking into the main producers, Aventura Entretenimento, Chaim Produções and M&B, none of them specialize in producing just one type of musical, adaptation, biography, medley and original. In fact, the three of them produced 2 or more types of Brazilian musical theatre plays.

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Table 11 - Brazilian musical theatre producers

Producers Adaptation Original Biography Medley Total Sem info 3 2 5 10 Aventura Entretenimento 1 2 5 8 Chaim Produções 2 4 1 7 M&B 1 3 4 4ACT Entretenimento 2 2 Axion Produtores Associados 2 2 Conteúdo Teatral 1 1 2 MP Produção Cultural 2 2 Núcleo Experimental 2 2 Sarau Agência de Cultura Brasileira 2 2 Teatro Brasileiro de Comédia 1 1 2 Asa Produções Culturais 1 1 Barata Comunicação 1 1 Bela Vista Produções Culturais 1 1 BG Art Entretenimento 1 1 Brainstorming Entretenimento 1 1 Brancalyone Produções 1 1 Cantando na Chuva Criações Artísticas 1 1 Companhia Brasileira de Teatro Música 1 1 Companhia da Revista 1 1 Doravante Produções Artísticas 1 1 Empório de Teatro Sortido 1 1 Eveli Ficher 1 1 GEO Eventos (Rede Globo) 1 1 Grupo TECE 1 1 JIM Carvalho Produções Artísticas 1 1 JLM Produções Artísticas 1 1 LGK Music 1 1 Livre Entretenimento 1 1 LS Produções Artísticas 1 1 LW Produções Artísticas 1 1 Marcenaria de Cultura 1 1 Mensagens Produções Artísticas 1 1 Morente Forte Produções 1 1 Pessoal do Faroeste 1 1 Pianíssimo Produções Artísticas 1 1 Planmusic 1 1 Primeira Página Produções Culturais 1 1 S3 Produções Artísticas 1 1 Só de Sapato Produções Artísticas 1 1 TBC 1 1 Tema Eventos Culturais 1 1 Turbilhão de idéias Entretenimento 1 1 Vigonne Produções 1 1 Total 6 19 24 27 76

Now looking into the theatres offer side, we can see that the 76 Brazilian musicals were played in 32 different theatres between 2000 and 1015 (Table 12), but only 4 of them received more than 4 musicals, Teatro Frei Caneca, Teatro Procópio Ferreira, Teatro CCBB and Teatro 66

Cetip. That means that 31% of Brazilian musical theatre were played in 4 different theatres. These theatres have between 600 and 700 seats. This data shows that even having a convenient set of theatres able to receive foreign musicals. Looking deeper and comparing the different types of Brazilian musical theatre, the biographical musicals were played in the main theatres, while the medley ones were played in almost every theatre that played a Brazilian musical theatre play.

The biggest theatre that received a Brazilian musical is Tom Brasil with 1,800 seats. The only type of musical that the theatre did not received is original musicals. On the other hand, the smallest one, Sede Luz do Faroeste, with only 80 seats, received only one musical, an original Brazilian musical theatre play.

Table 12 - Brazilian musical theatre plays venues

Theatres Adaptation Original Biography Medley Total Teatro Frei Caneca 2 2 3 7 Teatro Procópio Ferreira 2 4 1 7 Teatro CCBB 1 1 2 1 5 Teatro Cetip 1 2 2 5 Sesc Vila Mariana 1 1 2 4 Teatro Alfa 3 1 4 Teatro Copa Airlines 1 2 1 4 Teatro Espaço Promon 2 1 1 4 Theatro NET 1 2 1 4 Teatro Folha 1 2 3 Tom Brasil 1 1 1 3 Teatro Bradesco 1 1 2 Teatro Brasileiro de Comédia 1 1 2 Teatro Brigadeiro 1 1 2 Teatro Jõao Caetano 2 2 Teatro Sérgio Cardoso 1 1 2 Credicard Hall 1 1 Espaço Parlapatões 1 1 Sede Luz do Faroeste 1 1 Sesc Belenzinho 1 1 Sesc Consolação 1 1 Sesc Pompeia 1 1 Teatro Copa Airlines 1 1 Teatro Cultura Artística 1 1 Teatro FAAP 1 1 Teatro Fernando Torres 1 1 Teatro Gamaro 1 1 Teatro Imprensa 1 1 Teatro Italia 1 1 Teatro Maria Della Costa 1 1 Teatro Raul Cortez 1 1 Tuca 1 1 Total 6 19 24 27 76 67

4.3. Foreign and Brazilian plays analysis

After analysing Brazilian musicals and foreign musicals separately, this section is dedicated to compare them directly with one another. As previously stated, between 2000 and 2015, 143 musical theatre were played in São Paulo, 67 of them being foreign musicals and 76 of them national one. So, during this period, 53% of the musical theatre offer was composed by Brazilian plays and 47% by foreign plays (Figure 12).

Musical theatre plays origin

47% Brazilian

53% Foreign

Figure 12 - Musical theatre plays origin

This ratio may even seem good for Brazilian musicals perspective, so there is room for them. However, when looking at the different musical categories, adaptation, biography, franchise, medley and original, it is observed that musicals of original dramaturgy represent only 13% of all the musicals produced in São Paulo (Figure 13). 68

Musical theatre plays genre

13% Adaptation

37% Biography 19% Franchise

Medley

Original 14% 17%

Figure 13 - Musical theatre plays genre

How did this evolution of the proportion between foreign musicals take place over time? Foreign plays were present every year in the musical theatre industry in São Paulo since 2000, contrary to the Brazilian musicals themselves, of which none were produced in 2010 and 2011. There were more foreign musicals than Brazilian ones in 2001, 2003, 2009, 2010 and 2011. But with the exception of this years, the ratio was maintained around 35% to 40% (Figure 14).

As a whole, the musical theatre industry grew 450% within the 15 years studied period. In 2005, only 6 musicals were produced in São Paulo, while in 2015, there were 27. Even though this growth was somewhat inconsistent over the first decade, with some declines in the way, from 2012 to 2015 this growth becomes constant and clearer. In this 3-year period, the industry increase was 31%.

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Musical theatre number of plays

30

25

20

15 Number of foreign plays 10 Number of Brazilian plays Number of plays 5

0 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Year

Figure 14 - Musical theatre number of plays

When analysing the investment in musical plays, it is crystal clear the difference between national musical theatre plays and foreign ones (Figure 15). In fact, during the period between 2000 and 2015, more than BRL 440 million were invested in foreign musicals while BRL 134 million were invested in Brazilian musical plays. Thus, foreign musical received more than 3 times the investment of Brazilian plays. In that same period, there was not even a year that the investment in Brazilian musicals exceeded the investment in foreign musicals. Even not having all the plays investment information available, this difference in investment becomes even clearer when looking to the average investment per play. On average, BRL 2 million were invested per Brazilian musical while BRL 7 million were invested per foreign musical, which is a large difference. But does it also have a substantial difference in how these musicals were financed?

Investment in musical theatre plays

140.00 14

120.00 12

100.00 10

80.00 8 Sum of foreign musicals investment

60.00 6 Sum of Brazilian musicals investment R$ Million 40.00 4 Average investment per Brazilian play

20.00 2 Average investment per foreign play

0.00 0 2000200120022003200420052006200720082009201020112012201320142015 Year

Figure 15 - Investment in musical theatre plays

As a whole, 92% of all musical theatre plays used incentive laws to be financed, wholly or partially (Figure 16). This data is crucial to understand how much the musical theatre 70 industry in São Paulo is dependent on the use of incentive laws. Within the 8% that did not used inventive laws to be financed, 64% of them were Brazilian musicals and 36% foreign musicals (Figure 17). That means that 90% of Brazilian musicals and 94% of foreign musicals were financed through incentive laws. Even though more foreign musicals have been financed through incentive laws, both foreign and Brazilians musicals depend on such mechanism to be produced.

How Brazilian musical theatre plays are financed

8%

Used incentive laws

Did not used incentive laws

92%

Figure 16 - How Brazilian musical theatre plays are financed

Musical theatre origin that dis not used incentive laws

36% Brazilian

Foreign 64%

Figure 17 - Musical theatre origin that did not used incentive laws

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In terms of cast, once again foreign productions had more impressive figures than Brazilian musicals (Figure 18). Between 2000 and 2015, foreign musical employed, only for their casts, 1,669 people, while during the same period, Brazilian musicals employed a sum of 958 for their casts. In other words, foreign musicals employed 70% more than Brazilian production, of course only in terms of cast. The cast per play varied a lot over time for both, Brazilian and foreign musicals, depending on the dramaturgy. Thus, the cast can vary greatly from one play to another, but when looking at 144 musicals, the cast becomes an indicator of production size, knowing that a musical directly employs far more people than the cast, but this data is very difficult to access for all musical.

For foreign musicals, 2008 was the year with the highest average cast per musical. This is thanks to the musical Aida, with 35 actors and West Side Story, with 42 actors. On the other hand, 2007 was the year with the lowest average of Brazilian musical cast per play, with 3 musicals with a cast of less than 7 people, “Um Boêmio no céu”, Renato Russo and “As aventuras do barbeiro”. The only year that Brazilian musicals almost reached the foreign music in terms of casting per musical was in 2009.

Musical theatre plays cast size

450 45 400 40 350 35 300 30 250 25 Foreign plays sum of cast 200 20 Brazilian plays sum of cast 150 15

People in the cast 100 10 Average cast per Brazilian play 50 5 Average cast per foreign play 0 0

Year

Figure 18 - Musical theatre plays cast size

As in terms of investment and cast, once again the foreign musicals present numbers bigger than Brazilian musicals, this time in terms how the musical was playing, that is the running months (Figure 19). With much greater volatility, foreign musicals Always lasted longer than Brazilian musicals. On average, during the studied period, a foreign play ran for 72

6.2 months, while a Brazilian musical ran for 2.4, on average. That means that a foreign musical ran on average more than 2.5 times a Brazilian musical. Two possible hypotheses may explain this fact. Firstly, foreign musicals attract more pubic, thus they need to run more time. The second possibility is that foreign musicals have greater financial capacity than Brazilian musicals, so they can pay to stay longer in theatres. Or both hypotheses.

Musical theatre plays average running months

14.0 12.0 10.0 8.0 Brazilian plays average running 6.0 months 4.0 Foreign plays average running Duration (months) 2.0 months 0.0

Year

Figure 19 - Musical theatre plays average running months

All the main producers, that is the ones that produced at least 5 musicals between 2000 and 2015, produced foreign musicals, some of them Brazilian ones as well (Table 13). Two of the main players, T4F and Takla Produções Artísticas, only produced foreign musicals. T4F only produced franchised musicals, while Takla Produções Artísticas only adaptations, each of them being specialists in their respective segment. The other 3 main players produced foreign musicals and Brazilian ones as well, but no main player produced only Brazilian musical theatre play. Brazilian musicals exclusives producers, produced 1 to 2 musicals in general during the studied period.

