The musicals have earned a permanent niche in American culture, and yet within the last 40 years, has been virtually ignored and
neglected. An era that produced such standards as
Gigi, Singing In The Rain and High Society began to chafe at the introduction
of rock & roll into the American cultural psyche in the mid-50’s. To make a long sociological treatise short, ‘Rock’ won the hearts-
minds-and-wallets battle for cultural supremacy by the late 50’s. Caught in the undertow was musical as a cinematic genre;
except for a few notable exceptions (
such as My Fair Lady, West Side Story, Sound Of Music, Oliver! et al.), the widely held
perception was that a younger movie-going public had lost interest in the musical. That sad fact of demographics, as well as the
increasing persuasiveness of television, served to lessen the appeal of the musical to the movie studios, who increasingly viewed
them as expensive loss-leaders. Ironically, the elements that lead to the demise of the musicals would eventually serve to
resurrect them, at least temporarily....

 As the seventies reared it’s head, nostalgia for the 50’s began to materialize (
of course, when the eighties came around, a 60’s
craze came to pass and in the nineties...well, the twenty-year cycle makes itself obvious
). The political and cultural turbulence from
the sixties and early seventies made many yearn for the “simpler times” of the 50’s-thus groups like Sha-Na-Na and singles like
Yesterday Once More became big hits. In addition, the success of films like George Lucas’ American Graffiti and Peter
Bogdonavich’s
The Last Picture Show showed that American pop culture’ infatuation with the 50’s was not abated. This 50’s
fixation did not go unnoticed by Broadway or the television; thus, 50’s inspired creations like the Broadway hit
Grease and the TV
series hit
Happy Days made their presents felt during the early to mid 70’s.

 So, after
Happy Days became a solid hit during it’s second season in 1974, the powers that be in the movie industry took the hint
and started to search for ways to cash in. An obvious golden goose was the still-phenomenally popular
Grease-all that remained
to be seen was who would be the first to offer the golden eggs. Eventually, Alan Carr bough the movie rights along with Paramount
Pictures and record mogul Robert Stigwood (
from RSO Records, which housed Eric Clapton and the Bee Gees). John Travolta and
Olivia Newton-John were picked for the leads, though there was some adjustment to the screenplay that had to be made to
accommodate Olivia’s Australian/English accent and bearing.

 Travolta was riding on the success of the hit TV series
Welcome Back, Kotter and was about to make a bigger splash with his
Oscar-nominated performance in
Saturday Night Fever. Olivia, on the other hand, found her singing career to be on a holding
pattern. During this time, her album sales were beginning to sag and her soft countypolitan sound was falling out of step with the
record-buying public. Landing this role in
Grease would give her career a much-needed jolt.
Chapter One
 Interestingly enough, Grease was Olivia’s third film. She made her movie
debut in a unnoticed Australian film called
Funny Things From Down
Under
when she was 16 years old and only as a walk-on number
(“
Christmas Time Down Under”) with a couple of lines. She would make a
bigger impact in Britain in the 1970 sci-fi musical
Tommorrow. Produced
by Don Kirschner (
of Monkees and Archies fame) and Harry Swezter (who
co-produced the first few James Bond films
), the film’s haphazard plot was
about a rock band at a art collage who was being followed by an alien race
from another galaxy because of the band’s “feel good vibe” from one of
their instruments. After a big casting search was undertaken for the lead
parts, Olivia was chosen for the part of the lead female musician.

 The film was made and the music was recorded with Olivia singing lead
on several songs on the soundtrack. After a massive publicity blitz and
reports of production trouble surfaced, the film bombed. From there, the
“band” broke up and poor Olivia was left to try her luck as a solo act. Within
a year and a half, her cover of Bob Dylan’s
If Not For You would hit the
charts and would establish her as a international attraction.

As well know,
Grease was made, the soundtrack was recorded and both
were released during the summer of 1978 and turned into an international
smash! There had been other musicals around the time of
Grease that
tried to connect with the jaded movie-going public and with the exception
of Bob Fossie’s rather bleak
Cabaret, which won an Oscar for Best Picture
for 1972, most of which were forgettable.
Mame, with Lucille Ball, Francis
Ford Coppola’s
Finnegan’s Rainbow with Fred Astaire, Starlet, with Mae
West and
The First Nudie Musical (which inexplicably featured Cindy
Williams with a Ron Howard cameo
) were among the corpse that littered
this cinematic landscape.
Grease may not have gone as far as single-
handedly rescuing the musical, but it did prove that the patient at least had
a pulse.

 The phenomenal success of
Grease would allow its principle stars to
ride its coattails for the remainder of the 70’s and the early 80’s. Travolta
would see his career skyrocket with the one-two punch of
Grease and
Saturday Night Fever; these two films would establish him as the top box
office attraction of the late 70’s, though he was briefly side tracked in 1979
with
Moment By Moment, a romantic/drama co-starring Lily Tomlin (yes,
THAT Lily Tomlin).  He would come back on top in 1980 with ‘Urban
Cowboy
’.
ABOVE:
A young Olivia in a still from Funny Things From
Down Under.
BELOW: The album cover of Toomorrow's first
and only album
 Olivia’s career got the charge she needed from Grease. The success enabled her to revamp her image in a way that would make
her much more appealing to her new audience. New opportunities that never existed before were suddenly opened to her, and she
wisely took advantage of them. Even though she chose to take a temporary hiatus from movies, her change in attitude had instantly
reflected on her singing career with her 1979 LP,
Totally Hot, which had her covering material that she would never touch three years
ago. An example of this new change was a cover of Spencer Davis Group chestnut
Gimmie Some Lovin’.

 As is usually in show biz, many a producer and studio head felt that if Carr and Stigwood could make a few bucks out of this
musical revival, so could they; whenever there’s a fad wave rises, more than one will attempt to ride it. After watching
Grease rake up
a small fortune in box office receipts, virtually every studio rushed their own musical into development. Even upstart drive-in/action/B-
movie studio Cannon Pictures came up with one called
The Apple. (#1) It was also during this time that plans for a musical based
on a pair of off-beat minor characters from
Saturday Night Live, known as The Blues Brothers, were announced.
 Soon, both Carr and Stigwood figured that lighting might strike
again…only separately. First to strike was Stigwood with
Sgt.
Pepper Lonely Hearts Club Band
, a Beatles musical staring the
Bee Gees, Peter Frampton and George Burns. Some time later,
it was Carr’s turn with his disco musical
Can’t Stop The Music,
starring The Village People, Steve Guttenberg and Bruce Jenner.
(#2) Needless to say, these two films would end up being better
known as spectacular disasters, both financially and critically.

Regardless of the outcomes and foreshadowing, the lethal
combination of the sudden musical revival and the roller disco
fad that was freshly in the cultural air in the late 70’s was still too
good to pass up. It was only inevitable that someone
somewhere would make the explosive connection….and at this
intersection,
Xanadu would happen…
ABOVE LEFT: a promo from Can't Stop The Music
ABOVE RIGHT: the cover of the rare Marvel comic book
adaptation of Sgt. Pepper. This was only released in Latin
America, but not the US.
Chapter Two
Story home