V. Bobbysox 2
Velma Bobbysox
Ms. Boni
English 12
19 March 2008
Musical Theater
When most of us think of the origins of theater, we think of Shakespeare. When most of us think of music, we think of Mozart or our favorite pop singer. What about when both are combined to create one of the most successful sources of entertainment throughout the world? Musical theater, aka "the musical" has brought entertainment to audiences in many fashions for many generations. It has been debated whether the changes in musical theater over the years have been for the better. But, it cannot be denied that through the advancements of technology, the change in subject matter, and advancement of creative innovation, musical theater in America and throughout the world has progressed since its origin.
The origination of musical theater is a long reach back into our history. During the renaissance era, the reinvention of "sung theatre" was called Opera (Salzman). This once epic type of production was built upon to later become musical theater. "Musical theater, in one form or another, has flourished in this country, as the traditional opera and operetta have gone into a steep creative decline" (Salzman). One of the main styles of musical theater is the musical comedy. This genre which was originated in early English works is found in the majority of the many musicals found in America today and many years before (Salzman). Once musical theater in America found its stride, it became a virtually unstoppable force. Displaying the new style of theater, while still connecting with its operatic background, the first musical comedy seen in America was, The Beggar’s Opera in 1750 (Green, xvii). No one could have guessed at the time that musical theater would soon become one of the most profitable sources of entertainment in America. Its popularity boomed and became profitable in cities throughout the United States, including and especially in New York City’s famed “Broadway” theater district.
With the new century, came new productions. In 1866, the musical, The Black Crook, a story of a crook-backed sorcerer and his agreements with the devil, was the first long running musical in America. After the success of the production, plays that included music and songs became a major attraction throughout the nation (Green, xvii). Not too long after, the musical production version of the long and widely known tale of Robin Hood opened in 1890 in Chicago. It became the most celebrated American Operetta in the nineteenth century (Green, 4). Though the first few musical productions in America brought some excitement to the entertainment scene, the best was far from the surface. There would be many critics and unsuccessful productions on Broadway and theatres throughout the country along the way. But, these hardships would not stop the stride and progression of musical theater in America. In the beginning of the twentieth century, because of their contributions to this new and appealing type of theater production, composers became, in many cases, more recognized than lyricists (Green, xvii). This recognition was one of many differences in audiences’ way of thinking that were yet to come.
“The Broadway musical defines our culture and is, in turn defined by it” (Malson). Broadway is seen throughout the country as the place where musical theater lives. The productions shown on the Broadway stage have pushed audiences to the limit. With bold and, at times, controversial subject matter, the “Broadway musical” in a “take it or leave it” way, has and will continue to be a great success. After 1893, a young man by the name of Israel Baline, now known as Irving Berlin (a Russian immigrant to America), along with many other driven artists, created what is referred to as, the Broadway musical. The heart of New York’s theatre scene was then moved from downtown to midtown (Malson, 4). With the creation of Broadway, came many of the “classic” musicals that people enjoy to this day. One musical production, in particular, has a history that documents some of the greatest progressions in entertainment. In 1903, The Wizard of Oz opened on the Majestic theater stage. The production of this well known tale was later found on the Broadway stage 1975, in a contemporary black variation called The Wiz. The Wiz displayed the same basic storyline as The Wizard of Oz, with an all black cast and brand new tunes. Between these two historical dates involving this memorable story, is 1939 when the film version of The Wizard of Oz was released and later turned into one of the first films released in color (Green, 8, 241). Though the progressions of The Wizard of Oz and its numerous variations are great, it is only one of many productions that would bring much excitement to the Broadway stage. Like most directors and producers that create the productions that have entertained Americans and people throughout the world for many generations, Fred R. Hamlin and Julian Mitchell, did not stop with the success of The Wizard of Oz. Later in 1903, they released the musical production, Babes in Toyland, onto the Majestic stage on Broadway. As their first collaboration production, Hamlin and Mitchell’s Babes in Toyland brought great reviews and much excitement (Green, 8). This was one of the first of many successful collaboration productions that would hit the Broadway stage.