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Table 13 - Musical theatre producers

Producers Brazilian musicals Foreign musicals Total Chaim Produções 7 10 17 T4F 17 17 Aventura Entretenimento 8 6 14 Sem info 9 1 10 M&B 5 2 7 Takla Produções Artísticas 5 5 4ACT Entretenimento 2 2 4 Axion Produtores Associados 2 2 4 LS Produções Artísticas 1 3 4 Núcleo Experimental 2 1 3 Asa Produções Culturais 1 1 2 Brainstorming Entretenimento 1 1 2 Conteúdo Teatral 2 2 GEO Eventos (Rede Globo) 1 1 2 Jekyll & Hyde 2 2 Master Produções Artísticas e Culturais 2 2 MP Produção Cultural 2 2 Sarau Agência de Cultura Brasileira 2 2 Teatro Brasileiro de Comédia 2 2 JIM Carvalho Produções Artísticas 1 1 Agência Popcorn 1 1 Atelier de Cultura 1 1 Barata Comunicação 1 1 Bela Vista Produções Culturais 1 1 BG Art Entretenimento 1 1 Bottega D´Arte 1 1 Brancalyone Produções 1 1 Cantando na Chuva Criações Artísticas 1 1 Companhia Brasileira de Teatro Música 1 1 Companhia da Revista 1 1 Doravante Produções Artísticas 1 1 Empório de Teatro Sortido 1 1 Estamos Aqui Produções Artísticas 1 1 Eveli Ficher 1 1 Fabula Entretenimento 1 1 Grupo TECE 1 1 Ideias & Ideais Produções 1 1 JLM Produções Artísticas 1 1 LGK Music 1 1 Livre Entretenimento 1 1 LW Produções Artísticas 1 1 Maestro Produções Artísticas & Culturais 1 1 Marcenaria de Cultura 1 1 Mensagens Produções Artísticas 1 1 Morente Forte Produções 1 1 Néctar Cultural 1 1 O Atelier de Cultura 1 1 Oz. 1 1 Pessoal do Faroeste 1 1 Pianíssimo Produções Artísticas 1 1 Planmusic 1 1 Primeira Página Produções Culturais 1 1 S3 Produções Artísticas 1 1 Só de Sapato Produções Artísticas 1 1 Synapsys 1 1 TBC 1 1 Tema Eventos Culturais 1 1 Turbilhão de idéias Entretenimento 1 1 Vigonne Produções 1 1 Total 76 67 143

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It seems that the same phenomenon in terms of musical theatre venues (Table 14). All the main theatres, that is the ones that sowed at least 10 musicals between 2000 and 2015, showed foreign musicals, some of them Brazilian ones as well. Within them, the only venue that only showed foreign musicals is Teatro Renault, owned by T4F. The other 4 main players showed foreign musicals and Brazilian ones as well, but no main player showed only Brazilian musical theatre play. Brazilian musicals exclusives theatres, showed 1 to 2 musicals in general during the studied period, with some exceptions as the Teatro CCBB, which is the Bank of Brazil Cultural Centre.

Table 14 - Musical theatre plays venues

Theatre Brazilian Foreign Total Teatro Alfa 4 9 13 Teatro Bradesco 2 10 12 Teatro Frei Caneca 7 5 12 Teatro Procópio Ferreira 7 4 11 Teatro Renault 10 10 Teatro Cetip 5 4 9 Theatro NET 4 3 7 Teatro Copa Airlines 5 2 7 Sesc Vila Mariana 4 1 5 Teatro Brigadeiro 2 3 5 Teatro CCBB 5 5 Teatro Espaço Promon 4 4 Teatro Sérgio Cardoso 2 2 4 Tom Brasil 3 1 4 Credicard Hall 1 2 3 Teatro Folha 3 3 Teatro Imprensa 1 2 3 Teatro Brasileiro de Comédia 2 2 Teatro Cultura Artística 1 2 3 Teatro do Sesi-São Paulo 2 2 Teatro FAAP 1 1 2 Teatro Jõao Caetano 2 2 Espaço Parlapatões 1 1 Sede Luz do Faroeste 1 1 Sesc Belenzinho 1 1 Sesc Consolação 1 1 Sesc Pompeia 1 1 Teatro Commune 1 1 Teatro Fernando Torres 1 1 Teatro Gamaro 1 1 Teatro Gazeta 1 1 Teatro Italia 1 1 Teatro Maria Della Costa 1 1 Teatro Porto Seguro 1 1 Teatro Raul Cortez 1 1 Tuca 1 1 Via Funchal 1 1 Total 76 67 143

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Different from New York and London, where all musicals theatres venues are concentrated in one area like Times Square and West End, the theatres that received musical theatres in São Paulo are dispersed (Figure 20). In fact, there is a small concentration in the city centre, but some important venues for the industry, such as Teatro Alfa (13 musicals) and Teatro Bradesco (12 musicals), and others are dispersed over the city.

Brazilian musical theatre plays venues

Brazilian and foreign musical theatre plays venues

Foreign musical theatre plays venues

Figure 20 - Musical theatre plays venues map

Available: https://www.google.com/maps/d/viewer?mid=1C6RUfYcStfV1o0KACvzzii3Xy6E&usp=sharing

4.4. Key takeaways

The analysis of all the 143 musical theatre plays produced in São Paulo between 2000 and 2015 lead us to four key takeaways. First of all, the musical theatre industry is growing really fast, specially the last five years in terms of number of productions and investment as well, even with a small drop in 2014. This demonstrates the importance not only cultural, but also economic for the city of São Paulo.

The second important point to highlight is the hegemony of Broadway American productions, both in the form of franchise and in the form of adaptation. As seen in the previous 76 analysis, 47% of musicals are foreign, 85% of them coming from Broadway. But this hegemony is not only in terms of production, but also in terms of amounts invested, size of cast and running time. American Broadway is synonymous with musical theatre, being then considered as the hegemonic culture in terms of production, language, aesthetics and dramaturgy.

Making the parallel with the theoretical reference presented, what can represent better the American culture than the Broadway musicals? Cultural products, such as musical theatre plays, help to spread the present American culture, its values and mentality. Being considered as a social representation, it exists not only in order to entertain, but in order to maintain the status quo and the hegemony of the dominant culture as well. The capitalism promises, reproduced by different cultural products, in which the musicals, seduce.

Thirdly, Brazilian musical theatre plays is gaining space with their constant growth from 2012, leveraged by medleys (jukebox) and biographies genres. In fact, is thanks to them that Brazilian musicals represent 53% of the musicals from 2000 and 2015. On the other hand, original productions are still very incipient, only representing 13% of the total offer.

At last but not least, the analysis showed how much the music theatre industry is dependent on the use of culture incentive laws for both foreign and Brazilian musicals. As it was showed, 92% of all musicals produced in São Paulo between 2000 and 2015 used funds raised through culture incentive laws, such as Lei Rouanet, regardless of the size or origin of the production.

5. Musical theatre industry analysis

5.1. Musical theatre stakeholders 5.1.1. Direct stakeholders The musical theatre industry moves an army of actors, dancers, musicians, costume designers, set designers, hairdressers, and especially spectators (Severo, 2015). As told by the interviewee number 1 during the interview, "so many people are involved that it's hard to remember everyone." For him, "the industry moves a lot of people. Without counting the backstage, which is enormous, no matter whether it is small or large production. It has stage manager, lighting, sound technicians who take care of the microphones, there are maids, the whole dressing room, seamstress, costume designer, it's a lot, a lot of people involved to make 77 it happen." In the case of Godspell, which is a small to medium-sized production, in which Arthur was the protagonist, there were at least 50 people directly involved only in the backstage of the musical.

A medium-sized musical employ almost 100 people (Kuperman, 2016). According to the businessman, Fernando Alterio, president of T4F, the music industry directly employs 2,150 people (Medeiros, 2016). The interviewee number 4 also said during the interview that the musical industry employs a lot of people within the creative industry and professionals that used to work in sectors now in crisis, such as opera, are migrating to musicals.

It can be seen in the scheme below (Figure 21) all the stakeholders directly involved with the production of a musical, through professionals dedicated to the show itself, as in the case of the creative team, the cast and the orchestra, under the director's orders, the general production direction that manages the stage management and the technical direction. But it also involves all the theatre staff in which the musical runs and the whole operation attached to it. Fundraising through the Lei Rouanet or sponsorship and merchandising activities related to musical title and souvenirs is also directly linked to the industry. So, as can be noticed, is a complex industry that covers many people with different and complementary specialties. 78

Figure 21 - Musical theatre direct stakeholders

The central figure of this panorama is the producer, he who commands everything, directly and sometimes indirectly. As Arthur put it, "the point in common among all the staff in the musical is the producer. He is the one who makes the bridge between all, the communication between everyone. Even though the director has the contact with the costume designer to pass on what he wants, it is the producer who is responsible for the practical, operational part". In the case of the interviewee number 4, she also sees the producer as an essential piece, “it is the producer who chooses who will work in the production. It's like the American structure of making movies. The producer chooses the script, the director and hires the people. It is not the director who chooses the production. It is the producer who is investing money, so he is the one in charge. Of course, the director's opinion counts a lot”.

After the producer, the most important and powerful stakeholder is the play sponsor, in most cases is a large organisation, such as a bank or a company, explained the interviewee number 6. The role of the producer is central, but without the sponsor money, no project would become reality. For smaller productions, it is starting to become common to see some agencies working to match producer and companies willing to invest in culture, though sponsorship or fiscal exemption using incentive laws. 79

5.1.2. Indirect stakeholders 5.1.2.1. Education and training In recent years several courses related and specialized in the musical theatre industry have emerged (Severo, 2015). And the search for these technical and artistic training courses to operate in this market is also growing (Rubim, 2010). With the intention of attending this promising market and training qualified professionals in singing, dance and interpretation (Souza, 2011) some free courses have emerged, some of them with a strong reputation in the market, such as 4Act and Casa de Artes Operária (Rubim, 2010).

Even so, it is necessary to point out that there is not a great availability of training courses that merge interpretation, singing and dance education with an international standard (Agencia Indusnet Fiesp, 2013) and not even many university courses these purposes, so that most of the people who work in the sector were prepared in technical schools (Veneziano, 2010), which is the case of the new SESI course, being the most complete technical course of musical theatre in São Paulo, with course load equal to college, states the interviewee number 2, who is part of the second class of the course. The interviewee number 1 states that there were always free courses, or private lessons with preparations adapted for the actors, more specific courses for musical theatre is a relatively recent phenomenon.

This preparation is already reflecting in the positive performances of the actors. According to Cláudio Botelho there is a big difference in the preparation of the actors compared to what it was to select cast for a musical in the 90s and what it is now. In the past, it was difficult to choose for lack of qualification, nowadays it is difficult because of the great technical quality of the actors (Alves, 2009). However, such courses end up being very restricted to the actors, it is necessary to fill gaps such as the formation of librettists, professionals capable of thinking the story and the story in music and text (Veneziano, 2010).

5.1.2.2. Local market Musical theatre also moves the local shops around the theatre venue, such as restaurants, car parks and even hotels. It is common to see restaurants that adapt their opening hours with theatre sessions, and even make special menus. As unlike Broadway, the theatres in São Paulo 80 are not concentrated in only one region of the city, which has developed a little the commerce of several areas.

What do Eldorado shopping, JK shopping, Higienópolis shopping, Frei Caneca shopping, Bourbon shopping and Vila Olímpia shopping have in common? They all have a theatre venue that produces musical theatre plays and this is no coincidence. According to the interviewee number 5, theatres work as the concept of anchor store, which are establishments that attract a large number of public to that mall that would not if not for that store. Arthur experienced it when he was performing in “Godspell” at Teatro das Artes at the Eldorado shopping, "one was helping the other. At the same time that we brought people to the mall, people who were strolling in the mall came to see the play. We, staff of the production, we consumed in the mall, I imagine that spectators ended up consuming in the mall as well, like the food court".

5.1.2.3. Tourism The musical theatre industry enables spin off to the tourism sector as well. In fact, about 20% of the musical audience comes from outside the capital of São Paulo, which feeds the tourism industry, which now offers cultural tour packages that include restaurants, museums, shopping, hotel and the trip to the theatre to watch the musicals (Martins & Meier, 2012). Musicals imported from Broadway have become one of Sao Paulo's biggest tourist attractions and travel agencies and hotels also prepare packages to get interested to impart the emotions of musicals.

Common in the United States, the procedure of partnering with travel agents at the box office is becoming an increasingly common practice in São Paulo for Broadway musicals, as it was the case for My Fair Lady. Both Miguel Falabella and Jorge Takla believe that this is a healthy bet for all productions and both parties (Alves, 2009). It is estimated that about 20% of the audience of great musicals is composed of spectators coming from outside the capital of São Paulo (Martins & Meier, 2012). 81

Figure 22 - Musical theatre indirect stakeholders

5.2. Industry key characteristics 5.2.3. The industry of mega Throughout the research, exorbitant figures of costs of production were raised, as it was raised in the musical theatre plays in São Paulo analysis. So far, the most expensive production in history in São Paulo has been the Broadway franchise produced by T4F, “Mudança de Hábito”, with a budget of BRL 30 million. Followed by “Mamma Mia”, “O Fantasma da Ópera”, “A Família Addams” and “Miss Saigon”, all of them with an investment over BRL 20 million.

