American Musical Theatre

American Musical American Musical TheatreTheatre

A staged production utilizing A staged production utilizing dialogue, songs and dance to dialogue, songs and dance to

tell a story.tell a story.

Presentation ContentsPresentation Contents

HistoryHistory

How to make a musical for the stageHow to make a musical for the stage

Musical Profile of South PacificMusical Profile of South Pacific

Musical Profile of Fiddler on the RoofMusical Profile of Fiddler on the Roof

Musical Profile of A Chorus LineMusical Profile of A Chorus Line

Future of the genreFuture of the genre

Before there were Before there were MusicalsMusicals

““While contemporary musical theatre got While contemporary musical theatre got its form from the French and Viennese its form from the French and Viennese Operettas of the 1800s, the art form took Operettas of the 1800s, the art form took its comic soul from the variety its comic soul from the variety entertainments that delighted America from entertainments that delighted America from the mid-1800s onwards, from minstrel the mid-1800s onwards, from minstrel shows to vaudeville to burlesque” (John shows to vaudeville to burlesque” (John Kenrick, Musical Theatre, A History). Kenrick, Musical Theatre, A History).

Let’s start at the very Let’s start at the very beginningbeginning

• Musical performances imitated these earlier Musical performances imitated these earlier styles of performance before giving way to the styles of performance before giving way to the innovations of the early 1900s. innovations of the early 1900s.

• By the 1920s, American musical comedy had By the 1920s, American musical comedy had gained world wide attention, but it was The gained world wide attention, but it was The Great Depression of the 1930s that influenced Great Depression of the 1930s that influenced musicals to tackle more dramatic storylines, musicals to tackle more dramatic storylines, proving that the genre could suit the country’s proving that the genre could suit the country’s many moods and provide much needed many moods and provide much needed entertainment during the darkest of times. entertainment during the darkest of times.

Here to stayHere to stay

• By the 1940s it was clear that Americans were By the 1940s it was clear that Americans were going to keep making and watching musicals! going to keep making and watching musicals! Composers and lyricists like Richard Rodgers and Composers and lyricists like Richard Rodgers and Oscar Hammerstein were fully integrating every Oscar Hammerstein were fully integrating every song and dance into the play to further develop song and dance into the play to further develop the characters or the plot. It is this fully the characters or the plot. It is this fully integrated musical form that is now considered integrated musical form that is now considered the standard for American Musical Theatre. the standard for American Musical Theatre.

• In the 1950s, the music of Broadway musicals was In the 1950s, the music of Broadway musicals was the most popular music of the western world. the most popular music of the western world.

• Great stories and memorable songs and dances Great stories and memorable songs and dances have been created every year since, on Broadway have been created every year since, on Broadway and in smaller theatres all around America. and in smaller theatres all around America.

Elements of a MusicalElements of a MusicalMusicals are not just written- they are Musicals are not just written- they are

collaborative creations that must be put together collaborative creations that must be put together piece by piece. piece by piece.

• The The ScoreScore is written by the Composer. This is the is written by the Composer. This is the music for the entire show, not just for the songs. music for the entire show, not just for the songs. Usually songs are integrated into the story when:Usually songs are integrated into the story when:– The scene is changing (transition)The scene is changing (transition)– A character has made some realization or decisionA character has made some realization or decision– Two characters are in love (ballad)Two characters are in love (ballad)– The story needs a pick me up and so dialogue and The story needs a pick me up and so dialogue and

song are blended into a musical scene usually with song are blended into a musical scene usually with several charactersseveral characters

• The The LyricsLyrics are the words to the songs. are the words to the songs.

• The The BookBook is the dialogue that the actors speak, is the dialogue that the actors speak, also known as the script.also known as the script.

Key PlayersKey Players

• The The Director Director organizes all of the elements and key organizes all of the elements and key players into his or her overall vision for the players into his or her overall vision for the performance.performance.

• The The ChoreographerChoreographer creates the dances and manages creates the dances and manages the overall movements of the performance to match the overall movements of the performance to match the directors’ vision.the directors’ vision.

• The The Musical Director Musical Director conducts the actors while singing conducts the actors while singing as well as the instrumentalists who play the score.as well as the instrumentalists who play the score.

• The The Set Designer Set Designer plans and oversees the creation of plans and oversees the creation of the illusory world in which the production takes place.the illusory world in which the production takes place.

• The The Costume Designer Costume Designer decides and oversees the decides and oversees the creation of what all of the actors will wear.creation of what all of the actors will wear.

• The The Lighting Designer Lighting Designer makes sure that everything on makes sure that everything on stage is seen or not seen according to their plan, sets stage is seen or not seen according to their plan, sets the mood of each scene and indicates the weather and the mood of each scene and indicates the weather and time of day.time of day.