The advancements in technology throughout the 1900’s opened up the possibilities of entertainment in the country. The roaring twenties, in particular, was a major transition of stage in America. The numerous changes in production, technology, economy, and entertainment that occurred during the 1920’s, lead to life as we know it today. One of the many inventions created during this decade was the radio. This product could then be found in households throughout the country, providing families with entertainment, news, and new ideas (Pearson). Musical theater productions, along with other sources of entertainment, did not hesitate to take advantage of the promotional opportunities that the radio provided. These opportunities would later improve and increase as technology led us into the world of television and commercial promotion in film.
When it came to the Broadway musical, the theater found much success during the 1920’s. New York’s adoption of the Volstead Act, which put great restrictions on the selling of alcoholic beverages, seemed to have been a huge threat for night life in the state (Malson, 68). Fortunately, in regards to the Broadway musical, that was not the case. Prohibition actually allowed for “nightlife to flourish”, which led to a major increase in the amount of musical productions found on Broadway. During the 1927-1928 season alone, 264 plays and musicals hit the stage, and “almost twenty theaters were constructed in the Broadway Theater District” (Malson, 69). One of the most well known musicals of all time, Showboat, was created by the “all star” collaboration of Jerome Kern and Oscar Hammerstein II (History). Taking the 1926 novel that was written by Edna Ferba and turning it into a musical production, was considered “groundbreaking” for musical theater and entertainment in general. Though the production found great success, it was not easily achieved. It was not until great alterations in time and length that the show would find success on the New York stage (History). In order to have success on the Broadway stage, each musical production would usually be performed out of town, in order to make the correct and necessary changes before opening on Broadway (Kantor). Kern and Hammerstein’s Showboat was Broadway’s first attempt at a “modern musical play” and was created on film three times between the 1920’s and 1950’s (Green, xviii, 60). Showboat, being a defining production of the 1920’s, and musical theater in general, influenced creators of musicals to take story lines more serious in their plays thereafter (Green, xviii).
The next few decades were marked with a surplus of some of the greatest musicals that have ever hit the stage. Through subject matter and overall production, the creators of these shows began to push the envelope. West Side Story opened in 1957, bringing together creative geniuses’ Stephen Sondheim, Leonard Bernstein, and Jerome Robbins. By combining their creative excellence and innovation, Sondheim, Bernstein, and Robbins created what is known as one of the most defining musicals of the 1950’s (Green, 175). West Side Story was the first musical to carry dance and movement expressions throughout the entire show (Kantor). This unique addition to a musical production “set the stage” for the many productions that would follow. With the combination of these three great artists, known to be the best of their time, willing to take a risk, West Side Story brought a whole new side to Broadway (Kantor). Not only did the infamous Jerome Robbins take part in the creation of West Side Story, but also contributed to the creation of 1964’s hit, Fiddler on the Roof (Green). As many of the plays at this time, Fiddler on the Roof dealt with controversial subject matter, including persecution, poverty, and other testy topics (Green, 209). The show opened with a musical number called “Tradition” which was a representation of the beginning of a new era (Kantor). Fiddler on the Roof, with much success, was the longest running production, running from 1964-1979 until the opening of the musical, Grease (Green, 209). Soon after Fiddler on the Roof hit the stage, a man by the name of Hall Price, inspired by the civil rights era in America, created the musical Cabaret, which dealt with the rise of Nazi Germany (Kantor). The risqué and tough issues and characteristics that Cabaret brought to the Broadway stage were, at first, not taken kindly to by audiences and critics (Kantor). Though American audiences had trouble adapting to the more intense subject matters beginning to be found throughout all forms of entertainment, musical productions like Cabaret forced people to become aware of and deal with the realities of the world in which they lived.