Part of these high costs is due to the size and complexity of productions. As seen in the previous section, there are many people directly involved in a musical. But in addition to 82 people, musical theatre is closely tied to extravagant scenarios, with numerous exchanges, grandiose costumes, diverse wigs, the use of advanced technologies and visual effects that seduce the public. These elements greatly are often imported and raise the cost of production.

The interviewee number 4 cited the example of the led screen that came exclusively from England for the musical “Ghost”, which in addition required a specific workforce also imported, "Sometimes to operate the scene, the productions bring up the outside team. That was the case for Ghost's screen. A team from England came to do the whole setup of the screen so that afterwards it was operated by a Brazilian team, doing the least possible". As an example, all Wicked cast use natural hair wigs, which cost at least BRL 4 thousand each (Giovanelli, 2016). Another example is the musical “Priscilla, Rainha do Deserto”, where only the bus was valued at BRL 2.7 million (Alves, 2015). To these costs, are added the rent of the theatre, which is around 25% of revenue and in the case of a franchise or adaptation, the values of royalties, which vary from 11% to 15% of the box office (Botelho, 2009).

This high cost of production is reflected in the price of tickets, since the number of sessions is limited, usually 6 per week and the average theatre seating is around 700 seats, according to the data collected. In addition, unlike London or New York, where musicals run years and even decades, in São Paulo the musical theatre plays are staged during in average 4 months, according to the data collected. Thus, the high investment has to be amortized within a smaller number of possible tickets and of course, this is reflected in the price of the tickets. According to the T4F ticket sales website (http://premier.ticketsforfun.com.br), ticket prices range from BRL 50 to BRL 200 depending on the sector chosen.

But the consumer is not the only one who pays high prices. The artist himself has to invest enough to be at the peak of his form and performance. Whoever sees an actor performing, singing and dancing in a great musical does not imagine the effort and money he invested to get there. In São Paulo, actors spend up to BRL 6,000 a month when the opportunity to join the cast of one of these mega productions appears (Prado, 2015). This investment includes aesthetic and health treatments, reading books, movie and theatre tickets, classes of body expression, dance and voice preparation.

The actress Sara Sarres ("O Homem de La Mancha", "A Madrinha Embriagada", "O Fantasma da Ópera" and "Les Misérables”) also needs to spend a good amount of money. Her weekly spending is divided like this, one singing class for BRL 200, two ballet classes for BRL 300, two tap dance classes for BRL 300, one speech therapy session for BRL 250 and two 83 physiotherapy or pilates sessions for BRL 160. The total sum is BRL 1,210 per week or around BRL 5,000 per month (Prado, 2015).

The actors interviewed also revealed the need for this high investment. Interviewee number 1 stated that "You have to pay for an interpretation class, a dance class and a private singing class. All health issues too, such as otorhinolaryngologist and speech therapist. All these are things that we have to invest. Dance, has all the strands, jazz, tap dance, ballet, etc. This is all super expensive, a ‘cheap’ private singing class is BRL 150. The interviewee number 2 also revealed to invest much of her salary for her training and constant improvement.

To upset this high investment required by the artists, wages are also higher. Interviewee number 1 believes that within the artistic world, musical theatre has a better pay than a dramatic play. Great musicals pay above BRL 4,000 per months for the choir and a protagonist can pocket up to more than BRL 30,000 (Prado, 2015). The most common is to receive between BRL 10,000 and BRL 20,000 in a play like “O Fantasma da Ópera” or “My Fair Lady”. If the main actor is a big star, in the case of Claudia Raia, the figure could be around BRL 50,000 per month, plus a box office commission (Alves, 2009).

To put it in a nutshell, the musical theatre industry is a vicious cycle of the “mega”. Mega productions, with mega investments, with mega costs, with mega prices. It is an expensive industry for everyone, the producer, the actor and the public. Therefore, is an industry that relies on cultural incentive laws to be able to remain existing. And this is the second key characteristic of the musical theatre industry, its dependence on cultural incentive laws.

5.1.2. Dependence on cultural incentive laws Much is heard about the cultural incentive laws and more precisely about the Lei Rouanet, but what exactly is it? The Lei Rouanet is a federal law to encourage culture, in force since December 23, 1991. It was created by the then Minister of Culture, Sérgio Paulo Rouanet, and therefore took its name (Cazes, 2016).

The Lei Rouanet aims to facilitate the access to culture, promote and stimulate regionalization, support, value and disseminate cultural events and to preserve material and immaterial goods, among others. The government gives permission for companies or individuals to discount values of the tax due, which are directly transferred to cultural 84 producers. The beneficiaries are individuals and legal entities, whether or not for profit; entities of the public power with indirect administration, such as foundations and municipalities (Cazes, 2016).

The proposals are initially submitted for the MinC (Ministry of Culture), which analyses the proposal and sends it to specialists or to some entity related to the project area, which will verify the feasibility of the project. After an opinion, the proposal goes to Cnic (National Commission of Incentive to Culture), that will decide in vote by the deferment of the proposal. Then begins the search of the proponent by companies that are willing to invest in the project in exchange for tax exemption (Cazes, 2016).

In 2015, the musical theatre industry received 25.5% of all tax exemption for the performing arts, which means BRL 50.9 million (Torres, 2016). According to Jeronymo (2011), when the credits and technical files of theatrical productions assembled in Brazil since the beginning of this century are verified, practically all the major recent productions have been supported by incentive laws, especially the Lei Rouanet, which allows 100% tax relief. In the research conducted in this study, 92% of all musicals produced in São Paulo between 2000 and 2015 used funds raised through cultural incentive laws, such as Lei Rouanet. But will all this dependence on the industry in cultural incentive laws be beneficial or harmful to the music theatre industry? The opinions collected are very divergent.

The main argument in favour of the cultural incentive laws is that no musical gets paid by itself. This is what Miguel Falabella believes (Kuperman, 2016), which states that if the Lei Rouanet ends, the musical theatre will disappear anyway because no spectacle covers all the costs. The Aventura Entretenimento partner, Aniela Jordan, shares that view, adding that even musicals with a smaller budget cannot afford to cover its costs with just the box office. According to her, the Lei Rouanet allowed the emergence of a solid scene for the musical theatre in Brazil (Cazes, 2016).

The interviewee number 6 completes during the interview that the obligation to have to offer half-admission to the vast majority of the public increases this dependence of sponsorship via the Lei Rouanet of federal incentive because the revenue of the box office decreases, being more difficult to cover costs. For her, it would be impossible to try to make a musical today without the Lei Rouanet because the tickets would have to cost 2 or 3 times more and there would be no public with purchasing power for this. 85

Besides this, there is also a false impression that when there is incentive everything is paid. The cost of production is completed with the box office (Cazes, 1016). In addition to sponsorship, significant part of the production costs need to be obtained through the tickets. What is the case of musicals produced by T4F, when more than 50% of the cost of the company's projects are covered with own resources (Medeiros, 2016).

On the other hand, the criticisms to the use of cultural incentive laws are diverse, but they follow more or less the same reasoning. As it is the companies that do the artistic curatorship, not the government, they take advantage to choose plays that favour themselves, so they enjoy a public resource as a marketing investment. This generates a lack of diversity in the themes and types of production, due to the concentration of Broadway adaptations and the ability of large producers to articulate with large sponsoring companies.

The actor José Mayer (Fibe, 2007) strongly criticizes the Lei Rouanet. For him, it is a law that puts the artist in a direct confrontation with the businessman, it is a lazy law, it is the state that disengages itself from the formulation of cultural politics. Such omission from the state is criminal and unforgivable.

During the interview, the interviewee number 3 states that he understands that it can be frustrating for a composer to understand that the market does not value and does not understand what his work is. In addition, from the point of view of artistic content, as this ends up being in the hands of one of the people who do not have an artistic objective, but only marketing above anything, they turn into a market for mere entertainment.

When choosing a certain content to sponsor through the fiscal waiver of the Lei Rouanet, companies are using public resources as a marketing investment and this investment in entertainment should be done with direct marketing resources of companies, not with public resources (Reis, 2013). In this logic, companies apply the resources in productions that offer exposure, marketing and publicity returns. It is as if they are using public resources to invest in themselves, in entertainment products that reinforce and value their brands, generating more financial returns for themselves. Thus, the idea of social counterpart goes away (Reis, 2013).

The interviewee number 3 revealed that, in his point of view, the only ones who sponsor musicals, that is to say who makes the musical theatre industry viable, are big brands, big companies, that in fact end up transforming a grant from the Ministry of Culture into the company's marketing budget. The curatorship is still done by the marketing directors of the companies. So, this is an element that makes the creation very restricted. 86

Eduardo Barata (Reis, 2013), president of the Association of Producers of Rio Theatre (APTR), also questions the concentration of funds applied in plays of a single lode and a vicious circle of relationship and transfer of funds between companies and producers. He notes that the same big companies always sponsor the same big producers, which for him affects the diversity of the scene. Because sponsors are investing in musicals of a single type, most other productions, which goes the “wrong way”, cannot capture the full amount of their budget (Reis, 2013).

So, when you are a small independent producer, the problem is not to have the project approved by the Lei Rouanet, the problem is to capture that approved money with the companies. This is a very recurrent problem that was highlighted by the interviewee number 4 during her interview; “The big producers, as they already have more experienced people, they know to whom and how to ask. For the big producers, when the project is approved by the Lei Rouanet, this money is almost guaranteed. The small producers do not know much to whom to ask, does not have so much experience and not all the contacts. This turns out to be a kind of mafia.” The interviewee number 4 sees this as a great challenge for small producers to dig this space on the side of the bigger ones.

While all musicals have the same access to culture-inducing laws, they do not have the same facility of raising money from business. For the interviewee number 5, it is due to the lack of experience of the small producers with the business language. For him, it lacks a capacity to know how to sell to the entrepreneur the idea of sponsorship as a good investment. For the interviewee number 6, this is because the great musicals end up generating a bigger return for the sponsors and therefore they are easier to capture.

As an example, the director Tadeu Aguiar spent four years trying to capture the BRL 4 million needed for the project approved by the Lei Rouanet, but he only got BRL 500 thousand due to the rejection of the companies. According to him (Seragusa, 2016), the companies do not understand artistic themes, what limits the content of the pieces.

But how does it work in Broadway (the real one)? Broadway works like a private equity investment. The investor gives the show money up front. Then he gets checks every month from the ticket sales. The longer the play goes, the more money the investor make. Investors get a cut whenever the play is performed, when it goes on a tour or even at a high school. But investing in Broadway isn't cheap, plays cost millions to put on (Long, 2016). Since Broadway 87 has been booming over the last years, more people are looking at the industry as an alternative investment (Long, 2016).

This investment in Broadway plays can also be likened to funding startups. All the raised money goes towards getting the enterprise / play off the ground. It pays all the production, including the creative team, the actors, the venue rentals, etc. The investor only makes a return after the play starts making money. It is a risky investment, but when it pays, the return is high. According to Davenport’s own research (Borzykowski, 2015) only one out of every five plays recoups its investment.

One may wonder if this Broadway model would work in Brazil, but Botelho (Cazes, 2016) does not see the possibility of musicals in Brazil attracting private investors to finance themselves. He believes that someone would only invest if the return is expected. On Broadway, the number of Americans in the audience does not reach 40%, is a public composed of many foreign tourists, which is not the case in São Paulo. And even there, it's an investment that pays off over a long time. In São Paulo, the musical theatre plays do not stay on for a long time, like is the case on Broadway.

6. Conclusion 6.1. Main challenges faced by original musicals 6.1.1 Broadway and biographical plays perceived as a safer bet As seen previously, the musical theatre industry relies on the use of sponsorship mechanisms such as cultural incentive laws. Because of this system, Broadway and biographical plays are perceived as a safer bet for everyone, not only the producer and the sponsor, but for the artist and the public as well. The logic is simple, generally, people are risk averse, so they prefer to invest in what appears to represent less risk.

The producer wants to be successful, and if the musical was successful abroad, it is more likely to succeed here. The audience has heard or already know the musical, which increases the likelihood of going to see it. Being a Broadway musical, it's like a quality label. Musicals as entertainment seduce the public by its grandiosity and luxury, under the Broadway brand, explains Takla (Agencia Estado, 2007). 88

During the interview, the interviewee number 1 also said he believes that producing something that is already in the taste of the people is a safer bet. Producers meet what they think the audience will like, absorb and want to watch and from there they produce the musical. It is a market logic rather than a personal artistic choice to bring some specific message.

