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.
When the curtain rose on the night of the premiere, Mozart realized how successful his opera would become (Opera America Center). With the success of The Magic Flute, Mozart was just beginning to become financially stable when an illness brought his life to an end in December of 1791. Contemporary scholars still debate Mozart’s purpose for composing this opera; they do not know whether he completed this work due to his financial situation, his desire to spread his radical ideas, or his love for composing. Historians believe Mozart created this work solely to express his ideas regarding the German Enlightenment. The Enlightenment was known as “The Age of Reason,” a time where people began to use to logic to question preconceived theories.
After this, he began creating a new style, folk opera. He create his piece called “Porgy and Bess” that withheld very popular songs during this time. The song, “I love Porgy,” is more enjoyable than “Summertime” because he added a little bit of beat, rhythm, and more of a jazz feel to the background adding texture to the piece. After doing work on Broadway, the brother duo took on Hollywood. Upon the arrival of Hollywood, they created a musical film, “Shall We Dance,” that included several new pieces of music.
The song starts in a slow tempo but becomes faster when the rest of the crew joins the stage. I really enjoyed the movie. After watching High School Musical I thought to myself this cannot get better, but it did! They changed the theme to summer vacation, making it no boring and rather interesting. I wasn’t always fond of second parts of movies, especially musicals as I thought it couldn’t get any better.
The songs just didn’t tell a story. It was not until 1960 that Broadway faced up to the rising trend. Finally, musical theatre accepted rock music into its production. Never will audiences see new musicals in the style of Oklahoma!, Brigadoon and South Pacific. These musicals were never boring because someone was always bursting into song about how every thing ‘was looking just swell’.
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.
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.
Analysis of West Side Story West Side Story came out in 1961 as a melodramatic musical that took place in New York. It takes the same theme as Shakespeare's, Romeo and Juliet, in that it is about two lovers whose relationship is not accepted by others because of conflicting backgrounds. The artistic intensions of this film are implicitly stated everywhere throughout the film. All of the dancing, singing, acting and pretend fighting was done thoroughly and very well, although the miking and mixing during the pretend fighting did not seem realistic. Specific actors, dancers, and singers were trained and taught how to perform in order to get the message across to the audience that this West Side Story is not just a film, but a theatrical, musical, choreographed, work of art.
Stephen Sondheim, who was not as popular at the time, wrote the lyrics. Sondheim expressed his desire to write the music for the show, but Gypsy star, Ethel Merman insisted that an experienced composer write the music. Sondheim was turned off by this request, but still wrote the lyrics due to the advice given to him by his mentor, Oscar Hammerstein. Hammerstein believed Sondheim would learn a lot by writing for a star. Jerome Robbins directed and choreographed the original Broadway production.
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.