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Recommended: Rise of vaudeville
Chicago: All That Jazz
The stage performance of Chicago offered a spectacle that I expected before attending the show. I knew there was going to be scantly clad girls with dark makeup and saucy attitudes. The performers brought to life all that was raunchy in the entertainment business during the roaring twenties. The lifestyle in Chicago featured jazz, booze, sex and crime. More importantly, Chicago had beautiful, young women with the dream of having their own Vaudeville act. The two main female characters, Velma and Roxy were two such women hoping to capture the public's attention. The composition of the show is a metaphoric integration of Vaudeville type acts amongst the book scenes and diegetic musical numbers.
Chicago is an example of a concept musical. It would not be realistic to simply accept that a musical that takes place in a jail could have very well been taking place in a nightclub. The concept put forward by the show is metaphorically associating the jail with a Vaudeville stage. This gives the audience a reason to accept that there are perfectly choreographed acts going on in a women's prison. The concept of having an "act" was important to each of the main characters. The show is suggesting that real life is a compellation of acts. In context to the times, the venue for acts was on a Vaudeville stage. The theme of life being an act defined through Vaudeville performances in the show.
The setup of the show was a mix of song, dance and dialogue. The unique quality presented in the show was the Vaudeville type numbers. Vaudeville theatre was very popular variety shows during the 1920's. Star hopefuls start out with an act and hope to be discovered someday. Some types of acts are musical numbers, dance num...
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... gave them the edge. I personally feel different when I wear different types of clothes. The types of clothes you are willing to wear define the limits of your attitude. The raunchy costumes allow the performers to become bad, sexy and scandalous.
Chicago is a clear production of artistic boldness. The concept of the musical associates the acts of murder, adultery, and legal proceedings to be metaphorically associated with acts on a Vaudeville stage. All the main characters have an introductory number and even exit music. Well except for Amos of course. The artistic boldness of the show follows through by creating a dark mysterious set. The ambiance is dark and sexy to accentuate the attitude of the performers. Costuming creates the same message as the dark mysterious stage. All these elements put together with Fosse style dance is what makes Chicago bold.
The play is set around the late 1940s and throughout the 50s on the south side of Chicago
It was good setting to get the attention from the audience and also a way to move around or change settings of the play. Although I love this play my small critic for this play was the players. Some others actors had understandable accents but others didn’t. For example, the brother of the servant his accent was confusing because he kept switching his accent from different country languages. This play was really nice it had a little of bit of everything drama, comedy, romance, betrayal. What like about this play it was how they used the dramatic structure the inciting incident and the climax. The inciting incident for this play of musical comedy murders of 1940 was guessing who the killer of the play was because there was tension building up not knowing who the murder was. The climax for this play would be for me finding out who was the murder and just being in shock how everything had change into a new scenario. Overall it was amazing show how it developed and how well an organized transition the play
Vaudeville was very popular from the late 1800s to the early 1900s in North America. Vaudeville shows were made up of many random acts that were placed together in a common play bill. Some acts were, for example, plays, clowns, jugglers, comedians, etc. Once the radio was introduced, vaudeville’s started to become less popular as the radio’s popularity started to increase. The radio started out with maximum five programs but as the demand for radios increased so did the amount of programs, which went up to almost 500. Radios was the place families and friends gathered to hear the news, sporting events, music, entertainment, etc. One show millions of people listened to was The Burns and Allen Show, starring George Burns and Gracie Allen. Allen was the one who had all the punch lines and was very silly and Burns was the straight man, serious, and was the one who allowed Allen the opportunity to say her punch lines. Burns and Allen were one of the few people who succeeded in different medians and brought changes to the way entertainment was performed.
Cullen, Frank, Florence Hackman, and Donald McNeilly. Vaudeville, Old & New: An Encyclopedia of Variety Performers in America. New York: Routledge, 2007. Print.
Theatres and How We Had Fun." Little, Brown, and Company. (Boston, Toronto, London); 1991. P. 139, 144.
In Dialogue: Theatre of America, Harold Clurman said, “we make theatre out of life” (27), and it was precisely this view that motivated him to help create a uniquely American theatre. Clurman, considered one of the most influential directors of the modern American theatre, had a unique vision of what the American theatre could become. One of the founders of the quintessentially American troupe, the Group Theatre, Clurman was a contemporary of Elia Kazan and Lee Strasberg, and even married to Stella Adler for twenty years. At a ceremony honoring Clurman, Elia Kazan stated that Clurman’s “greatest achievement [was] himself” (Harold Clurman: A Life of Theatre). An important figure in our theatrical past, Clurman’s theories on theatre and directing require close attention. In this paper, I will first provide a brief biography of Clurman, second, examine his theories of theatre and directing, and lastly, I will explore his criticisms of the then-contemporary theatre, and draw conclusions to the current state of the Broadway theatre.
