Approaches to the American Musical


Book Description

This new analysis of American film and stage musicals puts forward the argument that productions such as Kiss Me Kate were popular because they dealt with important issues such as ethnicity, rather than because of their value as escapism.




The Secret Life of the American Musical


Book Description

New York Times Bestseller: “Both revelatory and entertaining . . . Along the way, Viertel provides some fascinating Broadway history.” —The New York Times Book Review Americans invented musicals—and have a longstanding love affair with them. But what, exactly, is a musical? In this book, longtime theatrical producer and writer Jack Viertel takes them apart, puts them back together, sings their praises, and occasionally despairs over their more embarrassing shortcomings. In the process, he shows us how musicals happen, what makes them work, how they captivate audiences, and how one landmark show leads to the next—by design or by accident, by emulation or by rebellion—from Oklahoma! to Hamilton and onward. Beginning with an overture and concluding with a curtain call, with stops in between for “I Want” songs, “conditional” love songs, production numbers, star turns, and finales, Viertel shows us patterns in the architecture of classic shows and charts the inevitable evolution that has taken place in musical theater as America itself has evolved socially and politically. The Secret Life of the American Musical makes you feel like you’re there in the rehearsal room, the front row, and the offices of theater owners and producers as they pursue their own love affair with that rare and elusive beast—the Broadway hit. “A valuable addition to the theater lover’s bookshelf. . . . fans will appreciate the dips into memoir and Viertel’s takes on original cast albums.” —Publishers Weekly “Even seasoned hands will come away with a clearer understanding of why some shows work while others flop.” —Commentary “A showstopper . . . infectiously entertaining.” —John Lahr, author of Notes on a Cowardly Lion “Thoroughly interesting.” —The A.V. Club “The best general-audience analysis of musical theater I have read in many years.” —The Charlotte Observer “Delightful . . . a little bit history, a little bit memoir, a little bit criticism and, for any theater fan, a whole lot of fun.” —The Dallas Morning News




Stephen Sondheim and the Reinvention of the American Musical


Book Description

From West Side Story in 1957 to Road Show in 2008, the musicals of Stephen Sondheim (1930–2021) and his collaborators have challenged the conventions of American musical theater and expanded the possibilities of what musical plays can do, how they work, and what they mean. Sondheim's brilliant array of work, including such musicals as Company, Follies, Sweeney Todd, Sunday in the Park with George, and Into the Woods, established him as the preeminent composer/lyricist of his, if not all, time. Stephen Sondheim and the Reinvention of the American Musical places Sondheim's work in two contexts: the exhaustion of the musical play and the postmodernism that, by the 1960s, deeply influenced all the American arts. Sondheim's musicals are central to the transition from the Rodgers and Hammerstein-style musical that had dominated Broadway stages for twenty years to a new postmodern musical. This new style reclaimed many of the self-aware, performative techniques of the 1930s musical comedy to develop its themes of the breakdown of narrative knowledge and the fragmentation of identity. In his most recent work, Sondheim, who was famously mentored by Oscar Hammerstein II, stretches toward a twenty-first-century musical that seeks to break out of the self-referring web of language. Stephen Sondheim and the Reinvention of the American Musical offers close readings of all of Sondheim's musicals and finds in them critiques of the operation of power, questioning of conventional systems of knowledge, and explorations of contemporary identity.




The Oxford Handbook of The American Musical


Book Description

The Oxford Handbook of The American Musical offers new and cutting-edge essays on the most important and compelling issues and topics in the growing, interdisciplinary field of musical-theater and film-musical studies. Taking the form of a "keywords" book, it introduces readers to the concepts and terms that define the history of the musical as a genre and that offer ways to reflect on the specific creative choices that shape musicals and their performance on stage and screen. The handbook offers a cross-section of essays written by leading experts in the field, organized within broad conceptual groups, which together capture the breadth, direction, and tone of musicals studies today. Each essay traces the genealogy of the term or issue it addresses, including related issues and controversies, positions and problematizes those issues within larger bodies of scholarship, and provides specific examples drawn from shows and films. Essays both re-examine traditional topics and introduce underexplored areas. Reflecting the concerns of scholars and students alike, the authors emphasize critical and accessible perspectives, and supplement theory with concrete examples that may be accessed through links to the handbook's website. Taking into account issues of composition, performance, and reception, the book's contributors bring a wide range of practical and theoretical perspectives to bear on their considerations of one of America's most lively, enduring artistic traditions. The Oxford Handbook of The American Musical will engage all readers interested in the form, from students to scholars to fans and aficionados, as it analyses the complex relationships among the creators, performers, and audiences who sustain the genre.




West Side Story


Book Description

Wells presents a scholarly study of the American musical West Side Story, viewing the work from cultural, historical, and musical perspectives. --from publisher description.




