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Sung-Through Musicals

Recently, I've been pondering over the sung-though format of musical theater, which contains little or no spoken dialogue, except for some occasional lines spoken in the course of a song but remaining part of the song's lyrics rather than constituting stand-alone dialogue.

I've come to notice that a fair number of musicals have been written using this format, with some of the most well-known examples including MISS SAIGON, CATS, EVITA, LES MISÉRABLES, JESUS CHRIST SUPERSTAR, RENT, RAGTIME, SEUSSICAL, PHANTOM OF THE OPERA, and most recently, HAMILTON. The sheer number of them begs a question: What makes a writer choose to create a musical in this format? For that matter, how does one decide whether it works for a certain piece?
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