South PacificSouth Pacific19491949Music by Richard RodgersMusic by Richard Rodgers

Lyrics by Oscar HammersteinLyrics by Oscar Hammerstein

Book by Hammerstein and Joshua LoganBook by Hammerstein and Joshua Logan

Production History: The story draws together characters and plot Production History: The story draws together characters and plot elements from several of the stories in Tales of the South Pacific by elements from several of the stories in Tales of the South Pacific by James Michener. The musical won the Pulitzer Prize for Drama in James Michener. The musical won the Pulitzer Prize for Drama in 1950. The 2008 revival won seven Tony Awards including the award 1950. The 2008 revival won seven Tony Awards including the award for Best Musical Revival. for Best Musical Revival.

Famous Songs: “I’m Gonna Wash That Man Right Outta My Hair”, “Some Famous Songs: “I’m Gonna Wash That Man Right Outta My Hair”, “Some Enchanted Evening”, “I’m In Love with a Wonderful Guy” Enchanted Evening”, “I’m In Love with a Wonderful Guy”

Act 1On a South Pacific island during World War II, a U.S. Navy nurse named Nellie Forbush has fallen in love with an expatriate French plantation owner named Emile de Becque who is also in love with her. She learns of his dark past, he once committed a murder, and chooses to love him anyway. Also in Act I you meet the American sailors who are joined by a U.S. Marine Lieutenant named Joseph Cable. On a visit to a nearby island Bali Ha’i, Cable falls in love with a Tonkinese girl named Liat. Meanwhile, Emile surprises Nellie by introducing her to his two children from a previous marriage to a native Polynesian woman who is now deceased. Nellie feels unable to overcome her deep-seated racial prejudices and tearfully leaves Emile.

Act 2The second Act begins with a Thanksgiving day party full of song and dance. When Liat’s mother reveals that she desperatley wants Liat and Cable to marry, Cable laments that he cannot marry her because she is Tonkinese and his family would not allow it. Cable and Emile then go off together on a mission to spy on Japanese ships from a nearby Japanese island. Cable is killed and Emile narrowly escapes. When Nellie learns of the mission and of the danger that Emile is in, she realizes that she doesn’t care about her prejudices and loves him anyway. While waiting for Emile to come home, Emile’s children teach her a Polynesian song. Emile surprises the three of them when he joins in the singing because he has arrived home safely.

A A South Pacific South Pacific MontageMontage

Fiddler on the RoofFiddler on the Roof19641964Music by Jerry BockMusic by Jerry Bock

Lyrics by Sheldon HarnickLyrics by Sheldon Harnick

Book by Joseph SteinBook by Joseph Stein

Dominant themes: Family and Religious Customs being challengedDominant themes: Family and Religious Customs being challenged

Production History: The musical is based on the Production History: The musical is based on the book Tevye and his Daughters book Tevye and his Daughters by by Sholem Aleichem. It ran for over 3,000 performances on Broadway and won Sholem Aleichem. It ran for over 3,000 performances on Broadway and won nine Tony Awards including Best Musical, score, book, direction and nine Tony Awards including Best Musical, score, book, direction and choreography. Fiddler has been revived on Broadway four times and has choreography. Fiddler has been revived on Broadway four times and has been produced in London and toured through Europe, Australia and Israel.been produced in London and toured through Europe, Australia and Israel.

Famous Songs: “If I Were a Rich Man”, “Matchmaker, Matchmaker”, “Sunrise, Famous Songs: “If I Were a Rich Man”, “Matchmaker, Matchmaker”, “Sunrise, Sunset”, “Far From the Home I Love”Sunset”, “Far From the Home I Love”

Act 1We learn that the year is 1905 and that the Jews in this small Russian village are as safe as a fiddler perched on a peaked roof. The main character in the play is Tevye, a poor Jewish milkman with five daughters. It is tradition for a matchmaker to find husbands for Jewish girls, but Tevye’s oldest daughter Tzeitel resists the village matchmaker’s choice for her and wants to marry her childhood friend Motel, a poor tailor. After some soul searching Tevye agrees to the match even though it is a breach in tradition and he has already agreed with the matchmater’s choice and promised his daughter to another man. We also find out that Tevye’s second daughter Hodel is falling in love with the family’s progressive minded tutor Perchik, and that his third daughter Chava has been secretly befriended by a Russian youth Fyedka who loans her a book. The first act closes with the happy wedding of Motel and Tzeitel which is then destroyed by a group of Russians who are “demonstrating” in the village.

Act 2Perchik asks Hodel to marry him and again Teyve consents even though they have gone outside of the Jewish tradition of using a matchmaker and made their own choice based on love. But when the family discovers that Chava and Fyedka are in love, Tevye will not approve their marriage because Fyedka is Russian and not Jewish. Chava resists and Tevye says that she is dead to him. Then the village constable arrives and tells everyone that the Jews are expelled from their village and must be gone in three days. At the end of the play as Tevye leaves his home with his wife and two youngest daughters he finally sends the message “God be with you” to his daughter Chava who he will never see again.