Since the beginning of Musical Theater, each decade seems to have specific “figure heads” that define the time period. One person that held a defining position in the entertainment business for many generations was director and choreographer, Bob Fosse. To this day, because of his remarkable creative innovations and performance skills, Bob Fosse is considered one of the most influential people in the dance and theater world of all time. Chicago, a musical production directed and choreographed by Bob Fosse, opened on Broadway in 1975 (Green, 244). Despite Fosse’s outstanding role in show business, Chicago received many mixed reviews when first presented to the public. Today, Chicago is looked highly upon in pop culture as an outstanding musical (Kantor).
Another musical hitting the stage in 1975, was a production inspired by a clip of real dancers speaking to one another about their job hunting and auditioning experiences and process. This short recording which was referred to as “The Dancers Project” was later turned into the musical, A Chorus Line (Kantor). Michael Bennett’s purpose for producing A Chorus Line was for people to walk away from it able to relate the content of the play to their own personal realities and experiences (Malson, 370). A Chorus Line was said to have saved Broadway during this time of recession in America (Kantor). In 1985, A Chorus Line, was considered the longest running production ever on Broadway (Green, 243). The 1970’s came to an end while the works of Stephen Sondheim hit the stage yet again in 1979. “A pioneer in stretching the form and shape of the musical, Sondheim is known for embracing challenges” (Secrest). Wanting to express the realities of revenge and the role it plays throughout life, Sondheim created the musical Sweeney Todd. Dealing with death, killing, revenge, and cannibalism, Sweeney Todd was aimed toward bringing the fear and thrill normally found in films to the stage (Kantor).
To keep the creative fire burning into the new decade, Cats was developed based on a children’s book called Cats by T. S. Elliott. The great success obtained by this production was due, in part, to its ability to appeal to audiences of all ages (Kantor). Productions like Cats and Annie were convenient for families and increased the amount of musicals set for the entertainment of children.
As the close of the 20th Century approached, the musical productions found on Broadway expanded to more diverse audiences and presented more diverse subject matters. La Cage Aux Folles, produced 1983, was the first successful musical that was based around a homosexual male couple. The musical achieved its potential success because of its underlying purpose of presenting awareness to the AIDS epidemic (Kantor). The success of La Cage Aux Folles, opened the door for artists and productions that would find great success in the start of the new Century. A young man named Jonathan Larson had a strong passion and drive towards informing the world about AIDS. Inspired by his personal loss of friends and family to AIDS, Larson applied his creative innovation and created the musical production RENT (Kantor). Jonathan Larson had much trouble receiving a break for his new musical and, unfortunately, passed away the day before the premiere of RENT. Though he died at the age of 35 (to an illness other than AIDS), and was unable to see the great impact of his work, he brought a new start to the off-Broadway musical, and musical theater as a whole (Kantor).
The 1990’s and the beginning of the new Century have brought much success and appeal to the conversion of musical theater to musicals on film. Some of the most unique examples of musicals on film are found in the form of the classic Disney cartoon collections. Disney cartoons are animated musicals, inspired by the Broadway musicals created before their time (Kantor). Also, some of Disney’s greatest films are created by a few of the most influential people in musical theater. From A Chorus Line to Sweeny Todd, and from Chicago to RENT, many of the greatest Broadway musicals have found success, not only on the stage, but also on the big screen (Kantor, Green). After 09/11, there was a downfall in Broadway and the musical scene. This was changed with the success of productions like Hairspray and Wicked. Hairspray, like Dreamgirls, Rent, and Sweeney Todd has found success on film in the recent past (Kantor). But, the door swings both ways. There have been great transitions, not only from theater to film, but from film to theater. Disney took a chance in premiering their live musical versions of their famous tales and films, such as The Lion King and The Little Mermaid, on Broadway, finding much success (Kantor). These are only a few of the many collaborations and conversions of film and musical theater.