The interviewee number 3 also shares the same opinion regarding biographical musicals, because when working on the ballast of an artist, living or not, you are dealing with its specific audience. You are already targeting. So, from the producer's point of view, biographical and Broadway musicals are considered a safe haven, even though there may be instances of failure.

The musical director Fernanda Maia (Alves, 2015) states that since the musical theatre is expensive to produce and needs to be profitable, producers opt for versions or consecrated themes, whether from Broadway or biographical, because rarely will people be willing to pay a lot of money for a show they do not know or have never heard of. In the case of the biographical musical, the producers target, in addition to the audience that likes musicals, the fans of the honouree. And in this case, the attraction, besides the music, is a certain frisson of checking if the protagonist really managed to "embody” the idol.

A certain accommodation is therefore seen that lends itself to economic purposes, with less risk than those derived from great innovations that have not yet been tested by the general public. After all, the songs of Broadway, or those of Tim Maia and Elis Regina are already well-known, generating less strangeness to the sponsors and public (Duarte, 2015).

Sponsors choose to invest in entertainment for the visibility provided and to generate affective bonds between stakeholders and their sponsoring brands (Agência Estado, 2007). In addition, following the same logic as the products, the sponsors also prefer to make a less risky investment. Thus, the franchises have consolidated an image of success that is desired by many brands to compose the portfolio of their cultural marketing, increasing the funding for these productions (Duarte, 2015).

Therefore, following the same logic of the producers, sponsors prefer to invest in Broadway blockbuster musicals, thus guaranteeing a greater brand visibility because, according to the data collected in this study, they stay for longer in larger theatre venues, so reach a larger audience. Besides the associative benefits to the brand. 89

With regard to artists, biographical and Broadway musicals represents a safe haven as well in two main aspects, not only the financial aspect but also the prestige one. When a musical has no sponsorship, the actors do not earn a fixed salary, they earn only according to the box office (Seragusa, 2016). Botelho (Segadilha, 2012) believes that one of the main advantages of the industrialization of the genre is precisely this security that musicals give to their professionals, who, with great sponsorship, earn fixed salaries and no longer depend on participation in the box office.

Besides that, the market practice is to pay a salary only when the musical running. During rehearsals, only half of the salary is paid. It is also logical that a musical with greater investment can pay higher salaries to the involved artists than a smaller production.

But during the interview, the interviewees number 1 and number 3 point out that it is not just a matter of money, there is something else at stake, and it is the artist ego. For the interviewee number 3, working with an artist is working with ego. Everyone wants to be the protagonist and sing a solo, with the dream of being able to star in a Broadway musical classic. And according to him, it is a mentality potentiated by the general mentality of the very value that the spectacle coming from abroad has in the market that a national spectacle does not have.

Nowadays, there are unknown people who take a starring role, stand out and become a star. So, there is always this dream aspect, the desire to have prestige to star in a blockbuster musical imported from Broadway and to be the next possible raising star of the musical theatre.

The interviewee number 1 believes that sometimes artists have no interest in creating original content because they see more interest in participating in a super production because a Broadway classic can be seen as adding more value to the resume and being more rewarding.

And when the producers and artists decide to risk and produce an original musical, the public is not yet ready for it. According to Botelho (Motta, 2013), the Brazilian public does not like to hear what they do not know. As an example, the musical 7 was the show that gave him most artistic victories, but the one that gave him less money. Even though being a richer and more enjoyable experience, the original musical is harder for audiences who are not going to see the story of an idol or familiar songs (Ghivelder, 2015). Since musical theatre is expensive, people will seldom afford to pay for a show they do not know or have never heard of.

Both interviewee number 3 and number 4 emphasized the mentality of an old colony country, in which what comes from abroad is better than what is national. A Broadway musical 90 has a lot of appeal when you have to sell the ticket. They believe that the Brazilian still has a lot of prejudice with things produced in Brazil. Unless they have an affective bond with the play, as is the case of Castelo Rá-Tim-Bum and biography of consecrated artists.

6.1.2. Lack of original dramaturgy After the two great phases of Brazilian musical theatre, the operettas between 1850 and 1950 and musical theatre politically engaged from 1960 to 1980, few authors / compositors / producers took Despite a great technical and professional quality in performing these musical theatre shows in Brazil and its constant evolution, there is a specific area that had very few opportunities to be exercised: dramaturgy. This is both in terms of production and in terms of courses and so on. (Severo, 2015). But it is necessary to have a great novelty in term of production resulting from the work of the national composers and lyricists to add even more quality to this great cultural industry (Duarte, 2015).

As it was presented during this study, the national productions are mostly of two types: imported (franchise or adaptation where the script and production created outside are brought here, versed in Portuguese, and national artists copy or at most, recreate the production design) or compilations of known national songs where biographical or medley musicals are organized from the biography of a singer, composer, musical genre or specific historical period (Severo, 2015).

After the two great phases of Brazilian musical theatre, the operettas between 1850 and 1950 and musical theatre politically engaged from 1960 to 1980, few authors / compositors / producers took the risk of creating and producing a musical spectacle originally Brazilian, except in the format of biographical musicals. As shown, of the 143 musical theatre plays produced in São Paulo between 2000 and 20015, only 19 are original, representing less than 14%.

So how could this gap be bridged? And will the current national market be prepared again for great musical shows with librettos and original songs created in Brazil? How to rescue the tradition of Brazilian musical theatre that is linked to comedy and parody (Veneziano, 2010).

Nei Lopes, composer and lyricist, is radical in saying that this lack of national dramaturgy is a crime of injuring the country (Sá, 2015). In his point of view, it is 91 incomprehensible why the producers seek for plays outside without giving opportunity to the immense universe of authors that Brazil has. For Lopes, the biographical musicals also leave aside the composer and do not fulfil the purpose of emphasizing the true Brazilian music. He believes that when you put music of successful media in a musical, you lose the chance to reveal how rich the great Brazilian music is (Sá, 2015).

The director Cláudio Botelho is also vehement against the biographical musicals. For him, biographical musicals are a way to make easy money, all resulting from the head of businessmen and not idealized by artists. For him, in about three years the "biographical" artists will be end, and they will try to invent another factoid (Alves, 2015). Botelho also acknowledges the lack of productions with unpublished compositions and highlights the importance of rescuing this tradition that Brazilian musical theatre had (Ghivelder, 2015).

The famous TV actor José Mayer, who also played in some musical theatre plays, praises the initiative to "develop possibilities for a Brazilian musical." He says he thinks the wave of imported Broadway plays is "very bad." "What world are we losing with our backs to Brazil and importing this kind of show? People will see this not as who goes to the theatre. They will see a live videotape"(Fibe, 2007).

Ruy Barbosa, the author of Bilac vê estrelas, book adapted for musical theatre, is more restrained when evaluating that franchises played their part in teaching a lot of people to "dance and sing". Being a stage as valid as the biographies. However, according to Ruy Barbosa, passing this stage, the important thing is to develop in Brazil an original musical language, in which history and music are Brazilian and interconnected (Sá, 2015). For him, true musical theatre is with music made especially for it. What he would like to see is some space for musicals with original songs (Sá, 2015).

Among those interviewed, the interviewee number 3 was the one who had a more vehement opinion about the lack of original dramaturgy. For him, the production of a musical is a collaborative process of many people, a producer, a composer, a lyricist, a book writer, a director, the cast, etc. It is something that demands a lot of work, dedication and time.

In addition, the interviewee number 3 believes that there is a lack of understanding, or knowledge, of the mechanisms of development of an original work. The first misunderstood dimension is time: "Here, everyone wants everything for yesterday," he says playfully. "It's a deceptive layman who says he's going to do a musical theatre play in 3 months, 6 months, up 92 to 1 year, writing from scratch." The interviewee number 3 says it's very rare to be able to write the musical in less than a year, with certain quality.

To illustrate his argument, the interviewee number 3 uses the case of the United States, "In the United States, a work of a composer, a consecrated author, will take for countless reasons 5 years, sometimes 8 years, up to 11 years to be finalized. Wicked took nearly eight years to reach Broadway since its first workshop." The interviewee number 3 also believes that in Brazil the market itself, in the way it is set up, does not allow this time from a production point of view.

The interviewee number 3points out that by producing only Broadway musicals, Brazil ends up "turning out to be a Broadway simulacrum, which is not Broadway but thinks it's Broadway. From this, we are in this thing of reproduction and simulacrum. We have to understand that we do not have to sing like Americans, we do not have to look like Americans."

For the interviewee number 3, the producers need to realize concretely that “one can do this kind of spectacle, with an original concept, original music, turning into original Brazilian musical theatre plays. And that this is cool, this is good, this generates a cultural identity. Only when we start having things proposed in our language with a cultural relationship that belongs to us will we be able to say that we can produce our own things.”

Finally, the interviewee number 3 believes that musical theatre in Brazil is moving forward and undergoing a transformation. For this to happen, “we need a work that breaks this barrier and has an effect on popular culture, as Chico Buarque has already caused with his works. In one way or another, this is what the musicals that come from outside cannot do, it is not our culture, this is a recycling of the culture itself.”

6.2. Mapped opportunities for action in São Paulo After studied the musical theatre plays in São Paulo and the industry as a whole, with its main directs and indirect stakeholders, its key characteristics and challenges, it is time to map the main opportunities for the musical theatre industry in São Paulo. As a result of this study, two main opportunities were raised. The first one being the development of a kind of parallel industry such is the off Broadway with some different characteristics from the “traditional” musical theatre industry how it is conceived nowadays. And the second one is the 93 opportunity to determinate a minimum quota for Brazilian original production within the musical theatre industry.

6.2.1Off Broadway During the interview, the interviewee number 1 claimed that it does exist high quality productions as good as Broadway productions with a much lower budget. He even mentioned that he has seen many smaller independent productions occur, either with direct sponsorship (without the use of incentive laws) or with personal money from the producer himself or even from the cast, productions in which the team itself invests to make it happen. These productions that have arisen, are, according to the interviewee number 1, are sometimes even more interesting than the traditional mega productions imported from Broadway.

The duo Möeller and Botelho recall that they set up their longest musical, that stayed four years on stage with only BRL 30 thousand. The play filled the theatres for four years, proving that good and cheap musicals are still a valid path to developing the musical theatre industry (Segadilha, 2012).

The musical director, Fernanda Maia, believes that the profile of the public has also been changing over time and has changed quite a lot since the beginning of the boom of imported musicals in São Paulo in the in the early 2000s (Alves, 2015). According to Fernanda Maia, people were going in the beginning to see if the actors were able to sing and if the scenarios and costumes were similar to the ones on Broadway. This audience still exists, now they will also check if the actor of the TV novel sings, but there is also a public that is more demanding, that wants good actors, good dramaturgy and a more elaborate musical material (Alves, 2015).

Fernanda Maia states categorically that those who are supplying this desire are small and medium-sized productions, which have more artistic autonomy and creative freedom. Musicals like Vingança (2013), open the way to new ways of making musical theatre. Productions in small venues, such as Cia da Revista and the Nucleo Experimental, are always crowded. For those who paid more than BRL 100 in a 1000-seat theatre, spending half of it to see a musical in a theatre where things happen within two meters of the audience is a shocking experience (Alves, 2015). 94

The successful example of North American stages: The Off-Broadway spectacle (musical theatre plays with few actors, few musicians, more experimental drama formulas), can respond to the problem of economic unfeasibility of mega-shows. Since the beginning of the twentieth century, many shows that have emerged like this (from Rent, through Rock Horror Show and Godspell) were so successful that they were eventually taken to the most visible Broadway stages. In Brazil, there were successful versions in Brazil of all these plays.

Thus, cheaper productions break the vicious circle of the mega productions introduced in São Paulo with the beginning of imports of the mega productions from Broadway. With leaner productions and maintaining the high quality, the price of production drops, needing less investment, which may attract smaller (mid-sized) companies to enter the market of cultural sponsorship, which they could not do before. Or even cut back on that reliance on sponsors to exist. It can be an independent production with investment of the own producer.

