Thru-song score is a type of musical score in which all the lines are sung and none are spoken. The American mega musical trend was led by Disney on Broadway™. The stage adaptation of Lion King had a bad review from theatre critics, but its fascinating costumes and animal portrayal was an immediate hit for the young audience, and the show still remains one of the most popular musicals on Broadway. The musical W... ... middle of paper ... ...haracters starting a new life. Musical revues give the feeling of taking a journey in the 3rd person perspective to the audience.
Julian Mates tells us that “America’s early theatres were essentially lyric theatres…In America, no earlier dramatic forms existed, and the musical stage became our only tradition (musicals101.com)”. During America’s first hundred years, the favorite musical entertainments during the time were variety musical shows. In the 1860’s and 70’s, Pantomime was a the main Broadway staple. In these types of shows, clown characters were taken and placed in plots based on Mother Goose stories. Also seen was the insertion of popular songs whenever the audience needed a breather.
For many years, it has brought us fabulous productions and impeccable performances that will not just delight our ears but our souls as well. As the lights go out and the curtains go up, audience should be expecting goose bumps throughout the entire show. Dreamgirls, a 1981 Broadway musical for almost any ages, has its lyrics written by Tom Eyen. The music was of Henry Krieger. It is an original broad way production that was directed and choreographed by the talented Michael Bennett and orchestrations by Harold Wheeler.
American musicals just weren’t proving successful- as they were focusing on the previous century’s trend of “substance over spectacle”. However, ‘Brit Hits’ became overwhelmingly successful by breaking away from the previous ideal and creating a theme of ‘bigger and better!’, focusing primarily on creating sights over substance. With casts and creative teams of the shows being larger than ever, as well as the aid of technology advancements- it proved to be the way to go! Larger sets and bigger special effects were introduced, including helicopters flying onto stage and chandeliers crashing on stage. Due to higher budgets and musical theatre reaching its peak, shows like Cats changed the way theatre published and promoted.
Although he subsequently studied composition with Milton Babbitt, he chose to apply what he learned he all-or-nothing commercial hothouse of Broadway. Like Hammerstein, he has written the occasional pop song (with Jule Styne for Tony Bennett) and dabbled in films (Stavisky, Reds, Dick Tracy), but, like Hammerstein, he has always come back to the theatre. His initial success came as a somewhat reluctant lyricist to Leonard Bernstein on West Side Story (1957) and Jule Styne on Gypsy (1959). Exciting and adventurous as those shows were in their day, and for all their enduring popularity, Sondheim's philosophy since is encapsulated in one of his song titles: "I Never Do Anything Twice". His first score as composer-lyricist was A Funny Thing Happened On The Way To The Forum (1962) - a show so funny few people spotted how experimental it was: it's still the only successful musical farce.
Gypsy provided tremendous entertainment while still giving the audience real material that was thought provoking. Audience members find themselves tapping their toes to the good beats and catchy lyrics, but also wondering what are Rose’s true motives and other storyline questions. Work coming after Gypsy such as, Chicago incorporated this fun-spirited yet dynamic story to the overall musical experience. This is a significant impact on the world of American musical theatre, because American musicals had already been well established by the late 1950s. In conclusion, Gypsy is an American musical that has helped shape the role of complex storylines with high entertainment into the world of theatre.
The Broadway League. n.d. 30 July 2011 . Ullom, Jeffrey. "There is am "I" in artist": dysfunctunal collaborations and the doomed 'Pop Musicals" Come (1994) and The Capeman (1998)." Studies in Musical Theatre 4.2 (2010): 211-225.
Jerome Kern (1885-1945), one of the most important American Composers in the 20th century, came up with the idea of adapting Edna Ferber’s novel “Show Boat” into a musical with lyrics by Oscar Hammerstein (1895-1960). When he approached Ziegfeld to produce Show Boat, Ziegfeld agreed to work on the show. This was unexpected since it was nothing like his legendary Follies, which were vaudeville shows. In the first part of the 20th century, musical theatre consisted of vaudeville and minstrel shows.... ... middle of paper ... ... an act of injustice whereas in Hairspray they make a statement about it. This was because of the different times they were written in.