In short, she is heartwarming, sunny, lively and dangerous as most large cities. She is good to the soul and as cold as the wind. Chicago is the Windy City also the City with Big Shoulders in the end Chicago is my Home .
When the lights come up the audience is immediately thrown into an old and dingy movie theatre complete with popcorn strewn across the floor. It is within this set that deep social commentary is made throughout the
Chicago is an American musical with music by John Kander, lyrics by Fred Ebb and a book by Ebb and Bob Fosse. Set in Prohibition-era Chicago, the musical is based on a 1926 play of the same name by reporter Maurine Dallas Watkins about actual criminals and crimes she reported on. The story is a satire on corruption in the administration of criminal justice and the concept of the "celebrity criminal." Fred Ebb explains: “So I made it [Chicago] a vaudeville based on the idea that the characters were performers. Every musical moment in the show was loosely modeled on someone else: Roxie was Helen Morgan, Velma was Texas Guinan, Billy Flynn was Ted Lewis, Mama Morton was Sophie Tucker,” (Kander, Ebb, and Lawrence 127). Velma indeed is a reincarnation of Texas Guinan who “acted as hostess…for the entertainment…she was also a born press agent, constantly inventing stories and promoting herself,” (Slide 218). Roxie’s “Funny Honey” Amos is eerily reminiscent of Helen Morgan’s “Bill” from Kern and Hammerstein’s 1927 classic Showboat. Amos, too, in his “Mr. Cellophane” number, imitates Ziegfeld Follies star Bert Williams’ iconic hit “Nobody” “right down to Williams’ famous costume of oversized clothes and white gloves,” (Miller).
Chicago is a must see film for anyone who likes to spoil themselves with an outstanding award-winning musical composed of a catchy plot, truly superb acting, commendable direction, and a clever soundtrack. Bob Fosse’s dazzling adaptation of the plot is a key element that contributed greatly in making Chicago achieve the success it did. Set in the 1920’s, Chicago is based on the real-life murders of two women who were eventually exonerated for their alleged crimes. The film’s main characters are Roxie Hart, a housewife who often fantasizes about becoming a Vaudeville star, and Velma Kelly, a vaudeville queen who desires far more fame than she already has. They both find themselves in the Cook County Jail on “murderous charges”.
The musical wasn’t just about a relationship between a father and his son, it was also about music. The show was representing music through the art of imagination. There was a story behind every piece of music. Songs comes with lyrics and for any songs that has lyrics, the words of the song tell a story.
A comedic fictional story of two murderesses on death row in the 1920’s, Chicago follows Roxie Hart, the main character, through the journey of her case. Roxie has always wanted to be on the stage, but after being tricked by a local furniture salesman, she had been having an affair with, she finds herself in prison with a hanging case. When she arrives on “Murderess Row” she finds not only is her Jazz idol, Velma Kelly, there, but five other woman accused of killing their boyfriends or husbands(Chicago). Roxie soon learns about a lawyer, Billy Flynn, that has never lost a case, and at the time was also Velma’s lawyer. Roxie and Velma fight to be the star of the Chicago newspapers not just for the fate of their verdict, but for the chance to perform on the stage once they get out. Chicago is a great comedic musical with a solid message. Chicago portrays how thin fame is by using symbolic color schemes and themes in the musical numbers.
The musicals that were produced around that time period were meant to be strictly for entertainment, for the most part. It was a very brave move for the creative team of this musical to tackle themes like racism, violence, and death. The risk definitely paid off, because even today West Side Story still remains a very popular musical. The main message that this show is trying to convey to the audience is that it shouldn’t take a horrible tragedy to finally unite people. Just because someone may not look the same way you do, or act the same way, or share your same belief system, that doesn’t mean you have to be fearful of them. Instead we should try our hardest to embrace the fact that this world would be a very boring place without a little diversity, and it’s ok to celebrate the things that make us
With every bit of detail, even those most would disregard, Ball State Universities’ production of Intimate Apparel brings the audience into the 1900’s and puts them right on stage with the actors. Even if the audience just plays the role of a friend listening to a story, the fact that design of the set, as well as where the play is held brings elements from the play that may have been missed. The color and fabric of the costumes the characters wear carefully contribute to the already delicate symbols written into the play. Truly, through the scenic design, set, theatre, and costumes, the Ball State Universities’ production of Intimate Apparel intricately intertwine the emotions of the play with that of the audience.
Musical theatre is a type of theatrical performance combining music, dance, acting and spoken dialogue. Written by Leonard Bernstein and Stephen Sondheim, ‘West Side Story’ is a classic American musical based on William Shakespeare’s ‘Romeo and Juliet’. The through-composed score and lyrics are used to portray different characters and their cultures, the rivalry between the Jets and Sharks, and the emotions felt as the story progresses. This essay will be exploring the music and how effective the score is in realising the world and characters of the musical. Furthermore, it will discuss how Bernstein and Sondheim relate characters’ diverse ethnicities to particular musical ideas and motifs.