““If I Were a Rich Man”If I Were a Rich Man”

A Chorus LineA Chorus Line19751975

Music by Marvin HamlischMusic by Marvin HamlischLyrics by Edward KlebanLyrics by Edward KlebanBook by James Kirkwood, Jr. and Nicholas DanteBook by James Kirkwood, Jr. and Nicholas Dante

Dominant themes: Coming of Age, Being a DancerDominant themes: Coming of Age, Being a DancerProduction History: This concept musical was the brainchild of its Production History: This concept musical was the brainchild of its

director and choreographer Michael Bennet who tape recorded director and choreographer Michael Bennet who tape recorded memories and stories of other Broadway dancers to create the memories and stories of other Broadway dancers to create the play. A Chorus Line won nine Tony Awards and the 1796 Pulitzer play. A Chorus Line won nine Tony Awards and the 1796 Pulitzer Prize for Drama. It is the longest running Broadway musical Prize for Drama. It is the longest running Broadway musical originally produced in the United States. originally produced in the United States.

Famous Songs: “I Hope I Get It”, “Dance: Ten, Looks: Three”, “The Famous Songs: “I Hope I Get It”, “Dance: Ten, Looks: Three”, “The Music and the Mirror”, “What I Did for Love”, “One”Music and the Mirror”, “What I Did for Love”, “One”

SynopsisA Chorus Line is set on the bare stage of a Broadway theatre during an audition for a musical. At the beginning of the play only 17 dancers are left in the running and the director, Zach, tells them that he only needs four boys and four girls. He says that he wants to learn more about each of them and reluctantly the dancers each reveal their pasts. The first candidate, Mike, explains that he is the youngest of 12 children. He recalls his first experience with dance, watching his sister's dance class when he was a pre-schooler. Bobby tries to hide the unhappiness of his childhood by making jokes. Opening up, Sheila reveals that her mother married at a young age and her father neither loved nor cared for them. The dancers go downstairs to learn a song for the next section of the audition, but Cassie stays onstage to talk to Zach. She is a veteran dancer who has had some notable successes as a soloist. They have a history together: Zach had cast her in a featured part previously, and they had lived together for several years. Zach tells Cassie that she is too good for the chorus and shouldn't be at this audition. But she hasn't been able to find solo work and is willing to "come home" to the chorus where she can at least express her passion for dance. When Paul falls and injures his knee during a tap sequence all of the dancers realize that their careers could also end in an instant. After the final 8 dancers are selected the finale begins and the rehearsal cloths are replaced by identical spangled gold costumes. As each dancer joins the group, all the actors return, it is suddenly difficult to to distinguish one from the other: ironically, each character who was an individual to the audience only moments ago becomes a seemingly anonymous member of a neverending ensemble.

““One”One”

What happened next?What happened next?

After the creation of the concept musical like A Chorus Line, After the creation of the concept musical like A Chorus Line, more producers and creators turned to new ideas and more more producers and creators turned to new ideas and more outlandish stories. For example Sweeny Todd with it’s outlandish stories. For example Sweeny Todd with it’s operatic score, the science fiction spoof Little Shop of Horrors operatic score, the science fiction spoof Little Shop of Horrors and Cats depicting a gathering of felines in a garbage-strewn and Cats depicting a gathering of felines in a garbage-strewn alley where only one cat will be able to ascend to heaven. alley where only one cat will be able to ascend to heaven.

Broadway began making spectacular recreations of movies Broadway began making spectacular recreations of movies like Beauty and the Beast and The Lion King.like Beauty and the Beast and The Lion King.

The FutureThe FutureChange is the clearest sign that the musical is still a Change is the clearest sign that the musical is still a

living, growing genre. living, growing genre.

The success of original The success of original material like material like Urinetown, Urinetown, Avenue Q, Spelling BeeAvenue Q, Spelling Bee and and In In the Heightsthe Heights, as well as , as well as creative re-imaginings of film creative re-imaginings of film properties, including properties, including Thoroughly Modern Millie, Thoroughly Modern Millie, Hairspray, Billy Elliot Hairspray, Billy Elliot andand The The Color Purple, Color Purple, and plays and plays turned-musicals such as turned-musicals such as Spring Awakening Spring Awakening prompted prompted theatre historian John Kenrick theatre historian John Kenrick to write: "Is the Musical to write: "Is the Musical dead? ...Absolutely not! dead? ...Absolutely not! Changing? Always! Changing? Always!

Works CitedWorks Cited

Denny Flinn, Musical!:a grand tour: the rise, Denny Flinn, Musical!:a grand tour: the rise, glory and fall of an American Institution glory and fall of an American Institution (1997).(1997).

John Kenrick, John Kenrick, Musical Theatre, A History Musical Theatre, A History (2008).(2008).

www.tonyawards.comwww.tonyawards.com