Development of musical theatre
Development of musical theatre refers to the historical development of
In the 19th century, following the development of European
Early antecedents: Antiquity to Middle Ages
The antecedents of musical theatre in Europe can be traced back to the theatre of ancient Greece, where music and dance were included in stage comedies and tragedies during the 5th century BCE.[3][4] The dramatists Aeschylus and Sophocles composed their own music to accompany their plays and choreographed the dances of the chorus. The 3rd-century BCE Roman comedies of Plautus included song and dance routines performed with orchestrations. The Romans also introduced technical innovations. For example, to make dance steps more audible in large open-air theatres, Roman actors attached metal chips called sabilla to their stage footwear, creating the first tap shoes.[5] The music from all of these forms is lost, however, and they had little influence on later development of musical theatre.[6]
By the Middle Ages, theatre in Europe consisted mostly of travelling minstrels and small performing troupes of performers singing and offering slapstick comedy.[7] In the 12th and 13th centuries, religious dramas, such as The Play of Herod and The Play of Daniel taught the liturgy, set to church chants. Later "mystery plays" were created that told a biblical story in a sequence of entertaining parts. Several pageant wagons (stages on wheels) would move about the city, and a group of actors would tell their part of the story. Once finished, the group would move on with their wagon, and the next group would arrive to tell its part of the story. These plays developed into an autonomous form of musical theatre, with poetic forms sometimes alternating with the prose dialogues and liturgical chants. The poetry was provided with modified or completely new melodies.[8]
Renaissance to the 1800s
The European
The musical sections of masques developed into sung plays that are recognizable as English operas, the first usually being thought of as
By the 18th century, the most popular forms of musical theatre in Britain were
The first recorded long-running play of any kind was The Beggar's Opera, which ran for 62 successive performances in 1728. It would take almost a century before the first play broke 100 performances, with Tom and Jerry, based on the book Life in London (1821), and the record soon reached 150 in the late 1820s.
1850s to 1880s
Around 1850, the French composer
In America, mid-18th century musical theatre entertainments included crude variety revue, which eventually developed into
The length of runs in the theatre changed rapidly around the same time that the modern musical emerged. As transportation improved, poverty in London and New York diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to better profits and improved production values. The first play to achieve 500 consecutive performances was the London (non-musical) comedy
Gilbert and Sullivan's influence on later musical theatre was profound, creating examples of how to "integrate" musicals so that the lyrics and dialogue were designed to advance a coherent story.
1890s to the new century
Meanwhile, musicals had spread to the London stage by the Gay Nineties. George Edwardes had left the management of Richard D'Oyly Carte's Savoy Theatre. He took over the Gaiety Theatre and, at first, he improved the quality of the old burlesques. He perceived that audiences wanted a new alternative to the Savoy-style comic operas and their intellectual, political, absurdist satire. He experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle at the Gaiety, Daly's Theatre and other venues. These drew on the traditions of comic opera and also used elements of burlesque and of the Harrigan and Hart pieces. He replaced the bawdy women of burlesque with his "respectable" corps of dancing, singing Gaiety Girls to complete the musical and visual fun. The success of the first of these, In Town in 1892 and A Gaiety Girl in 1893, confirmed Edwardes on the path he was taking. These "musical comedies", as he called them, revolutionized the London stage and set the tone for the next three decades.
Edwardes' early Gaiety hits included a series of light, romantic "poor maiden loves aristocrat and wins him against all odds" shows, usually with the word "Girl" in the title, including The Shop Girl (1894) and A Runaway Girl (1898), with music by Ivan Caryll and Lionel Monckton. These shows were immediately widely copied at other London theatres (and soon in America), and the Edwardian musical comedy swept away the earlier musical forms of comic opera and operetta. At Daly's Theatre, Edwardes presented slightly more complex comedy hits. The Geisha (1896) by Sidney Jones with lyrics by Harry Greenbank and Adrian Ross and then Jones' San Toy (1899) each ran for more than two years and also found great international success, for example in Australian productions by J. C. Williamson.
