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40 Cards in this Set
- Front
- Back
Musical theatre in the 30s |
-drought hit broadway -no one picked up where Show Boat left off |
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Longest runs of the 30s |
-Of thee I sing (441) by Gershwins -Music in the Air (342 p) by Kern and Hammerstein |
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Comparison of Longest runs |
20s- 608 30s- 441 of thee I sing 40s- 2,212 oklahoma 50s- 2,717 my fair lady 60s- 3,242 fiddler on the roof 70s- 6, 137 a chorus line 80s- 5,944 cats |
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why so few success after show boat? |
-rise of radio -rise of film -hollywood migration -great depression -WWII -the end of an era: George Gershwin, Jerome Kern, and Lorenz Hart died |
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how did new technology affect musical theatre? |
-5,000 theatres closed -1,000 performers forced to quit |
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Ethel Merman |
-Annie get your gun, anything goes -broadway belter |
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Broadway belter |
-associated w/women -loud and projected optimism, brassy voice -narrow and lower range -ex. Ethel Merman, Idina Menzel |
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Mary Martin |
-leave it to me!, south pacific, the sound of music -original Maria in sound of music -half broadway belter, half "legit voice" |
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Legit voice |
-wider range -ability for vibrato -classically trained -lighter in tone |
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George Abbott |
-not a performer but a huge figure -father of modern musical comedy -for 30yrs all but 1 week he had a show running on broadway -producer, director, bookwriter -mentored Harold Prince -focused on book of show -his shows had lots of dance and choreo was integrated |
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Richard Rogers and Lorenz Hart |
-25yr partnership (A Connecticut yankee, on your toes, paul joey -producing on average 2 shows a yr -rodgers wrote music first then Hart added lyrics |
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"Bewitched, Bothered, and Bewildered" |
-Form: V, A, A, B, A |
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George and Ira Gershwin |
-brothers collabed on Strike up the band, of thee I sing, Let 'Em eat cake, and Porgy and Bess -wrote political operettas -George a composer -Ira a lyricist |
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Oklahoma! billing |
Composer: Rodgers Lyricist/bookwriter: Hammerstein II Source: Green grow the lilacs (play) by Lynn Riggs Producer: Theatre Guild Director: Rouben Mamoulian Choreo: Agnes de Mille Billing: a new musical comedy (altered to musical play) Ran: March 31, 1943 2,212 performances |
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Oklahoma! |
-theatre guild approached Rogers and Hart about doing the show -lacked a cultural frame of reference in which to place Oklahoma! |
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Making a show: |
Creative process producer director casting rehearse tryouts previews opening |
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what is a Musical Play? |
-emphasis on book -focus on serious issues -music is integrated (shift b/w speech and song is almost unnoticeable) -dance is integrated |
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Richard Rogers |
-american composer -rodgers worked with Hart on more than 15 musical comedies -later joined Hammerstein to create most successful partnership -composed more than 900 published songs and 40 musicals |
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Oscar Hammerstein |
-lyricist/bookwriter -collabed w/Romberg, Friml, Kern, -Oklahoma!, Carousel, Allegro, South Pacific, The King and I, The Sound of Music -dozens of awards -Rodgers added music to Hammersteins lyrics |
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Agnes de Mille |
-choreo and dancer -choreographed 15 musicals -Carousel, Allegro, Brigadoon, 110 in the Shade, Oklahoma |
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Rouben Mamoulian |
-american theatre and film director -directed Porgy and Bess and its source (the play Porgy) and Carousel |
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Oklahoma Main characters: |
-Curly -Laurey Williams -Will Parker -Ado Annie -Aunt Eller -Ali Hakim -Jud Fry |
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"The Surrey with the Fringe On Top" |
-sung by Curly (then Laurey and Aunt Eller) -ex of underscoring and musical scene -ex of charm song -non-diegetic -Form: V, A, A, B, A1, V, A, A, B, A1, underscored dialogue, A, A, B, A1 |
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Rhyme |
correspondence of sound b/w words or the endings of words |
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Alliteration |
repetition of initial consonants |
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Onomatopoeia |
word that imitates the sound of the thing its describing |
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Consonance |
close repetition of consonant sounds |
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Assonance |
close repetition of vowel sounds |
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Anaphora |
repetition of same words at beg of successive lines |
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False Firsts |
-NOT first musical to end with an exclamation point -NOT first musical w/cast recording (The Cradle will Rock) -NOT first musical to start w/out a chorus number (anything goes) -NOT first musical play (lady in the dark) -NOT first dream ballet |
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"Oh ,What a Beautiful Mornin'" |
-might be first a cappella opening to a musical -ex of an establishing number |
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Real Firsts |
-first show to cast exclusively unknown stars -first musical to have such a long run -redefined the parameters of a broadway show as a commercial enterprise -first to demonstrate the principles of integration -first to experience almost immediate national resonance as an american cultural artifact |
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Principles of Integration |
-song advances plot -song flows directly from the dialogue -song expresses the character who sings them -dances advance the plot -orchestra advances the plot |
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Problems w/Idea of integration |
-shouldn't be equated w/artistic success -celebrating integration casts a shadow over the shows that came before Oklahoma |
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"The Farmer and the Cowman" |
-ex of a production number |
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Making of an Icon |
-Oklahoma! was a revolutionary manifesto because of: -critical reception (opening night reviews, reviews in nationally-circulating publications, "birthday" pieces) -revivals -the reputation of its creators |
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Oklahoma love triangles |
Laurey-Curly and Jud Ado Annie- Will and Ali Hakim |
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The "Golden Age" of the Musical |
-from Oklahoma (1943) to West Side Story (1957) -fewer shows opened but many had long runs -300 shows opened during golden age -20 musicals ran more than 1,000 performances -more than 50 surpassed the 500 performance mark |
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Creative Partnerships |
-Rodgers and Hammerstein -Lerner and Loewe -Adler and Ross -Arlen and Harburg -Burrows and Loesser -Comden and Green -Bock and Harrick -Kander and Ebb -Strouse and Adams -Jones and Schmidt |
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Characteristics of Golden Age musical |
-more adventurous in its subject matter -more serious in its social commentary -"integrated" -elevation of dance -expansion of formal parameters from AABA to complex musical scenes |