music theatre midterm
DR. LAWING LECTURE OUTLINE
Wednesday
1. Broad Outline of the Formula of a Musical
Act 1 (approximately 90 minutes, typically divided into two parts: 1A and 1B)
Act 1A: Establishes the world of the story, providing essential context by introducing the characters, setting, time period, and cultural backdrop.
Expectations:
Opening Number: Usually a full-cast production number to set the tone and engage the audience right from the start, establishing themes and moods.
“I Want” Song: A pivotal moment where the protagonist expresses their deepest desires, laying the emotional groundwork for their journey.
Conditional Love Song: A song that typically explores the protagonist's beliefs about love, often framed by circumstances that may prevent them from achieving their desires.
Second Production Number: A lively production number intended to re-energize the audience, transitioning smoothly into the next segment of the act.
Act 1B: This part concentrates on the core narrative elements that distinguish the musical from others, diving into the central plot.
Expectations:
Plot Development: Engagement with primary and secondary storylines, often involving subplots centered around supporting characters or secondary romantic couples and conflicts.
Star Moments: Highlighting major solos or show-stopping numbers for leads that showcase their vocal and thematic significance.
Final Production Number of Act 1: Usually an impactful number, either culminating in a dramatic twist or revealing a shocking plot point, designed to leave the audience in suspense.
Act 2 (Resolution of the story, leading to either celebration or sorrow)
Expectations:
Opening Number of Act 2: Often a vibrant production number that reconnects with the audience after intermission, re-establishing the dramatic arc.
“Candy Dish” Song: A light-hearted, sometimes unrelated song that serves as an entertaining diversion, akin to a gift from the composer to the audience.
Resolution of Subplots: All significant secondary storylines are resolved to provide closure by the end of the musical.
Next-to-Last Scene (11:00 Number/Main Event): A crucial production number that builds towards the climatic resolution of the narrative, typically characterized by high energy and emotional intensity leading to the final act.
2. Early History of Musicals (up to Show Boat or Oklahoma!)
Three Broad Genres in New York:
Musical Comedy: Features popular music and a comedic plot designed to connect the songs, often with minimal narrative substance.
Operetta: A light form of opera that contains elements of the musical; often inspired by fairy tales and typically structured around three acts.
Revue (including Vaudeville): A collection of unrelated scenes and performances that entertain audiences through a variety of acts, culminating in a grand finale, filled with visually pleasing elements.
3. Show Boat (1927)
Significantly combined elements of operetta and revue, pushing cultural boundaries for its era through the exploration of social issues, notably race relations.
4. Oscar Hammerstein:
Famous for the quote, “The song is the servant of the play,” underscoring the belief that songs should serve to enhance the story rather than distract from it.
5. Rodgers and Hammerstein: The Creation of the Book Musical
Oklahoma! (1943): Widely regarded as the first integrated musical, intertwining book and score seamlessly; it created a model for future musicals by including character development through song and dance while presenting an optimistic worldview amidst conflict.
Carousel (1945): Features beautiful melodies yet delves into grimmer themes, including dark elements such as suicide, redemption, and personal transformation.
South Pacific (1949): Explores complex themes of racism in a post-WWII context, incorporating few female characters and utilizing reprises extensively, minimizing new musical content in the second act.
The King and I (1951): Highlights cultural interactions, with lingering themes that remain relevant, presenting an ambiguous yet thought-provoking ending.
Friday
Essential Musicals:
Guys and Dolls (1950): Celebrated as a prime example of musical comedy, encapsulating vibrant characters and unforgettable songs, along with a narratively improbable yet engaging plot.
West Side Story (1957): A reimagined tale of Romeo and Juliet set against the backdrop of ethnic tensions in Hell’s Kitchen, featuring groundbreaking choreography by Jerome Robbins and a compelling score by Leonard Bernstein that emphasized character emotion through movement.
Gypsy (1959): Blends elements of musical comedy with deeper psychological exploration, focusing on Mama Rose and her drive for success through her daughters, ultimately revealing her self-serving motivations.