Leaner productions can be played in smaller theatres venues, which lessens the bargaining power of the theatre owners giving greater venues options to producers within the city of São Paulo. In addition, smaller productions make it possible the travelling musical theatre play, both at the state level and at the national level. This allows the musical to stay on stage for longer, as it will be conquering a different audience, a new audience, not limited to the public available in the city of São Paulo.

Finally, smaller musicals can explore more the creativity, not being limited to the rules of the original play neither limited to what the sponsor can think about it. With lower fixed costs, the producer can risk more on less mainstream content and craft more experimental musical. This can encourage producers, playwrights and all stakeholders identified to bet on original musicals, with unprecedented dramaturgy and unpublished songs, thus creating (or rescuing) a real identity of Brazilian musical theatre.

6.2.2. Quota for original production As seen previously in this paper and quoted in several interviews, the way the industry is conceived nowadays and given to the dependencies of the productions in the cultural incentive laws, the main barrier for the creation of original musicals is then the lack of sponsors to raise enough money to meet production costs. 95

Arthur emphasized this point during the interview, for him, the main barrier to original productions is money. "The theatre staff is artistically creative and can handle creating an original musical, with original music and dramaturgy. I think this is not a barrier, there are people competent for this and courses also specialized in dramaturgy, such as the postgraduate at Célia Helena. The main barrier is still the financial one, which has now been resolved or with direct sponsorship, through contacts with the company, or with the producer own money.”

According to the interviewees number 3 and number 4, this scenario is only going to change when there will be a state intervention, a law that regulates it. For the interviewee number 4, what happens a lot in Brazil, is that the industry does not develop until there is a law protecting it. For the interviewee number 3, “this market opening will only happen if it is proposed, or rather imposed, by the ministry of culture.”

The interviewee number 3continually questions the need of having mechanisms to encourage the creation of original content. “Would not be interesting to have within these mechanisms of viabilization a promotion to new authors, to new composers? Why there is no kind of incentive within the laws to encourage the creation of content that is related to our culture, I mean original musical theatre plays.”

The interviewee number 4 cites the example of the law of quota for Brazilian productions on payed TV channels. “A law was voted around 4 or 5 years ago to impose a minimum amount of Brazilian productions. It was from that moment that the Brazilian productions began to invade the television. In the beginning, some productions were technically very low, so the law was quite controversial in the beginning. But now the quality level it's starting to rise. Producers are embracing this market more and making better productions. The quality of national productions is rising. But it is something that takes time, that goes slowly.”

The law that the interviewee number 4 alludes to is Law 12.485, which proposes to remove barriers to competition, to valorise Brazilian culture and to encourage a new dynamic for the production and circulation of audio-visual content produced in Brazil. This new law opens up opportunities for producers to grow, because the law created a demand for 1,070 hours of annual national content and unprecedented independent content (Ancine, 2011). Why not create a similar law encouraging the production of original Brazilian musicals?

This idea of quota could be applied at different levels to be analysed. It can be at the theatre level, meaning each room has a minimum of x months to pass an original playwright 96 musical. It could also be applied to producers, requiring a minimum of original musical produced per year. Lastly, one last possibility was the application of the minimum quota for the sponsoring companies, requiring a minimum percentage of contribution to original productions.

6.3. Challenges and limitations Even if the methodology used seems the more adequate in terms of fitting the nature of the study, it has its limitations. First of all, this present study focuses on the offer side, that means that the industry is not analysed in a holistic way, also considering the demand side, but only in how the industry is set nowadays. This means that consumption patterns and decision drivers are not considered, and they can have an influence on the offer side.

Secondly, the study focuses as well on the musical theatre industry in São Paulo and there is no other country or comparable city as a thermometer to see if the musical theatre industry behaves the same way in other locations.

Finally, although the data sets employed provide a generally accurate overview of the industry, the plays may not always be completely comparable. Broadway franchised plays brought by listed producer companies present much more accurate data. Unfortunately, it was not always possible to find as much information about certain aspects of all plays from 2000 to 2015. In the early 2000s, online cultural agendas were not as common or widespread as it can be nowadays. Thus, in the analysis section, certain parts are more complete than others. Although this may present an incomplete vision of reality, the qualitative section with specialist interviews was designed to offset this lack of information.

6.4. Implications for further research Because of its exploratory nature, this study opens the door to numerous possible further research. Here, five possible perspectives were raised from this study for future studies. First of all, to analyse the feasibility of the mapped opportunities, as well as use the database of the 143 collected musical theatre plays produced in São Paulo between 2000 and 2015 for other purposes and analyses. Others possibilities are to carry out a comparative study between the musical theatre of different capitals, such as São Paulo, New York, London, Paris and to analyse the industry with a different object of study, for example to investigate the profile of 97 the companies that invest in the musicals through the cultural incentive laws . Finally, the industry can be seen under a different optics, as for example from the perspective of the consumer.

Firstly, this study mapped out two opportunities to further develop the musical theatre industry and more precisely the original Brazilian dramaturgy. However, it is not the intention of this study to explore the viability of the opportunities raised, the creation of a quota for original productions and an incentive for the development of the off Broadway. However, this may be a possible further research, analysing the strengths and weaknesses of such opportunities and their consequences in the industry as a whole.

For this study, data of all the musicals theatre plays produced in São Paulo between 2000 and 2015 were collected, which results in a rich data base that can be used for future studies, such as a content analysis and musical thematic or other qualitative aspects not explored in this study.

This study also focused only in the city of São Paulo. For further research, new geographic units or even a comparative study between the principal capitals of the musical theatre industry, such as London, New York and Paris, may be presented. The main similarities and differences between them, from a market and industry point of view, can be highlighted.

On the other hand, the object of study can also be changed and still be within the perimeter of the musical theatre industry. The object could be the profile of the companies that invest in the industry through the use, or not, of the cultural incentive laws such as Lei Rouanet with the intention to have better understanding on the motivation of them for doing that.

Finally, a future study can be done adopting a totally different perspective, such as studying the musical theatre industry from the perspective of the consumer. That is, study their profile of consumption of cultural products, the main barriers and motivations for such behaviour.

98

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APPENDIX

Appendix 1: Original protocol of interview in Portuguese

Entrevistado Nome Posição profissional Há quanto tempo na indústria Entrevista Data Duração Suporte Questões sugeridas Conte um pouco do seu histórico profissional e trajetória. O que te motivou a seguir uma carreira na indústria de musicais? Introdução Quais as principais características um profissional precisa ter para construir uma carreira de sucesso na área como você? Como você escolhe os musicais com os quais vai trabalhar? Como você vê a indústria de musicais atualmente em São Paulo? Em que patamar se encontra a cidade? Podemos dizer que a indústria de musicais está consolidada em São Paulo? Evolução da indústria Como se deu essa evolução? Quais os principais aspectos que mudaram ao longo da última década? Como você vê essa indústria daqui a 2, 5 e 10 anos? Quais são as principais diferenças entre a Broadway e são Paulo? Quais as principais etapas a serem realizadas do momento em que se tem a ideia de montar o musical até sua realização? Como você desenharia a cadeia de valor da indústria? Cadeia de valor Cite três principais aspectos que caracterizam a indústria. O que diferencia a indústria de musicais de outras indústrias criativas (ex: teatro, shows, etc).? Quais os principais stakeholders diretos da indústria? Quais os principais stakeholders indiretos da indústria? Stakeholders Como estes stakeholders se relacionam? Qual o stakeholder mais poderoso (ex: produtor, ator, financiador, etc.) Dentre estes stakeholders, quais os principais players? Mercado competitivo Trata-se de uma indústria muito competitiva e acirrada? Quais são as barreiras de entrada para um novo player? O que influencia diretamente a indústria de musicais? O que influencia indiretamente a indústria de musicais? Aspectos influenciadores Com qual(ais) outra(s) indústria(s) os musicais estão diretamente relacionados? Teve algum evento ultimamente que deu uma reviravolta na indústria? Qual é o atual cenário dos musicais brasileiros? Por que este cenário está assim? Teatro musical brasileiro O que mudaria esse cenário? Quais as oportunidades de crescimento para a dramaturgia brasileira? Como a maioria dos musicais se financia? Financiamento Como se usa a lei de incentivo à cultura para financiar um musical? Na sua opinião, quais os impactos na indústria com as mudanças de lei de incentivo à cultura (Lei Rouanet)? Você tem algum ponto a destacar? Encerramento Você tem qualquer outro assunto/ponto que queira acrescentar sobre a indústria dos musicais? Agradecimentos

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Appendix 2: Exhaustive list of musical theatre plays produced in São Paulo between 2000 and 2015

