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Antecedents of Musical Theater

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28 views4 pages

Antecedents of Musical Theater

Uploaded by

xalba14
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Musical, theatrical production that is characteristically sentimental

and amusing in nature, with a simple but distinctive plot, and


offering music, dancing, and dialogue.

Origin
The antecedents of the musical can be traced to a number of 19th-
century forms of entertainment including the music hall, comic
opera, burlesque, vaudeville, variety shows, pantomime, and
the minstrel show. These early entertainments blended the traditions
of French ballet, acrobatics, and dramatic interludes. In September
1866 the first musical comedy, The Black Crook, opened in New York
City. It was later described as a combination of French Romantic ballet
and German melodrama, and it attracted patrons of opera and
serious drama, as well as those of burlesque shows. In the late 1890s
the British showman and entrepreneur George Edwardes brought his
London Gaiety Girls to New York City, calling his production musical
comedy to distinguish it from his previous burlesques.

Much of American popular music of the first decades of the 20th


century was written by European immigrants, such as Victor
Herbert, Rudolf Friml, and Sigmund Romberg. They brought a form
of operetta to the United States that was, in every sense, the generic
source for musical comedy; it was sentimental and melodious and
established a tradition of the play based on musical numbers and
songs. Romberg’s works, such as The Student Prince (1924) and The
Desert Song (1926), were also made into successful motion
pictures. George M. Cohan ushered in the heyday of musical comedy
with his productions; they introduced such memorable songs as
“You’re a Grand Old Flag,” “Give My Regards to Broadway,” and “I’m A
Yankee Doodle Dandy.”
Show Boat and the golden age of
musicals
During the 1920s and ’30s musical comedy entered one of its richest
periods. Jerome Kern, working with Guy Bolton and P.G. Wodehouse,
wrote a number of outstanding comedies such as Leave It to
Jane (1917) and Oh, Lady! Lady!! (1918). George and Ira Gershwin
teamed up to write Oh, Kay! (1926), Funny Face (1927), Strike Up the
Band (1930), and others. Cole Porter wrote timeless and
sophisticated compositions for such musicals as Anything Goes (1934)
and Dubarry Was a Lady (1939). Other notable composers and
lyricists of this period were Richard Rodgers and Oscar Hammerstein
II, Harold Arlen, Jule Styne, and Vincent Youmans.

The genre took a new turn with the 1927 production of Show
Boat (music by Kern, book and lyrics by Hammerstein); it was the first
musical to provide a cohesive plot and initiate the use of music that
was integral to the narrative, a practice that did not fully take hold until
the 1940s. Based on the novel of the same name by Edna Ferber, the
musical presents a serious drama based on American themes, such as
racial prejudice, incorporating music that is derived from
American folk melodies and spirituals. Among its notable songs is the
classic “Ol’ Man River,” the best-known rendition of which is by actor
and singer Paul Robeson.

Later musicals that were as tightly constructed as Show Boat include


Rodgers and Hammerstein’s Oklahoma! (1943), Carousel (1945),
and South Pacific (1949). Alan Jay Lerner and Frederick Loewe also
wrote a number of highly successful musicals,
notably Brigadoon (1947) and My Fair Lady (1956). They
also collaborated on the motion-picture musical Gigi (1958), and four
of their theatrical works were later made into motion pictures. Leonard
Bernstein wrote West Side Story (1957, with Stephen Sondheim), a
conversion of the setting and elements of Shakespeare’s Romeo and
Juliet to mid-20th-century New York City.

Many popular stage musicals were successfully transferred to the silver


screen. South Pacific (1958) was nominated for three Academy Awards,
winning the Oscar for best sound. West Side Story (1961) won 10
Academy Awards out of 11 nominations, making it the most-awarded
musical in Oscar history. My Fair Lady (1964), starring Audrey
Hepburn, won 8 Oscars out of 12 nominations.

