In a surprising twist, Adele revealed her disdain for musicals during James Corden’s unforgettable final “Car Pool Karaoke” episode. Amidst discussions of her potential to achieve the illustrious EGOT (Emmy, Grammy, Oscar, and Tony wins) status, the renowned singer disclosed her true feelings about the genre, stating, “I f**king hate musicals.”
Carpool Karaoke has become a massive hit since its inception in 2015, attracting a wide array of high-profile guests, including musicians, actors, and other public figures. Notable participants include Adele, Lady Gaga, Elton John, Michelle Obama, and Paul McCartney, among others. The segment’s popularity has led to the creation of a standalone series, “Carpool Karaoke: The Series,” which premiered on Apple Music in 2017 and later became available on Apple TV+.
The shocking revelation occurred as Corden inquired whether Adele would consider pursuing the fourth and final award needed to join the exclusive EGOT club. However, Adele quickly dismissed the idea, asserting, “I really don’t think that [EGOT] is ever gonna happen. I would never write a musical or anything like that because I f*cking hate musicals.”
A collective gasp was almost audible as fans absorbed this unexpected confession, especially when Adele flawlessly performed “Don’t Rain On My Parade” from Funny Girl just moments later (check it out below, starting around the 15-minute mark).
Expounding on her aversion, the “Hello” singer explained, “I just don’t need to hear everything in f*cking song all the time, you know? I also think the EGO suits me better.”
It’s essential to clarify that one doesn’t necessarily have to write or star in a musical to secure a Tony Award (New York’s esteemed theatre accolade). Numerous renowned celebrities, including Whoopi Goldberg and Jennifer Hudson, have earned the award and EGOT status through producing award-winning shows. Perhaps Adele may eventually reconsider and follow suit.
In response to Adele’s assertion that musicals have “everything in f*cking song all the time,” we’d like to highlight some prime examples of the genre’s versatility. Olivier Award-winning Standing at the Sky’s Edge masterfully interweaves Chris Bush’s ingenious book, blending time periods, themes, characters, and emotions with remarkable precision.
Additionally, Conor McPherson’s Girl from the North Country captivates audiences with a compelling narrative accompanied by music, while the groundbreaking Lazarus pushes artistic boundaries in unprecedented ways. Some productions, like Cake, daringly venture into the realms of dance and rave experiences, further demonstrating the ever-evolving nature of musicals.
While it’s perfectly acceptable for individuals to decide that musicals aren’t their cup of tea, it’s important to recognize that the genre encompasses much more than just singing. Who knows—perhaps Adele may still discover a musical that captures her heart.