Use of Running Audience Investiment Year Play Cast incentive Theater Seats Origin Type Producer months (thousand) (R$ Million) laws Cole Porter – Ele Nunca Disse que Me Amava 5 8 150 0.02 Yes Teatro Alfa 1,110 Brazilian Biography M&B Aí vem o Dilúvio 6 30 N/A 3.00 N/A Sesc Vila Mariana 608 Broadway Franchise T4F A Ópera do Malandro 1 23 N/A N/A N/A Teatro Brasileiro de Comédia 365 Brazilian Adaptation Teatro Brasileiro de Comédia 2000 Filhos do Brasil 1 10 N/A 0.40 Yes Credicard Hall 1,205 Brazilian Medley Sem info Cazas de Cazuza 2.5 9 N/A 0.50 Yes Tom Brasil 1,800 Brazilian Medley Companhia Brasileira de Teatro Música O Beijo da Mulher Aranha 6 18 N/A 3 Yes Teatro Brigadeiro 700 Broadway Franchise T4F Vitor ou Vitória 3 31 N/A 1.50 No Teatro Cultura Artística 1,560 Broadway Adaptation Takla Produções Artísticas Company 1 14 N/A N/A N/A Teatro Alfa 1,110 Broadway Adaptation Aventura Entretenimento 2001 Cambaio 3 18 N/A 1.50 Yes Sesc Vila Mariana 608 Brazilian Authorship Sem info Les Misérables 11 42 350 7.00 Yes Teatro Renault 1,552 West End Franchise T4F South American Way 4 19 N/A N/A Yes Teatro Procópio Ferreira 662 Brazilian Biography Sem info Na Cama com Tarantino 3 15 N/A N/A N/A Teatro Brasileiro de Comédia 365 Brazilian Medley Teatro Brasileiro de Comédia Godspell 5 12 N/A 1.20 Yes Teatro Brigadeiro 700 Broadway Adaptation LS Produções Artísticas 2002 Suburbano Coração 3 6 N/A 0.80 Yes Teatro Cultura Artística 1,560 Brazilian Adaptation Aventura Entretenimento A Bela e a Fera 19 40 600 13.50 Yes Teatro Renault 1,552 Broadway Franchise T4F Elis – Estrela do Brasil 3 21 N/A N/A Yes Teatro CCBB 125 Brazilian Biography Sarau Agência de Cultura Brasileira A Ópera do Malandro 1 20 N/A N/A N/A Tom Brasil 1,800 Brazilian Adaptation Aventura Entretenimento Comunità – o Musical 2 9 N/A N/A No Teatro Italia 290 Brazilian Medley Sem info 2003 Grease – O musical 3 28 N/A 4.50 Yes Teatro Sérgio Cardoso 835 Broadway Adaptation Asa Produções Culturais O mágico de Oz 3 35 140 6.00 Yes Via Funchal 2,000 Broadway Adaptation Synapsys Chicago 8 29 N/A 4.80 Yes Teatro Renault 1,552 Broadway Franchise T4F 2004 Orlando Silva, o Cantor das Multidões 2 3 N/A N/A N/A Sesc Vila Mariana 608 Brazilian Biography LW Produções Artísticas A Turma do Pererê 1.5 13 15 N/A Yes Teatro Cetip 627 Brazilian Authorship Eveli Ficher Marilia Pêra Canta Carmen Miranda 0.5 12 N/A 0.70 Yes Tom Brasil 1,800 Brazilian Biography LGK Music Lado a Lado com Sondheim 0.5 5 N/A N/A N/A Teatro Cetip 627 West End Adaptation Aventura Entretenimento O Fantasma da Ópera 24 38 900 26.00 Yes Teatro Renault 1,552 West End Franchise T4F Nos Tempos da Jovem Guarda 2 9 N/A N/A No Teatro Folha 305 Brazilian Biography Conteúdo Teatral 2005 Sinatra – Olhos Azuis 2.5 13 N/A N/A N/A Teatro Copa Airlines 769 Brazilian Biography Só de Sapato Produções Artísticas Cleópatra? 2 20 N/A N/A N/A Teatro Brigadeiro 700 Brazilian Authorship Sem info As Robertas – Loucas pelo Rei 2 4 N/A N/A Yes Sesc Vila Mariana 608 Brazilian Medley JLM Produções Artísticas Rádio Nacional – As ondas que conquistaram o Brasil 6 11 90 0.80 Yes Teatro Frei Caneca 600 Brazilian Medley Vigonne Produções Otelo da Mangueira 1 13 N/A N/A No Sesc Consolação 344 Brazilian Medley Sem info 2006 Sweet Charity 3.5 27 N/A N/A Yes Credicard Hall 1,205 Broadway Franchise T4F Cauby! Cauby! 2 10 23 1.20 Yes Teatro Procópio Ferreira 662 Brazilian Biography Sem info My Fair Lady 7 30 150 12.00 Yes Teatro Alfa 1,110 Broadway Adaptation Takla Produções Artísticas Miss Saigon 18 42 N/A 22.00 Yes Teatro Renault 1,552 West End Franchise T4F Os Produtores 6 25 120 8.00 Yes Tom Brasil 1,800 Broadway Adaptation Chaim Produções Garota Glamour 2 27 N/A 0.40 Yes Teatro Frei Caneca 600 Brazilian Authorship Sem info Tieta do Agreste, O Musical 2 20 N/A 1.20 Yes Teatro Frei Caneca 600 Brazilian Authorship Asa Produções Culturais 2007 Peter Pan - Todos podemos voar 3 29 N/A 7.00 Yes Credicard Hall 1,205 West End Franchise T4F Assis Valente - Um Musical Brasileiro 2 12 N/A 0.80 Yes Teatro Maria Della Costa 370 Brazilian Biography Grupo TECE Um Boêmio no Céu 1.5 4 N/A N/A No Sesc Vila Mariana 608 Brazilian Medley M&B Renato Russo 5 5 100 0.60 Yes Teatro Frei Caneca 600 Brazilian Biography BG Art Entretenimento As travessuras do Barbeiro 2 7 N/A 0.70 Yes Teatro Copa Airlines 769 Brazilian Adaptation Bela Vista Produções Culturais 7 – O Musical 3 16 N/A 3.00 Yes Teatro Sérgio Cardoso 835 Brazilian Authorship Aventura Entretenimento Beatles num céu de diamantes 3 11 N/A 1.20 Yes Teatro Copa Airlines 769 Brazilian Medley M&B Divina Elizeth 2 5 N/A 0.40 Yes Teatro Frei Caneca 600 Brazilian Biography LS Produções Artísticas 2008 Aida 2 35 N/A 5.00 Yes Teatro Cultura Artística 1560 Broadway Adaptation Master Produções Artísticas e Culturais West Side Story 5 42 N/A 12.00 Yes Teatro Alfa 1,110 Broadway Adaptation Takla Produções Artísticas Tom e Vinicius, O Musical 3 14 N/A N/A Yes Teatro Copa Airlines 769 Brazilian Biography Chaim Produções Senhora dos Afogados 3 21 N/A 0.40 Yes Teatro Imprensa 452 Brazilian Medley Núcleo Experimental O Despertar da Primavera 3 19 N/A 4.00 Yes Teatro Sérgio Cardoso 835 West End Adaptation Aventura Entretenimento Esta é a Nossa Canção 2.5 10 N/A N/A N/A Teatro Imprensa 452 Broadway Adaptation Sem info Avenida Q 3 9 N/A 3.00 Yes Teatro Procópio Ferreira 662 Broadway Adaptation Bottega D´Arte 2009 A Noviça Rebelde 5 44 190 8.00 Yes Teatro Alfa 1,110 Broadway Adaptation Aventura Entretenimento O sítio do Pica Pau Amarelo 2 12 N/A 0.60 Yes Teatro Procópio Ferreira 662 Brazilian Authorship Chaim Produções Gloriosa - A Vida de Florence Foster 3 3 N/A 0.60 Yes Teatro Procópio Ferreira 662 West End Adaptation Chaim Produções O Primo Basílio – O Musical 3 11 35 N/A Yes Teatro Brigadeiro 700 Brazilian Medley MP Produção Cultural Bark! Um Latido Musical 3 16 N/A N/A Yes Teatro Frei Caneca 600 Broadway Adaptation Ideias & Ideais Produções Hairspray 4.5 31 N/A 10.00 Yes Teatro Bradesco 1,439 Broadway Adaptation Chaim Produções Mamma Mia 11 32 N/A 27.40 Yes Teatro Renault 1,552 Broadway Franchise T4F Gypsy 3 43 N/A 4.50 Yes Teatro Alfa 1,110 Broadway Adaptation Aventura Entretenimento A Gaiola das Loucas 6 25 N/A 3.30 Yes Teatro Bradesco 1,439 Broadway Adaptation Chaim Produções 2010 O Rei e Eu 6 37 N/A 5.00 Yes Teatro Alfa 1,110 Broadway Adaptation Takla Produções Artísticas O médico e o monstro 3 28 N/A 6.00 Yes Teatro Bradesco 1,439 Broadway Adaptation Jekyll & Hyde Meu Amigo Charlie Brown 2.5 8 N/A 1.50 Yes Teatro Frei Caneca 600 Broadway Adaptation Néctar Cultural Era uma vez (Into the Woods) 3 18 N/A 1.40 Yes Teatro Brigadeiro 700 Broadway Adaptation Master Produções Artísticas e Culturais Cats 6.5 32 N/A 2.00 Yes Teatro Renault 1,552 West End Franchise T4F Zorro – O musical 3 21 N/A 5.30 Yes Teatro Copa Airlines 769 Broadway Adaptation Agência Popcorn Hedwig e o Centímetro Enfurecido 3 3 N/A 1.10 Yes Teatro Frei Caneca 600 Broadway Adaptation Oz. Cabaret 4 21 130 4.50 Yes Teatro Procópio Ferreira 662 Broadway Adaptation Chaim Produções 2011 New York, New York 3 29 52 6.00 Yes Teatro Bradesco 1,439 Broadway Franchise Maestro Produções Artísticas & Culturais Evita 4 45 N/A 4.00 Yes Teatro Alfa 1,110 West End Adaptation Takla Produções Artísticas As Bruxas de Eastwick 4 27 N/A 6.00 Yes Teatro Bradesco 1,439 West End Franchise T4F Hair 4 30 120 4.50 Yes Teatro Frei Caneca 600 Broadway Adaptation Aventura Entretenimento Tim Maia – Vale Tudo, o musical 5 11 120 2.20 Yes Teatro Procópio Ferreira 662 Brazilian Biography Chaim Produções Um Violinista no Telhado 4 43 85 7.00 Yes Teatro Alfa 1,110 Broadway Adaptation Aventura Entretenimento A Família Addams 9 29 300 25.00 Yes Teatro Renault 1,552 Broadway Franchise T4F Priscilla, Rainha do Deserto 9 28 N/A 14.00 Yes Teatro Bradesco 1,439 Broadway Franchise GEO Eventos (Rede Globo) 2012 Fame, o Musical 2.5 33 N/A 9.00 Yes Teatro Frei Caneca 600 Broadway Adaptation 4ACT Entretenimento Nós sempre teremos Paris 2.5 2 N/A 0.50 Yes Teatro Raul Cortez 513 Brazilian Medley Barata Comunicação Enlace – A Loja do Ourives – O Musical 3 26 N/A 1.50 Yes Tuca 672 Brazilian Authorship Mensagens Produções Artísticas A Borboleta Sem Asas - O Musical 1 10 N/A N/A No Teatro Jõao Caetano 436 Brazilian Authorship TBC Cambaio (a seco) 1 18 N/A N/A No Sesc Pompeia 800 Brazilian Adaptation Empório de Teatro Sortido Alô ,Dolly! 4 28 N/A 3.60 Yes Teatro Bradesco 1,439 Broadway Adaptation Chaim Produções Milton Nascimento – Nada Será como Antes 3 14 N/A 1.80 Yes Teatro Cetip 627 Brazilian Biography GEO Eventos (Rede Globo) O Mágico de Oz 3 35 N/A 5.00 Yes Teatro Alfa 1,110 Broadway Adaptation Aventura Entretenimento Godspell 1 12 N/A 1.30 Yes Teatro Commune 85 Broadway Adaptation LS Produções Artísticas Rei Leão 24 28 850 14.60 Yes Teatro Renault 1,552 Broadway Franchise T4F Quase Normal 3 6 N/A 3.00 Yes Teatro FAAP 500 Broadway Adaptation Estamos Aqui Produções Artísticas Shrek - O Musical 4 24 100 11.30 Yes Teatro Bradesco 1,439 Broadway Adaptation Jekyll & Hyde Crazy for you 5 26 N/A 5.00 Yes Teatro Cetip 627 Broadway Franchise Chaim Produções 2013 Elis – A Musical 3 14 70 10.00 Yes Teatro Alfa 1,110 Brazilian Biography Aventura Entretenimento Lampião e Lancelote 2 6 N/A 1.20 Yes Teatro Jõao Caetano 436 Brazilian Authorship Brancalyone Produções Gonzagão – A Lenda 2 9 N/A 1.60 Yes Theatro NET 799 Brazilian Biography Sarau Agência de Cultura Brasileira A madrinha embriagada 11 25 150 12.00 No Teatro do Sesi-São Paulo 456 Broadway Adaptation Atelier de Cultura Na Bagunça do Teu Coração 1 2 N/A 0.70 Yes Teatro Procópio Ferreira 662 Brazilian Medley Doravante Produções Artísticas Tudo por um Popstar 2 11 N/A 2.70 Yes Teatro Folha 305 Brazilian Medley Aventura Entretenimento Rock in Rio - O musical 3 25 N/A 12.00 Yes Teatro Alfa 1,110 Brazilian Medley Aventura Entretenimento Vingança – O Musical 2 6 N/A 0.60 Yes Teatro CCBB 125 Brazilian Authorship Morente Forte Produções Ponto de Bala! Um Teatrinho Apolítico e Apocalíptico 2 3 N/A 1.90 Yes Espaço Parlapatões 82 Brazilian Authorship Marcenaria de Cultura 109