1960s to ’90s
Musicals as they were known from the 1930s to the 1950s began to
expand in concept and scope in the late 1960s. By then, musicals had
begun to diverge in many different directions: rock and roll, operatic
styling, extravagant lighting and staging, social comment, nostalgia,
and pure spectacle. Set in a seedy nightclub, Kander and
Ebb’s innovative Cabaret (1966) tells the story of two doomed
romances set against the emergence of anti-Semitism and fascism in
Germany. A film version of Cabaret (1972) was directed by Bob Fosse,
who had choreographed the original Broadway productions of The
Pajama Game (1954), Damn Yankees (1955), and Sweet
Charity (1966). Fosse also choreographed Kander and Ebb’s other
great success, Chicago (1975).
Other Famous Musicals

• Porgy and Bess (1935; composer: George Gershwin)


• Guys and Dolls (1950; composer: Frank Loesser)
• The Music Man (1957; composer: Meredith Willson)
• Gypsy (1959; lyrics: Stephen Sondheim, music: Jule Styne)
• Oliver! (1960; composer: Lionel Bart)
• A Little Night Music (1973; composer: Stephen Sondheim)
• Annie (1977; lyrics: Martin Charnin, music: Charles Strouse)
• Sunday in the Park with George (1984; composer: Stephen Sondheim)
• Sunset Boulevard (1993; lyrics: Don Black and Christopher Hampton, music:
Andrew Lloyd Webber)
• Mamma Mia! (1999; book: Catherine Johnson, music and lyrics: Benny
Andersson and Björn Ulvaeus)
The first notable example of the rock musical is Hair (1967), which
finds its social dissent in a combination of loud music, stroboscopic
lighting, youthful irreverence, and nudity. In a few cases, rock music
has been combined with biblical stories, as in Godspell (1971) by
Stephen Schwartz and Jesus Christ Superstar (1971) by Andrew Lloyd
Webber and Tim Rice. Other notable later musicals include Stephen
Sondheim’s Company (1970) and Sweeney Todd (1979), Marvin
Hamlisch and Edward Kleban’s A Chorus Line (1975), and Lloyd
Webber and Rice’s Evita (1978).

The 1980s featured spectacular musicals with grand sets, elaborate


costumes, and impressive special effects. Cats (1981) starred a cast
dressed in innovative feline costumes, The Phantom of the
Opera (1986) featured a falling chandelier, and a helicopter landed on
stage in Miss Saigon (1989). Cats, The Phantom of the Opera, and Les
Misérables (1980) are among the longest-running musicals ever.
Noteworthy works from the 1990s include Jonathan
Larson’s Rent (1996) and an adaptation of Disney’s animated film The
Lion King (1997), with music by Elton John and lyrics by Tim Rice.

During the period from the 1960s through the ’90s, musicals were
written about a wide range of themes: Jewish history (Fiddler on the
Roof [1964]), homosexuality (La Cage aux Folles [1983]),
the AIDS epidemic (Rent), gender identity (Hedwig and the Angry
Inch [1998]), the lives of working-class teenagers (Grease [1971]), the
experiences of immigrants and minorities in the United States
(Ragtime [1996]), and fairy tales (Into the Woods [1986]).
21st century
Popular musicals composed in the 21st century include Stephen
Schwartz’s Wicked (2003), which features characters from the classic
book The Wonderful Wizard of Oz (1900; written by L. Frank Baum),
and The Book of Mormon (2011), with music, lyrics, and book by Matt
Stone, Trey Parker, and Robert Lopez. Two works by Lin-Manuel
Miranda are prominent by their theme, innovation, and success: In the
Heights (2008) is set among the minority community of the
Washington Heights neighborhood of New York City,
and Hamilton (2015) offers a hip-hop rendition of the story
of Alexander Hamilton and other founding fathers of the United States.
Other acclaimed musicals from this period include Spring
Awakening (2006), Dear Evan Hansen (2016),
and Hadestown (2016).

Common questions

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Musicals in the latter half of the 20th century increasingly reflected social change by tackling contemporary themes such as civil rights, anti-war sentiment, and sexual identity. 'Hair' epitomized the counterculture movement with its peace and love messages. 'Cabaret' explored the rise of fascism, serving as a cautionary tale about political apathy. 'Rent' portrayed the struggles of artists dealing with the AIDS crisis. These musicals used their platforms to engage with urgent social issues, reflecting broader cultural shifts and raising awareness among audiences .