Other Important Musicals (time permitting):
On the Town (1944): A collaboration with Bernstein and Robbins featuring an innovative narrative structure.
Kiss Me, Kate (1948): Cole Porter’s notable contribution to the book musical genre, merging Shakespearean elements with popular music.
Wonderful Town (1953): Another collaboration involving Bernstein and notable figures of the era.
My Fair Lady (1956): Marked by Julie Andrews' iconic debut, showcasing the transformative power of language and social class.
A Most Happy Fella (1956): A work by Frank Loesser, notable for its operatic style more than traditional musical comedy.
Camelot (1960): Another Lerner & Loewe work that captures romance, politics, and myth.
Creative Team Roles
Composer & Lyricist: Defines the musical’s sound; the composer creates melodies, and the lyricist crafts the lyrical narrative. Sometimes these roles are fulfilled by a single individual, with orchestrators focusing on instrumentation and dance arrangers coordinating musical movement.
Librettist (Book Writer): Responsible for crafting the narrative backbone of the musical, balancing spoken dialogue with musical elements. An exceptional libretto can elevate even an average score, while the opposite can diminish a brilliant score.
Director: Oversees the overall artistic vision, managing production logistics including staging, rehearsals, and collaboration with the creative team to bring the script to life.
Choreographer: Develops the dance components that enhance the narrative and emotional storytelling through movement.
Set Designer: Works on the physical space of the production, ensuring transitions between scenes are smooth and that designs support the narrative arc effectively.
Costume Designer: Responsible for the visual representation of characters, creating costumes that reflect their personalities while ensuring practicality for performance needs.
Lighting Designer: Crucial in establishing the mood and ensuring visibility, effectively shaping a scene's emotional tone through lighting choices.
Musical Director (MD): Conducts the orchestra, supervises musical elements ensuring performance quality and connection with the narrative.
Sound Designer: Manages the audio aspects to balance performances with music and sound effects, adapting to technical complexities inherent to modern theatre.
Orchestrator: Translates melodies into entire orchestral arrangements, ensuring a harmonious balance between vocals and accompanying music.
Dance Arranger: Collaborates with choreographers to tailor music for dance sequences, ensuring synchronization.
Property Master: Responsible for managing all props used during the production, whether sourced or created, ensuring they are available and functional.
Production Team Roles
Producer: The business mastermind behind the production: raises funds, oversees operational aspects, and has final decision-making authority.
Investors: Provide financial backing for productions; often motivated by both the potential for return on investment and the prestige associated with Broadway productions.
General Manager & Company Manager: Take charge of ongoing operational tasks, ensuring that all logistical needs and personnel matters are handled.
Stage Manager (SM): The organizational backbone of a production, ensuring that rehearsals and performances run smoothly while maintaining a master copy of the script and logs.
House Manager: Handles aspects of front-of-house during performances, ensuring audience comfort and organizing attendance protocols.
Dance Captain: Maintains dance quality throughout the production’s run and trains replacements as needed.
Casting Director: Works closely with actors and their representation to secure suitable cast for various roles through auditions and interviews.
Advertising: Responsible for promotional materials that capture and sell the essence of the musical to potential audiences.
Press Representative: Manages the musical's public image, securing coverage and addressing media inquiries while communicating with critics.
Actors and Crews: Represents the performers, who often juggle various roles in the modern theatre, and the technical crews responsible for bringing the creative vision to fruition.
Megamusicals Overview
Key Productions:
Jesus Christ Superstar (1971)
Cats (1981)
Les Misérables (1985)
The Phantom of the Opera (1986)
Beauty and the Beast (1993)
The Lion King (1997)
Wicked (2003)
Hamilton (2015)
Defining Traits:
Through-Composed: These musicals are formatted to be sung completely with minimal spoken dialogue enhancing the musical narrative.
Pop/Rock Fusion: Merging contemporary pop and rock elements with traditional musical theatre feels, creating a fresh sound that resonates with modern audiences.
Spectacle: Highlighting grand visual designs, frequently utilizing advanced technology in lighting, sets, and special effects to elevate the performance experience.