The British musical comedy
Operetta and World War I
Virtually eliminated from the English-speaking stage by competition from the ubiquitous Edwardian musical comedies in the 1890s, operettas returned to London and Broadway in 1907 with The Merry Widow, and operettas and musicals became direct competitors for a time. In the early years of the 20th century, English-language adaptations of 19th century continental operettas, as well as operettas by a new generation of European composers, such as Franz Lehár and Oscar Straus, among others, spread throughout the English-speaking world. In America, Victor Herbert produced a string of famous operettas (The Fortune Teller (1898), Babes in Toyland (1903), Mlle. Modiste (1905), The Red Mill (1906) and Naughty Marietta (1910)), often with librettist Harry B. Smith, as well as some intimate musical plays with modern settings. In English-speaking countries, during World War I, German-language operetta lost its popularity.[36]
Among other British and American composers and librettists of the 1910s, the team of
"These shows built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. Kern's exquisitely flowing melodies were employed to further the action or develop characterization. The integration of song and story is periodically announced as a breakthrough in ... musical theater. Great opera has always done this, and it is easy to demonstrate such integration in Gilbert and Sullivan or the French
opera bouffe. However, early musical comedy was often guilty of inserting songs in a hit-or-miss fashion. The Princess Theatre musicals brought about a change in approach. P. G. Wodehouse, the most observant, literate, and witty lyricist of his day, and the team of Bolton, Wodehouse, and Kern had an influence felt to this day.[37]
The theatre-going public needed escapist entertainment during the dark times of
The primacy of British musical theatre from the 19th century through 1920 was gradually replaced by American innovation in the 20th century. Edwardes' competitor and counterpart in the U.S. was
The Roaring Twenties and the Great Depression
The musicals of the
Many shows were
Progressing far beyond the comparatively frivolous musicals and sentimental operettas of the decade, Show Boat, which premiered on December 27, 1927, at the Ziegfeld Theatre in New York, represented an even more complete integration of book and score than the Princess Theatre musicals, with dramatic themes told through the music, dialogue, setting and movement. This was accomplished by combining the lyricism of Kern's music with the skillful craft of Oscar Hammerstein II, who adapted Edna Ferber's novel and wrote lyrics for the show. One historian wrote, "Here we come to a completely new genre – the musical play as distinguished from musical comedy. Now ... the play was the thing, and everything else was subservient to that play. Now ... came complete integration of song, humor and production numbers into a single and inextricable artistic entity."[41] However, Bordman argues, "Show Boat is certainly an operetta with its many arioso passages, its musical depth and seriousness, and its romantic story set, in typical operetta fashion, in the long ago and far away."[37] Nevertheless, as the Great Depression set in during the post-Broadway national tour of Show Boat, the public turned back to light, brassy, escapist entertainment, and no follow-up was produced so seriously treating serious social themes until Oklahoma! in 1943.[37]
The motion picture mounted a challenge to the stage. At first, films were silent and presented only limited competition to theatre. But by the end of the 1920s, films like The Jazz Singer could be presented with synchronized sound. "Talkie" films at low prices effectively killed off vaudeville by the early 1930s. Historian John Kenrick commented: "Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed the death of vaudeville. After all, when 'small time' theatres could offer 'big time' performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent?"[42]
1930s to Oklahoma!
The Great Depression affected theatre audiences on both sides of the Atlantic, as people had little money to spend on entertainment. Only a few stage shows exceeded a run on Broadway or in London of 500 performances during the decade.
Many shows continued the lighthearted song-and-dance style of their 1920s predecessors. The revue
However, a few creative teams began to build on Show Boat's innovations, experimenting with musical satire, topical books and operatic scope.