Use of Running Audience Investiment Year Play Cast incentive Theater Seats Origin Type Producer months (thousand) (R$ Million) laws Cazuza - Pro Dia Nascer Feliz, o musical 3 18 70 4.60 Yes Teatro Procópio Ferreira 662 Brazilian Biography Chaim Produções Jesus Cristo Superstar 3 28 N/A 6.00 Yes Teatro Cetip 627 Broadway Franchise T4F Rita Lee Mora ao Lado 3 14 N/A 1.50 Yes Teatro Copa Airlines 769 Brazilian Biography Cantando na Chuva Criações Artísticas Se Eu Fosse Você – O Musical 4 21 N/A 6.40 Yes Teatro Cetip 627 Brazilian Medley Aventura Entretenimento O Homem de la Mancha 4 30 N/A 11.00 Yes Teatro do Sesi-São Paulo 456 Broadway Adaptation O Atelier de Cultura Luz Negra 3.5 10 N/A 0.20 Yes Sede Luz do Faroeste 80 Brazilian Authorship Pessoal do Faroeste Nas Alturas - Um Musical da Broadway 1.5 27 N/A 7.50 Yes Teatro Bradesco 1,439 Broadway Adaptation 4ACT Entretenimento 2014 As damas de paus 2.5 8 N/A 0.60 Yes Teatro Fernando Torres 685 Brazilian Authorship JIM Carvalho Produções Artísticas A Ópera do Malandro 1 18 15 0.40 Yes Teatro CCBB 125 Brazilian Adaptation Companhia da Revista Cássia Eller - O Musical 2 7 40 6.00 Yes Teatro CCBB 125 Brazilian Biography Turbilhão de idéias Entretenimento Eu Vou Tirar Você Deste Lugar 2 8 1 N/A Yes Teatro CCBB 125 Brazilian Medley Sem info Todos os Musicais de Chico Buarque em 90 Minutos 1 8 N/A 1.60 Yes Teatro FAAP 500 Brazilian Medley Conteúdo Teatral O Grande Circo Místico (volta) 2 17 N/A 2.40 Yes Theatro NET 799 Brazilian Authorship Primeira Página Produções Culturais Menino Maluquinho, O Musical 1 21 N/A 1.90 Yes Teatro Bradesco 1,439 Brazilian Authorship 4ACT Entretenimento Chovendo na Roseira 2 4 N/A N/A No Sesc Belenzinho 364 Brazilian Medley Núcleo Experimental Chacrinha, o Musical 4 23 N/A 12.00 Yes Teatro Alfa 1,110 Brazilian Biography Aventura Entretenimento Constellation - Uma viagem musical pelos anos 50 1.5 9 N/A N/A Yes Teatro Espaço Promon 350 Brazilian Medley Brainstorming Entretenimento Bilac vê estrelas 2 9 N/A 1.00 Yes Teatro Espaço Promon 350 Brazilian Authorship 4ACT Entretenimento Mudança de Hábito 8 31 260 30.00 Yes Teatro Renault 1,552 Broadway Franchise T4F S’imbora – O Musical, A história de Wilson Simonal 1.5 16 20 5.30 Yes Teatro Cetip 627 Brazilian Biography Planmusic As Noviças Rebeldes – O Musical 3 6 N/A N/A Yes Theatro NET 799 Broadway Adaptation Chaim Produções Chaplin, o Musical 5 21 55 5.00 Yes Theatro NET 799 Broadway Adaptation Chaim Produções Memórias de um Gigolô 2 17 N/A 3.00 Yes Teatro Procópio Ferreira 662 Brazilian Authorship Chaim Produções Nuvem de lágrimas 3 23 N/A 7.50 Yes Teatro Bradesco 1,439 Brazilian Medley Livre Entretenimento Raia 30 - O Musical 3 14 N/A 2.20 Yes Theatro NET 799 Brazilian Biography Chaim Produções Antes tarde do que nunca 4 24 N/A 5.60 Yes Teatro Cetip 627 Broadway Franchise T4F Dias de Luta, Dias de Glória 5 23 N/A 4.00 Yes Teatro Gamaro 762 Brazilian Biography S3 Produções Artísticas Nine – Um musical Felliniano 3 16 N/A 5.00 Yes Teatro Porto Seguro 508 Broadway Adaptation M&B 2015 Urinal – O musical 8 13 N/A 0.20 No Teatro Imprensa 452 Broadway Adaptation Núcleo Experimental Miranda por Miranda 2 5 N/A 1.60 Yes Teatro Espaço Promon 350 Brazilian Biography Pianíssimo Produções Artísticas Beatles num céu de diamantes 3 11 N/A 1.80 Yes Teatro Folha 305 Brazilian Medley M&B Todos os Musicais de Chico Buarque em 90 Minutos 2.5 8 N/A 2.50 Yes Teatro Cetip 627 Brazilian Medley M&B Lisbela e o Prisioneiro – Um Musical circense 2 8 30 0.60 Yes Teatro Frei Caneca 600 Brazilian Medley MP Produção Cultural Barbaridade 2 12 N/A 6.80 Yes Teatro Sérgio Cardoso 835 Brazilian Medley Aventura Entretenimento Sim! Eu aceito! 2 2 N/A 2.30 Yes Teatro Gazeta 700 Broadway Adaptation Fabula Entretenimento Godspell 2 13 N/A 1.30 Yes Teatro Copa Airlines 769 Broadway Adaptation LS Produções Artísticas Mulheres à beira de um ataque de Nervos – O Musical 2.5 19 N/A 4.50 Yes Teatro Procópio Ferreira 662 Broadway Adaptation Chaim Produções Kiss me Kate – O beijo da megera 4 22 N/A 6.00 Yes Teatro Bradesco 1,439 Broadway Adaptation M&B Bilac vê estrelas 3 11 N/A 1.80 Yes Teatro Espaço Promon 350 Brazilian Authorship Tema Eventos Culturais O primeiro musical a gente nunca esquece 3 13 N/A 4.00 Yes Theatro NET 799 Brazilian Medley Aventura Entretenimento Ou tudo ou nada 3 17 N/A 0.50 No Theatro NET 799 Broadway Adaptation Brainstorming Entretenimento Palavra Cantada - Sem Pé Nem Cabeça 5 14 20 2.00 Yes Teatro Frei Caneca 600 Brazilian Medley Chaim Produções

110

Appendix 3: Exhaustive list of consulted websites for the musical theatre plays produced in São Paulo between 2000 and 2015 analysis

http://acervo.oglobo.globo.com/em-destaque/elis-regina-pimentinha-que-emocionou-brasil-com- sua-voz-morte-precoce-15643313 http://almanaquevirtual.com.br/musical-miss-saigon-tem-exibicoes-de-seu-25-anos-nos- cinemasmas/ http://amoteatro.com.br/pecas/nas-alturas-um-musical-da-broadway http://andreia-inoue.blogspot.fr/2014/10/as-damas-de-paus-o-musical.html http://anoticia.clicrbs.com.br/sc/cultura-e-variedades/guia-mais/noticia/2015/09/musical-lisbela- e-o-prisioneiro-tem-apresentacao-neste-domingo-em-joinville-4856041.html http://aplausobrasil.ig.com.br/2010/02/10/preparem-o-laque-hairspray-estreia-em-sao-paulo/ http://aquitemarvore.com.br/noticia/assistido-por-mais-de-300-mil-pessoas-elis-a-musical-volta- a-belo-horizonte-para-tres-apresentacoes-em-abril/ http://asrobertasloucaspelorei.blogspot.fr http://atorcriador.com.br/estreia-sim-eu-aceito-uma-comedia-musical/ http://aventuraentretenimento.com.br/oprimeiromusical/espetaculo.php http://bora.ai/sp/passeios/beatles-num-ceu-de-diamantes http://bora.ai/sp/passeios/palavra-cantada-musical-sem-pe-nem-cabeca http://botequimcultural.com.br/critica-bilac-ve-estrelas/ http://botequimcultural.com.br/critica-cassia-eller-o-musical/ http://botequimcultural.com.br/critica-o-homem-de-la-mancha/ http://botequimcultural.com.br/critica-o-primeiro-musical-a-gente-nunca-esquece/ http://botequimcultural.com.br/critica-opera-do-malandro/ http://botequimcultural.com.br/critica-se-eu-fosse-voce-o-musical/ http://botequimcultural.com.br/critica-simbora-o-musical-a-historia-de-wilson-simonal/ http://botequimcultural.com.br/critica-todos-os-musicais-de-chico-buarque-em-90-minutos/ http://botequimcultural.com.br/nada-sera-como-antes-musical-de-moeller-e-botelho-estreia-em- sao-paulo/ http://caras.uol.com.br/caras-no-teatro/jose-mayer-estreia-musical-em-sao-paulo-um-violinista- no-telhado-soraya-ravenle-julia-fajardo-filha.phtml http://caras.uol.com.br/tv/mariana-rios-marcelo-serrado-leonardo-miggiorin-estrelam-peca- memorias-de-um-gigolo.phtml http://caras.uol.com.br/tv/susana-vieira-estreia-o-musical-barbaridade-e-ganha-beijo-de-sandro- pedroso.phtml http://cazuza.com.br/album/cazas-de-cazuza/ http://cazuza.com.br/cazuza-pro-dia-nascer-feliz-o-musical/ http://cliquemusic.uol.com.br/materias/ver/cazas-de-cazuza-volta-a-sao-paulo http://cultura.estadao.com.br/blogs/curiocidade/o-musical-a-familia-addams-na-mira-do-procon/ http://cultura.estadao.com.br/blogs/ubiratan-brasil/musical-o-rei-leao-se-despede-de-sao-paulo/ http://cultura.estadao.com.br/noticias/artes,convivio-das-diferencas-marca-o-musical-esta-e-a- nossa-cancao,433561 http://cultura.estadao.com.br/noticias/geral,a-gaiola-das-loucas-vira-musical-com-miguel- falabella,627888 http://cultura.estadao.com.br/noticias/geral,cambaio-faz-estreia-nacional-em-sp,20010419p6895 http://cultura.estadao.com.br/noticias/geral,cinco-vozes-revivem-elizeth-cardoso-em- musical,154619 http://cultura.estadao.com.br/noticias/geral,claudia-raia-estrela-musical-cabaret,791433 111

http://cultura.estadao.com.br/noticias/geral,estreia-em-sp-musical-que-desvenda-o-mito- evita,697198 http://cultura.estadao.com.br/noticias/geral,estreia-o-musical-elis-a-estrela-do- brasil,20020418p5242 http://cultura.estadao.com.br/noticias/geral,falabella-leva-carmen-miranda-ao- teatro,20020418p5243 http://cultura.estadao.com.br/noticias/geral,magia-do-musical-peter-pan-todos-podemos-voar- chega-a-sp,26080 http://cultura.estadao.com.br/noticias/geral,marilia-pera-domina-vitor-ou- vitoria,20010920p7094 http://cultura.estadao.com.br/noticias/geral,marilia-pera-estreia-em-sp-musical-vitor-ou- vitoria,20010817p7057 http://cultura.estadao.com.br/noticias/geral,musical-a-familia-addams-aposta-no-humor- macabro-e-inteligente,841751 http://cultura.estadao.com.br/noticias/geral,musical-crazy-for-you-trouxe-glamour-de-volta-a- broadway,1101398 http://cultura.estadao.com.br/noticias/geral,musical-grease-estreia-em-sao- paulo,20030408p2210 http://cultura.estadao.com.br/noticias/geral,musical-jesus-cristo-superstar-ja-provoca- reacoes,1134077 http://cultura.estadao.com.br/noticias/geral,musical-leva-ao-teatro-a-amizade-de-tom-e- vinicius,236211 http://cultura.estadao.com.br/noticias/geral,musical-orlando-silva-estreia-em-sao- paulo,20041015p6223 http://cultura.estadao.com.br/noticias/geral,nova-montagem-de-ai-vem-o-diluvio-estreia- amanha-em-sp,20000720p4554 http://cultura.estadao.com.br/noticias/geral,o-beijo-da-mulher-aranha-ganha-versao- brasileira,20000825p4665 http://cultura.estadao.com.br/noticias/geral,o-magico-de-oz-chega-ao-palco-com-producao-de-r- 6-mihoes,20030917p2310 http://cultura.estadao.com.br/noticias/geral,opera-rock-cazas-de-cazuza-volta-a- sp,20000629p4509 http://cultura.estadao.com.br/noticias/geral,tbc-estreia-na-cama-com-tarantino,20021003p5468 http://cultura.estadao.com.br/noticias/geral,um-cristo-de-camiseta-em-godspell,20020410p5228 http://cultura.estadao.com.br/noticias/geral,west-side-story-o-musical-que-mudou-a- broadway,134702 http://cultura.estadao.com.br/noticias/musica,musical-o-fantasma-da-opera-estreia-em- sp,20050420p4082 http://cultura.estadao.com.br/noticias/teatro-danca,as-damas-de-paus-brinca-com-tradicoes- para-debater-universo-feminino,1565541 http://cultura.estadao.com.br/noticias/teatro-danca,nova-versao-de-novicas-rebeldes-o-musical- estreia-em-sao-paulo,1617224 http://cultura.estadao.com.br/noticias/teatro-danca,nova-versao-de-o-grande-circo-mistico- mostra-como-os-artistas-vencem-a-guerra,1542203 http://cultura.estadao.com.br/noticias/teatro-e-danca,claudia-raia-festeja-30-anos-de-carreira- com-musical-que-relembra-seus-personagens,1728271 http://cultura.estadao.com.br/noticias/teatro-e-danca,em-chaplin-o-musical-publico-acompanha- o-nascimento-de-um-genio,1679298 http://cultura.estadao.com.br/noticias/teatro-e-danca,em-nine-um-musical-felliniano-a-crise-e- bela,1684174 112