Epic Themes: Exploration of universal themes that engage audiences emotionally and socially.
Marketing and Merchandising: Heavily promoted productions often result in merchandise that fosters a broader cultural franchise.
Focus on Spectacle: Prioritizing visual storytelling and elaborate choreography to create compelling production experiences.
Technological Impact: Innovations like radio microphones have significantly changed how performances are staged and perceived.
Commercial Success vs. Critical Reception: While these productions often achieve financial profitability, they may be scrutinized for weaker storytelling or character depth.
Global Reach: Designed to be universally appealing, often translating adaptations for international audiences.
Debate - McTheater?: Sparks discussion on whether these productions prioritize commercial success over artistic integrity or push the limits of theatre as an art form.
Jukebox Musicals
Origins and Types:
Evolving from the lively music scene of Tin Pan Alley, jukebox musicals weave popular songs into narrative stories, creating fresh engagements through established music.
Types of Jukebox Musicals:
Bio-Musicals: Centering on the lives of iconic artists (e.g., Jersey Boys, Beautiful).
Shoehorned Stories: Integrating hits from specific eras into fabricated plots (Rock of Ages, Mamma Mia).
Movie-to-Jukebox: Adaptations from popular films incorporating existing music (Moulin Rouge, Xanadu).
Pop-Sicals: Original musicals created by pop icons (e.g., Aida by Elton John, Billy Elliot).
Top Jukebox Musicals:
Mamma Mia – Music of ABBA
Jersey Boys – Bio of Frankie Valli and The Four Seasons
Beautiful – Bio of Carole King
Tina – Bio of Tina Turner
We Will Rock You – Music of Queen
Rock of Ages – Music of multiple rock bands
Moulin Rouge – Movie adaptation with various pop hits
Ain’t Too Proud – Bio of The Temptations
Hadestown (2019)
Creation & Evolution:
Hadestown by Anaïs Mitchell traces the myth of Orpheus and Eurydice; a cohesive journey from a small production to a Broadway phenomenon.
Directed by Rachel Chavkin, blending various music styles to tell a story rich in both historical and contemporary reflections.
Key Themes:
Juxtaposing ancient mythology with modern societal issues, commentating on labor, environment, and capitalism.
Characterization:
Orpheus: The idealistic musician symbolizing creativity and hope.
Eurydice: Represents desperation seeking security in a metaphorical underworld.
Hades: Embodies corporate greed and dehumanization.
Persephone: Caught between two worlds, representing fluctuating contrasts.
Hermes: Guides the narrative, connecting profound themes with the audience’s understanding.
Fates: Chorus reflecting the theme of choice and consequences in human decisions.
Hamilton (2015)
Story Overview:
Hamilton chronicles the life of Alexander Hamilton with a focus on his contributions to the founding of the U.S., employing diverse casting for a modern resonance in its retelling.
Music and Themes:
A genre-blending score juxtaposes historical narratives within modern musical forms creating an engaging auditory experience.
Cultural Impact:
Critically acclaimed, Hamilton has reshaped Broadway dynamics through its innovation and diversity, making significant waves across cultural landscapes and earning numerous accolades.
These musical forms—megamusicals, jukebox musicals, and contemporary original works like Hadestown and Hamilton—showcase the extensive range of approaches in musical theatre, emphasizing distinctive storytelling through music, innovative spectacle, and social commentary.
Here are some study questions based on the lecture outline on musicals:
What are the key components of Act 1 in a musical, and what purposes do they serve?
Describe the significance of the "I Want" song in the context of a musical narrative.
How did Show Boat revolutionize the musical genre in terms of social issues?
What defining traits differentiate operetta and musical comedy?
Discuss the impact of Rodgers and Hammerstein's Oklahoma! on the concept of integrated musicals.
How do essential musicals like Guys and Dolls and West Side Story reflect societal themes of their respective eras?
What roles do a composer and lyricist play in the creation of a musical?
What is a 'megamusical' and how do its productions differ from traditional musicals?
Identify the characteristics that define a jukebox musical. Can you give examples?
How does Hamilton challenge traditional narratives within musical theatre?