There is no one way to make a musical. Nor is there a limit to the stories one can tell on the musical stage. But there remains an art to musical storytelling that was realized in the middle of the 20th century through a pronounced creative movement begun decades prior. Objective analysis is critical to understanding the American musical’s maturation and the possibilities of professionalism and excellence presented therein. It is critical, as well, to assessing quality of material and composition and effectiveness of storytelling, and to the betterment of both artists and shows.

The below list of questions aims to assist anyone interested in objectively analyzing a stage musical and assessing quality of material and composition and effectiveness of storytelling. It also aims to be comprehensive, but these are not necessarily the only questions one might ask. It is, furthermore, exclusive to the legitimate musical stage. Musicals made for other mediums (e.g. film, television, and TikTok) will necessarily operate differently given the different parameters of the respective medium.

This page is primarily focused on analyzing the show, not the production. Thus, only a small number of questions concern the latter – which, to properly analyze, would require several additional questions. The answer to every question listed below need not necessarily be “yes” in order to yield an exceptional show.

• Is every word and note specific, deliberate, and purposeful?
• Does the entire story track moment to moment? Is it tightly and seamlessly constructed?
• Does the show have a distinct, individual character? A cohesive style?
• Do the book, lyrics, and music share a singular point of view?
• Is the language of the storytelling established from the top? And maintained?
• If the show resides within an individual world, realistic or fantastical, or if the show has a unique way of operating, are the rules, the methods, and the framework clearly defined? Are the rules and methods consistently followed?
• Is there a sustained dramatic thrust? A sustained tension? A sustained momentum?
• Does the show effectively capture the audience from the start and maintain, even tighten, its grip? Does it allow the audience to give itself over to the players without pause or reservation? Is it absent any moments of uncertainty or confusion; moments, for instance, where the audience is uncertain whether or not to applaud?
• In staging the production, is every image, movement, and piece of stage business specific, deliberate, and purposeful and in the service of telling the specific story at hand? Is there clarity in the staging? Crispness? Propulsion?
• Is the structure meticulous and the storytelling clear?
• Does each moment build upon the preceding moment?
• Is there a clear arc to each scene? To the entire work?
• Are all of the plot points effectively kept in play throughout the proceedings? Effectively addressed or resolved? Effectively patterned?
• Are all of the characters effectively kept in play throughout the proceedings? Or, if a character is not designed to exist throughout the entirety of the show, does the character have a fully realized and therefore satisfying stage presence for the specific period of their existence?
• Is there a particularly strong or inventive entrance for the star(s)?
• Does the dialogue delineate character?
• Are the characters three dimensional?
• Is each character distinct, fully developed, and clearly defined?
• Are the characters, relationships, and settings clearly, efficiently, and organically introduced?
• If a period piece, does the dialogue accurately evoke the respective period if designed to do so?
• Is the dialogue particularly deft or witty?
• Are all of the moments (comic and dramatic) emotionally supported? Motivated? Earned?
• Does the dialogue effectively and deliberately build into and out of song? Does the interstitial dialogue do the same?
• Does the emotional pitch of each song cue naturally complement and support the literal and emotional pitch of the top of each song? And vice versa.
• If dance is used, does it support and further the storytelling? Is it motivated? Emotionally supported?
• Do the dance numbers, especially the production numbers, have specificity, momentum, and a clear build? A clear arc?
• In a production, does the choreography or musical staging support the lyric, if the lyric is actively being sung?
• Does each song have a clear reason for being? A clear need to exist in the telling of this specific story? (Not merely setting the scene or introducing a character. Storytelling Needs: empowerment; get something or get someone to do something; invite, seduce, or draw into; internal reckoning or combustion, must wrestle or burst; deliberate performance piece.)
• Does each song have a clear focus? A dramatic thrust? A steady, consistent lyric and musical progression? A clear, theatrical shape?
• Is there a clear progression of the lyrical thoughts moment to moment, line to line?
• Does each song build either up or down to its ending?
• Does each song have one clear, definitive ending? Or, if it is designed to go back into dialogue without having a formal ending, does it do so deliberately and seamlessly?
• Do the melodic climaxes match the lyrical climaxes? Does the lyric properly and naturally scan with the melody? Do the lyrical phrases line up with the musical phrases?
• Does the music emotionally support the lyric?
• Does the style of music support the lyric and the moment in the story? Is the style specific?
• Does the melodic line move the lyric and the thought(s) forward?
• If there are mode shifts within a song, are they supported, deliberate, purposeful, propulsive?
• Do the lyrics and music independently and together exude character?
• Does the lyric have exclamations, interrogatives, and other action words and phrases for attack, thrust, and escalation?
• If the lyric has a poetic quality, does it nonetheless remain active and theatrical?
• Does the lyric have either perfectly rhymed or deliberately free lines (i.e. no false rhymes)?
• Does the lyric use clever rhymes? Intricate wordplay? Internal rhymes? Sophisticated language?
• Does the lyric, if a list, continuously top itself? Especially as it relates to comedy lists.
• Does the lyric effectively extend dialogue if designed to do so?
• Does the lyric have a turn or a new thought at the end? Or a deliberate alteration of the title in the final use of the title line?
• Are the lyrics and music meticulously calculated but seemingly spontaneous?
• Does the music (phrases, melody, rhythm) match and support the moments of lyrical attack?
• Do the lyric and music work as one?
• Does the arrangement and or orchestration help to push the song forward?
• Is there a clear musical development to the song?
• Does the arrangement compliment and support the vocal?
• In the arrangement, do the musical fills allude to specific lyrics?
• Is there a give and take with the voice? Are there lines of call and response? Are there orchestral exclamation points?
• Does the music, arrangement, and or orchestration delineate or enhance the environment?
• Does the arrangement and or orchestration emotionally support the lyric?
• Do distinct characters have certain musical styles or voice types?
• Do the transitions pick up the energy from one scene and set up the emotional pitch of the next? Are they efficient, deliberate, and seamless?
• Is there balance in the musical routine? Does the routine itself have momentum and an arc?
• Is each song individual such that it individualizes and distinguishes its respective moment? Do they vary in style while still contributing to a cohesive soundscape?
• Does each song have its own way of ending, thus further individualizing each moment?