http://cultura.estadao.com.br/noticias/teatro-e-danca,em-ou-tudo-ou-nada---o-musical-- desempregados-sao-obrigados-a-se-despir-fisica-e-sentimentalmente,10000020607 http://cultura.estadao.com.br/noticias/teatro-e-danca,godspell-musical-estreia-com-forte-marca- no-trabalho-cenico,10000066319 http://cultura.estadao.com.br/noticias/teatro-e-danca,kiss-me-kate-o-beijo-da-megera-une- shakespeare--comedia-e-cole-porter,1781209 http://cultura.estadao.com.br/noticias/teatro-e-danca,lisbela-e-o-prisioneiro-o-musical- transporta-a-peca-de-osman-lins-para-o-picadeiro,1666925 http://cultura.estadao.com.br/noticias/teatro-e-danca,miguel-falabella-dirige-o-musical- memorias-de-um-gigolo-e-recria-uma-sao-paulo-que-se-perde,1715239 http://cultura.estadao.com.br/noticias/teatro-e-danca,mudanca-de-habito-o-musical-revive-em- sao-paulo-a-era-do-soul,1641532 http://cultura.estadao.com.br/noticias/teatro-e-danca,musical-bilac-ve-estrelas-tera-15-cancoes- ineditas,1695486 http://cultura.estadao.com.br/noticias/teatro-e-danca,o-musical-antes-tarde-do-que-nunca- brinca-com-politica-e-costumes-tradicionais,1742957 http://cultura.estadao.com.br/noticias/teatro-e-danca,peca-mulheres-a-beira-de-um-ataque-de- nervos-une-lirismo-e-histeria,10000000968 http://cultura.estadao.com.br/noticias/teatro-e-danca,sim-eu-aceito-o-musical-do-casamento-e- uma-aula-de-amor,1649706 http://cultura.estadao.com.br/noticias/teatro,opera-aida-vira-musical-de-elton-john-com-letras- em-portugues,121607 http://culturabancodobrasil.com.br/portal/eu-vou-tirar-voce-desse-lugar/ http://culturabancodobrasil.com.br/portal/eu-vou-tirar-voce-deste-lugar-cancoes-de-odair-jose/ http://culturabancodobrasil.com.br/portal/vinganca-o-musical/ http://danielfantinati.blogspot.fr http://duducamargo.com.br/blog/tom-e-vinicius-o-musical/ http://edmotta.uol.com.br/pt/seteomusical.php http://ego.globo.com/Gente/Noticias/0,,MUL321799-9798,00- TANIA+ALVES+FARA+MUSICAL+TIETA+DO+AGRESTE.html http://ego.globo.com/Gente/Noticias/0,,MUL323354-9798,00- JOSE+MAYER+ESTREIA+MUSICAL+COM+PLATEIA+VIP.html http://ego.globo.com/Gente/Noticias/0,,MUL325107-9798,00- WOLF+MAYA+COMEMORA+SUCESSO+DO+ESPETACULO+GAROTA+GLAMOUR+EM+SAO+PAULO.h tml http://ego.globo.com/Gente/Noticias/0,,MUL327107-9798,00- TEATRO+NAIR+BELLO+INAUGURA+COM+MUSICAL+DE+WOLF+MAYA.html http://ego.globo.com/Gente/Noticias/0,,MUL392116-9798,00- PAPO+RAPIDO+JOAO+FALCAO+FALA+DO+MUSICAL+SOBRE+A+VIDA+DE+ELIZETH+CARDOSO.html http://enciclopedia.itaucultural.org.br/evento389777/elis-a-estrela-do-brasil http://enciclopedia.itaucultural.org.br/evento391900/cole-porter-ele-nunca-disse-que-me-amava http://enciclopedia.itaucultural.org.br/evento393759/um-boemio-no-ceu http://enciclopedia.itaucultural.org.br/evento401775/tom-vinicius-o-musical http://enciclopedia.itaucultural.org.br/evento487509/7-o-musical http://enciclopedia.itaucultural.org.br/evento488152/tieta-do-agreste-o-musical http://enciclopedia.itaucultural.org.br/evento526821/gloriosa-a-vida-de-florence-foster http://enlacealojadoourives.blogspot.fr http://entretenimento.r7.com/agenda-cultural/agenda-cultural/noticias/evita-o-musical-estreia- em-sao-paulo-20110226.html http://entretenimento.r7.com/musica/noticias/musical-gypsy-chega-a-sp-20100722.html 113

http://estamosaquiproducoes.com.br/quasenormal.html http://estilohyatt.com.br/carpe-diem/musical-mamma-mia-vem-a-sao-paulo/ http://flamencobrasil.com.br/2010/07/zorro-o-musical/ http://g1.globo.com/distrito-federal/noticia/2014/05/cancoes-de-odair-jose-inspiram-espetaculo- musical-em-brasilia.html http://g1.globo.com/Noticias/PopArte/0,,MUL340677-7084,00.html http://g1.globo.com/pb/paraiba/noticia/2016/06/espetaculo-elis-musical-e-apresentado-em- joao-pessoa.html http://g1.globo.com/pernambuco/noticia/2013/06/musical-baseado-em-peca-do-papa-joao- paulo-ii-estreia-no-recife.html http://g1.globo.com/pernambuco/noticia/2016/04/musical-dos-30-anos-de-carreira-de-claudia- raia-chega-olinda.html http://g1.globo.com/pop-arte/noticia/2012/05/musical-fame-no-brasil-tem-energia-que- broadway-perdeu-diz-diretor.html http://g1.globo.com/pr/parana/musica/noticia/2015/10/chacrinha-o-musical-encerra-turne-com- duas-apresentacoes-em-curitiba.html http://g1.globo.com/sao-paulo/noticia/2012/03/ator-jose-mayer-estrela-musical-um-violinista- no-telhado-em-sp.html http://g1.globo.com/sao-paulo/noticia/2012/03/musical-priscilla-rainha-do-deserto-estreia- sabado-em-sp.html http://g1.globo.com/sao-paulo/noticia/2012/09/musical-cabaret-completa-200-apresentacoes- em-sp.html http://g1.globo.com/sao-paulo/noticia/2013/08/musical-tudo-por-um-pop-star-estreia-em-sao- paulo.html http://g1.globo.com/sao-paulo/sorocaba-jundiai/noticia/2014/08/musical-new-york-new-york-e- atracao-em-teatro-de-salto.html http://g1.globo.com/sao-paulo/sorocaba-jundiai/noticia/2016/07/musical-hairspray-e-atracao- na-sala-palma-de-ouro-neste-sabado-em-salto.html http://g1.globo.com/sp/bauru-marilia/noticia/2016/02/atriz-mel-lisboa-fala-da-peca-rita-lee- mora-ao-lado-apresentada-em-bauru.html http://g1.globo.com/sp/campinas-regiao/noticia/2016/03/musical-gonzagao-lenda-faz- homenagem-ao-cantor-em-campinas.html http://g1.globo.com/sp/campinas-regiao/noticia/2016/04/musical-do-sitio-do-pica-pau-amarelo- agita-feriado-em-teatro-de-campinas.html http://g1.globo.com/sp/campinas-regiao/noticia/2017/03/espetaculo-musical-hairspray-tem- versao-adaptada-em-campinas-sp.html http://g1.globo.com/sp/ribeirao-preto-franca/noticia/2015/10/lisbela-e-o-prisioneiro-e- apresentado-em-musical-circense-em-ribeirao.html http://globalshakespeares.mit.edu/otelo-da-mangueira-herz-daniel-2006/ http://guia.folha.uol.com.br/crianca/2014/09/1511114-critica-musical-chovendo-na-roseira- brinca-com-caricatura-de-familia-atual.shtml http://guia.folha.uol.com.br/teatro/1004719-musical-mamma-mia-completa-um-ano-em-cartaz- em-sp.shtml http://guia.folha.uol.com.br/teatro/1130763-claudia-raia-volta-a-sao-paulo-com-o-musical- cabaret.shtml http://guia.folha.uol.com.br/teatro/2013/05/1275356-peca-inspirada-em-personagens-de- tarantino-causa-sensacao-de-3d-diz-diretor.shtml http://guia.folha.uol.com.br/teatro/2013/09/1340666-musical-shrek-estreia-em-sp-com-90- cenarios-efeitos-especiais-e-texto-divertido.shtml http://guia.folha.uol.com.br/teatro/2014/07/1486750-musical-se-eu-fosse-voce-chega-a-sp-em- agosto-ingressos-estao-a-venda.shtml 114

http://guia.folha.uol.com.br/teatro/2015/03/1598494-mudanca-de-habito-saiba-curiosidades- sobre-o-musical-e-bastidores.shtml http://guia.folha.uol.com.br/teatro/2015/04/1614615-lisbela-e-o-prisioneiro---o-musical-tem- numeros-circenses-e-musica-brasileira.shtml http://guia.folha.uol.com.br/teatro/2016/08/my-fair-lady-e-outros-nove-musicais-estreiam-em- sp-ate-o-fim-do-ano.shtml http://guia.folha.uol.com.br/teatro/ult10053u375849.shtml http://guia.folha.uol.com.br/teatro/ult10053u391181.shtml http://guia.folha.uol.com.br/teatro/ult10053u443541.shtml http://guia.folha.uol.com.br/teatro/ult10053u536782.shtml http://guia.folha.uol.com.br/teatro/ult10053u609779.shtml http://guia.folha.uol.com.br/teatro/ult10053u692706.shtml http://guia.folha.uol.com.br/teatro/ult10053u805303.shtml http://guia.folha.uol.com.br/teatro/ult10053u877034.shtml http://guia.folha.uol.com.br/teatro/ult10053u879393.shtml http://institucional.taesa.com.br/simbora-o-musical-a-historia-de-wilson-simonal/ http://italcam.plank.com.br/noticias/3098/comunita-o-musical http://maisexpressao.com.br/noticia/no-proximo-dia-3-estreia-godspell-um-dos-musicais-mais- conhecidos-da-broadway-2723.html http://marcostumura.blogspot.fr/2012/03/historia-dos-musicais-no-brasil-ai-vem.html http://mattonicomunicacao.com/data/uploads/2015/04/Release-Chaplin-Reestreia-SP.pdf http://meninainterior.com/tag/o-magico-de-oz/ http://notaterapia.com.br/2015/11/09/todas-as-musicas-de-opera-do-malandro-de-chico- buarque/ http://nucleoexperimental.com.br/portfolio-item/chovendo-na-roseira/ http://nucleoexperimental.com.br/portfolio-item/senhora/ http://nucleoexperimental.com.br/portfolio-item/urinal-o-musical/ http://observador.pt/2016/03/07/os-musicais-chico-buarque-apenas-90-minutos/ http://observador.pt/2017/02/08/avenida-q-os-miudos-ja-sao-adultos-mas-estao-bem/ http://odia.ig.com.br/diversao/2015-03-19/susana-vieira-estrela-musical-barbaridade-que-fala- sobre-a-terceira-idade.html http://odia.ig.com.br/diversao/2016-03-05/mulheres-a-beira-de-um-ataque-de-nervos-estreia- hoje-no-rio.html http://odia.ig.com.br/diversao/2016-05-10/lucy-alves-e-gabriel-sater-estrelam-o-musical-nuvem- de-lagrimas.html http://oficinadosmenestreis.com.br/project/filhos-do-brasil/ http://osmusicais.blogspot.fr/2010/05/o-magico-de-oz.html http://passeioskids.com/shrek-o-musical/ http://pauliceiadojazz.com.br/ponto-de-bala-comedia-musical-estreia-no-teatro-parlapatoes/ http://piaui.folha.uol.com.br/questoes-musicais/orlando-silva-o-cantor-das-multidoes/ http://praverpralereouvir.blogspot.fr/2010/09/into-woods-era-uma-vez-uma-fraca.html http://premier.ticketsforfun.com.br/umbrella/release/html/antestardedoquenunca.html http://premier.ticketsforfun.com.br/umbrella/release/html/wickedalt.html http://pt.euronews.com/2015/01/15/mulheres-a-beira-de-um-ataque-de-nervos-em-versao- musical http://rebeccafigurino.blogspot.fr/2009/04/as-travessuras-do-barbeiro.html http://redeglobo.globo.com/globoteatro/noticia/2016/01/musical-nuvem-de-lagrimas-encerra- temporada-no-teatro-bradesco-em-sp.html 115

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