Despite the economic woes of the decade and the competition from film, the musical survived. In fact, the move towards political satire in Of Thee I Sing, I'd Rather Be Right and Knickerbocker Holiday, together with the musical sophistication of the Gershwin, Kern, Rodgers and Weill musicals and the fast-paced staging and naturalistic dialogue style created by director George Abbott, showed that musical theatre was beginning to evolve beyond the gags and showgirls musicals of the Gay Nineties and Roaring Twenties and the sentimental romance of operetta.[6] Rodgers and Hammerstein's Oklahoma! (1943) completed the revolution begun by Show Boat, by tightly integrating all the aspects of musical theatre, with a cohesive and more serious plot, and songs and dances that furthered the action of the story and developed the characters. It was also the first "blockbuster" Broadway show, running a total of 2,212 performances, and was made into a hit film.[2][45]
See also
Notes and references
- ^ Everett 2002, p. 137
- ^ a b Rubin, p. 438
- ^ Thornton, Shay (2007). "A Wonderful Life" (PDF). Houston, TX: Theatre Under the Stars. p. 2. Archived from the original (PDF) on November 27, 2007. Retrieved May 26, 2009.
- ^ Goodwin, Noël. "The history of theatrical music", Britannica.com, accessed August 4, 2021; and Blakeley, Sasha and Jenna Conan. "History of Musical Theatre: Lesson for Kids – Early Musicals", Study.com, accessed August 4, 2021
- ^ Flinn 1997, p. 22.
- ^ a b c d e f g h Kenrick, John. "A Capsule History", Musicals101.com, 2003, accessed October 12, 2015
- ^ a b c Kenrick, John. "History of Stage Musicals", Musicals101.com, 2003, accessed May 26, 2009
- ^ Hoppin 1978, pp. 180–181
- ^ Lord 2003, p. 41
- ^ Lord 2003, p. 42
- ^ Buelow 2004, p. 26
- ^ Shakespeare 1998, p. 44.
- ^ a b Buelow 2004, p. 328
- ^ a b Carter and Butt 2005, p. 280
- ^ Parker 2001, p. 42.
- ^ Cullen (2007), p. 810
- ^ a b c Gillan, Don (2007). "Longest Running Plays in London and New York". Stage Beauty. Retrieved May 26, 2009.
- ^ a b Wilmeth and Miller, p. 182.
- ^ Wilmeth and Miller, p. 56
- ^ Allen 1991, p. 106
- ^ Morley 1987, p. 15
- ^ Lubbock, Mark. "The Music of 'Musicals'". The Musical Times, Vol. 98, No. 1375 (September, 1957), pp. 483–85, Musical Times Publications Ltd., accessed 17 August 2010
- ^ Lubbock, Mark. "The Music of 'Musicals'", The Musical Times, Vol. 98, No. 1375 (September 1957), pp. 483–485 (subscription required)
- ^ a b Bond, Jessie. Introduction to The Life and Reminiscences of Jessie Bond, reprinted at The Gilbert and Sullivan Archive, accessed March 4, 2011
- ^ Cullen (2007), p. 811
- ISBN 9780252041631.
- ^ a b Kenrick, John. "G&S in the USA" at the musicals101 website The Cyber Encyclopedia of Musical Theatre, TV and Film (2008). Retrieved on 4 May 2012.
- ^ a b Jones, 2003, pp. 10–11
- ISBN 0-87972-466-8
- ^ PG Wodehouse (1881–1975), guardian.co.uk, Retrieved on 21 May 2007
- ^ "List of allusions to G&S in Wodehouse". Home.lagrange.edu. Archived from the original on 9 December 2008. Retrieved 27 May 2009.
- ^ Meyerson, Harold and Ernest Harburg Who Put the Rainbow in the Wizard of Oz?: Yip Harburg, Lyricist, pp 15-17 (Ann Arbor: University of Michigan Press, 1993, 1st paperback edition 1995)
- ^ Bradley (2005), p. 9
- ISBN 0-8018-6477-1
- ^ See, generally, Index to The Gaiety, a British musical theatre publication with articles about Victorian and Edwardian musical theatre. Accessed February 25, 2011
- ^ Kenrick, John. Basil Hood, Who's Who in Musicals: Additional Bios XII, Musicals101.com, 2004, accessed May 7, 2012
- ^ a b c Bordman, Gerald. "Jerome David Kern: Innovator/Traditionalist", The Musical Quarterly, 1985, Vol. 71, No. 4, pp. 468–73
- JSTOR 3052183.