The Art of the American Musical


Book Description

Musical theater has captivated American audiences from its early roots in burlesque stage productions and minstrel shows to the million-dollar industry it has become on Broadway today. What is it about this truly indigenous American art form that has made it so enduringly popular? How has it survived, even thrived, alongside the technology of film and the glitz and glamour of Hollywood? Will it continue to evolve and leave its mark on the twenty-first century? Bringing together exclusive and previously unpublished interviews with nineteen leading composers, lyricists, librettists, directors, choreographers, and producers from the mid-1900s to the present, this book details the careers of the individuals who shaped this popular performance art during its most prolific period. The interviewees discuss their roles in productions ranging from On the Town (1944) and Finian's Rainbow (1947) to The Producers (2001) and Bounce (2003). Readers are taken onto the stage, into the rehearsals, and behind the scenes. The nuts and bolts, the alchemy, and the occasional agonies of the collaborative process are all explored. In their discussions, the artists detail their engagements with other creative forces, including such major talents as Leonard Bernstein, Jerome Robbins, Bob Fosse, Liza Minnelli, Judy Garland, Barbra Streisand, Jule Styne, Richard Rodgers and Oscar Hammerstein, Alan Jay Lerner, Zero Mostel, and Gwen Verdon. They speak candidly about their own work and that of their peers, their successes and failures, the creative process, and how a show progresses from its conception through rehearsals and tryouts to opening night. Taken together, these interviews give fresh insight into what Oscar Hammerstein called "a nightly miracle"--the creation of the American musical.




Irving Berlin's American Musical Theater


Book Description

From patriotic "God Bless America" to wistful "White Christmas," Irving Berlin's songs have long accompanied Americans as they fall in love, go to war, and come home for the holidays. Irving Berlin's American Musical Theater is the first book to fully consider this songwriter's immeasurable influence on the American stage. Award-winning music historian Jeffrey Magee chronicles Berlin's legendary theatrical career, providing a rich background to some of the great composer's most enduring songs, from "There's No Business Like Show Business" to "Puttin' on the Ritz." Magee shows how Berlin's early experience singing for pennies made an impression on the young man, who kept hold of that sensibility throughout his career and transformed it into one of the defining attributes of Broadway shows. Magee also looks at darker aspects of Berlin's life, examining the anti-Semitism that Berlin faced and his struggle with depression. Informative, provocative, and full of colorful details, this book will delight song and theater aficionados alike as well as anyone interested in the story of a man whose life and work expressed so well the American dream.




The American Musical and the Performance of Personal Identity


Book Description

The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project. This book addresses a variety of specific themes in musicals that serve this general function: fairy tale and fantasy, idealism and inspiration, gender and sexuality, and relationships, among others. It also considers three overlapping genres that are central, in quite different ways, to the projection of personal identity: operetta, movie musicals, and operatic musicals. Among the musicals discussed are Camelot, Candide; Chicago; Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd; and The Wizard of Oz. Complementing the author's earlier work, The American Musical and the Formation of National Identity, this book completes a two-volume thematic history of the genre, designed for general audiences and specialists alike.




Our Musicals, Ourselves


Book Description

Our Musicals, Ourselves is the first full-scale social history of the American musical theater from the imported Gilbert and Sullivan comic operas of the late nineteenth century to such recent musicals as The Producers and Urinetown. While many aficionados of the Broadway musical associate it with wonderful, diversionary shows like The Music Man or My Fair Lady, John Bush Jones instead selects musicals for their social relevance and the extent to which they engage, directly or metaphorically, contemporary politics and culture. Organized chronologically, with some liberties taken to keep together similarly themed musicals, Jones examines dozens of Broadway shows from the beginning of the twentieth century to the present that demonstrate numerous links between what played on Broadway and what played on newspapersÕ front pages across our nation. He reviews the productions, lyrics, staging, and casts from the lesser-known early musicals (the ÒgunboatÓ musicals of the Teddy Roosevelt era and the ÒCinderella showsÓ and Òleisure time musicalsÓ of the 1920s) and continues his analysis with better-known shows including Showboat, Porgy and Bess, Oklahoma, South Pacific, West Side Story, Cabaret, Hair, Company, A Chorus Line, and many others. While most examinations of the American musical focus on specific shows or emphasize the development of the musical as an art form, JonesÕs book uses musicals as a way of illuminating broader social and cultural themes of the times. With six appendixes detailing the long-running diversionary musicals and a foreword by Sheldon Harnick, the lyricist of Fiddler on the Roof, JonesÕs comprehensive social history will appeal to both students and fans of Broadway.




The American Musical Landscape


Book Description

"This book reflects a breakthrough in American music studies, an unrecognized field among traditional musicologists until the past few decades, during which enormous progress has been made in documenting three centuries of American musical activities and figures. Time and effort had to be expended exclusively on the development of basic historical studies. The time has come for a new phase, one that can take a creative, interpretive approach. Professor Crawford's study will introduce this higher level of scholarship into the field of American music studies."—Vivian Perlis, author of Charles Ives Remembered "A major statement by a senior scholar on what American musicology is all about. . . These themes are also topical; they come at a time when much more research is being done in American music, but little thought is being given to the big picture, the vision, the philosophy, and the implications of historical research. Now is the time for a synthesis, and there are few scholars better equipped to do that in American music than Richard Crawford."—Michael Broyles, author of Music of the Highest Class