In the 1960s and 1970s, musicals began embracing diverse themes and styles, incorporating rock and roll, operatic elements, and more sophisticated lighting and staging techniques. Social commentary became prevalent, as seen in 'Cabaret', which addressed issues of fascism and anti-Semitism. 'Hair' introduced rock music and youthful rebellion, while musicals like 'Godspell' and 'Jesus Christ Superstar' combined rock music with religious stories, showcasing broad thematic diversity. This era's musicals distinguished themselves through their willingness to explore new artistic territories and adopt a wider variety of storytelling formats .

Lin-Manuel Miranda introduced several innovative elements in his musicals, particularly in 'In the Heights' and 'Hamilton'. He incorporated hip-hop and Latin music, breaking away from traditional musical styles, and used a racially diverse cast to tell American historical stories from a fresh perspective. His approach in 'Hamilton' of blending modern music with historical narratives has reinvigorated interest in musical theater and opened up the genre to younger, more diverse audiences. These innovations have encouraged broader thematic exploration and stylistic diversity in modern musical theater .

Film adaptations played a crucial role in the success and dissemination of stage musicals, particularly in the mid-20th century. Notable examples include 'My Fair Lady', which won 8 Oscars, and 'West Side Story', which garnered 10 Oscars, showcasing their impact on wider audiences. These adaptations allowed musicals to reach people who might not have had access to Broadway, expanding their cultural footprint. The cinematic form also enabled enhanced visual storytelling and dramatic expression that contributed to the preservation and popularity of these musicals .

'Show Boat', produced in 1927, marked a pivotal point in musical theater history by being the first to offer a cohesive plot where music was integral to the narrative, a practice which became standard by the 1940s. This production tackled serious American themes, like racial prejudice, and incorporated music from American folk melodies and spirituals, distinguishing it from the light-hearted musical comedies of the era, and laying the groundwork for future musicals that integrated complex narratives .

From the 1960s through the 1990s, musicals explored a wide range of themes such as social issues ('Hair' with its dissent), historical narratives ('Fiddler on the Roof' with Jewish history), and contemporary concerns ('Rent' addressing the AIDS epidemic). In contrast, 21st-century musicals often combine historical themes with contemporary relevance, like 'Hamilton', which uses hip-hop to retell the story of America's founding fathers, or 'In the Heights' which focuses on minority experiences. This shift shows a move toward blending traditional storytelling with modern musical styles to engage current audiences with both entertainment and thought-provoking content .

During the 1930s to the 1950s, American musicals evolved with integrated narrative structures and music that was central to storytelling, moving away from the previous comedic format. This era, known as the golden age of musicals, saw contributions from key figures like Rodgers and Hammerstein with works such as 'Oklahoma!' and 'South Pacific', and Leonard Bernstein’s 'West Side Story'. These creators placed a strong emphasis on thematic depth and character development, mirroring broader socio-cultural themes, which transformed the genre into a more serious and respected art form .

Stephen Sondheim's contributions to musical theater are significant due to his innovation and complexity in integrating music and story. His works, such as 'Sweeney Todd' and 'A Little Night Music', are known for their sophisticated lyrics and intricate interplay between plot and music, contrasting the more conventional structures of his contemporaries. Sondheim's musicals often explore darker themes and complex characters, using music to advance narrative in ways that challenged and expanded the potential of the musical theater form, setting new standards for lyrical and thematic depth .

The origins of musical theater, rooted in 19th-century forms like music hall, comic opera, burlesque, vaudeville, and others, heavily influenced the development of musical comedy. These forms blended French ballet, acrobatics, and dramatic interludes, setting the stage for the first musical comedy, 'The Black Crook' in 1866 in New York City. This early integration of different entertainment traditions provided a foundation for musical comedy to evolve as a sentimental and melodious form, distinct from dramatic opera and burlesque, while appealing to a broad audience .

Andrew Lloyd Webber revolutionized the musical theater scene in the 1980s by elevating the level of spectacle in his productions. His works like 'Cats', 'The Phantom of the Opera', and 'Evita' featured elaborate set designs, innovative costumes, and special effects, such as a falling chandelier and a landing helicopter. These elements enhanced the visual experience of theatergoers, making his musicals some of the longest-running shows and significantly raising the production value expectations within the industry .

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