The jukebox musical is often compromised before the audience steps foot inside the theatre. Producers who are more interested in preserving and promoting the artist’s work tend to avoid any hint of ambivalence or counterargument; they want the clean, uplifting version of a life that augments rather than complicates their reputation. This is a killer for the dramatist, who needs some grit and complexity, something interesting to say, to fashion a compelling narrative.
Most jukebox musicals simply give up, assume their audiences are here for the hits they already know and love, and shovel on the hagiography with as much energy as they can muster. If the result is like a particularly well resourced tribute act, at least the fans are kept happy.