- ^ Krasner, David. A Beautiful Pageant: African American Theatre, Drama and Performance in the Harlem Renaissance, 1910–1927, Palgrave MacMillan, 2002, pp. 263–67
- ^ Midgette, Anne. "Operetta Review: Much Silliness In a Gilt Frame", The New York Times, March 29, 2003, accessed December 1, 2012
- ^ Lubbock 2002.
- ^ Kenrick, John. "History of Musical Film, 1927–30: Part II". Musicals101.com, 2004, accessed May 17, 2010
- ^ 1944 awards, Pulitzer.org, accessed July 7, 2012
- ^ Connema, Richard (2000). "San Francisco: As Thousands Cheer and Dear World". TalkinBroadway.Org, Inc. Retrieved May 26, 2009.
- ^ Everett 2002, p. 124
Cited books
- Allen, Robert C. (c. 1991). Horrible prettiness: burlesque and American culture. University of North Carolina. p. 350. ISBN 978-0-8078-1960-9.
- ISBN 0-19-516700-7.
- Buelow, George J. (2004). A history of baroque music. Bloomington, IN: Indiana University Press. p. 701. ISBN 978-0-253-34365-9.
- Carter, Tim; Butt, John, eds. (2005). The Cambridge history of seventeenth-century music. The Cambridge History of Music. Vol. 1. Cambridge University Press. p. 591. ISBN 978-0-521-79273-8. Archived from the originalon 2013-01-12.
- Cullen, Frank (2007). Vaudeville Old & New: An Encyclopedia of Variety Performers in America, Vol. 2. Bloomington, IN: Taylor & Francis Group Publishing.
- Everett, William A.; Laird, Paul R., eds. (2002). The Cambridge companion to the musical. Cambridge companions to music. Cambridge University Press. p. 310. ISBN 978-0-521-79189-2.
- Flinn, Denny M. (c. 1997). Musical! : a grand tour: the rise, glory and fall of an American institution. New York: Schirmer Books. p. 556. ISBN 978-0-02-864610-7.
- Hoppin, Richard H., ed. (1978). Anthology of medieval music. Norton introduction to music history. New York, NY: Norton. p. 177. ISBN 978-0-393-09080-2.
- Jones, John B. (2003). Our Musicals, Ourselves. Hanover: University Press of New England. ISBN 978-1-58465-311-0.
- Lubbock, Mark (2002) [1962]. "American musical theatre: an introduction". The Complete Book of Light Opera (1st ed.). London: Putnam. pp. 753–56.
- Morley, Sheridan (c. 1987). Spread a little happiness: the first hundred years of the British musical. London: Thames and Hudson. p. 224. ISBN 978-0-500-01398-4.
- Parker, Roger, ed. (2001). The Oxford illustrated history of opera. Oxford illustrated histories (illustrated ed.). Oxford University Press. p. 541. ISBN 978-0-19-285445-2.
- Rubin, Don; ISBN 0-415-05929-1.
- Wilmeth, Don B.; Miller, Tice L., eds. (1996). Cambridge guide to American theatre (2nd ed.). Cambridge University Press. ISBN 978-0-521-56444-1.
Further reading
- Bordman, Gerald (1978). American Musical Theatre: a Chronicle. New York: Oxford University Press. viii, 749 p.ISBN 0-19-502356-0
- Bryant, Jye (2018). Writing & Staging A New Musical: A Handbook. Kindle Direct Publishing. ISBN 9781730897412.
- Ganzl, Kurt. The Encyclopedia of Musical Theatre (3 Volumes). New York: Schirmer Books, 2001.
- Stempel, Larry. Showtime: A History of the Broadway Musical Theater (W.W. Norton, 2010) 826 pages; comprehensive history since the mid-19th century.
- Traubner, Richard. Operetta: A Theatrical History. Garden City, NY: Doubleday & Company, 1983