attitudes. The changes in spending due to economic growth harbored an egotism that underscored much of what was seen on the Broadway stage in the 1920s.
From 1920-1930, Broadway produced more musicals than any other ten-year period, with grossing figures for new musicals and revues reaching unprecedented heights.
After the Armistice of 1918, the pleasure-seeking, prohibition-despising, boom-rich American public enabled the musical theatre to revel in a decade of luxury and wastefulness and irresponsibility such as it had never known before and will probably never know again in our time. Money was available to produce anything with the slightest prospect of success, and audiences were lenient, easily amused, and generous with their patronage… …show more content…
The show is widely known as the first large-scale, successful integrated musical on Broadway. The show’s writer, Jerome Kern, attempted to repel the apparent set model of musicals used as a distraction to life and used the musical stage to reflect the actualities of real-life. “Each of the songs…is a direct, logical extension of the action or dialogue, divulging aspects of character, furthering character relationships, helping move the story along, or, at the very least, establishing the ambiance of a …show more content…
Although written based on many elements of the preceding war, The Sound of Music fails to mention the Nazi persecution of Jews and other minorities and, instead, focuses entirely on the fear and hatred of the Nazi. As America continued to prosper from the war, its musical theatre continued to thrive, in terms of profits, but also in terms of the variety, richness and quality of the shows. The period created shows such as Annie Get Your Gun, Kiss Me, Kate, Guys and Dolls, The Pajama Game, Damn Yankees, My Fair Lady and The Music Man. In the postwar years, the cost of mounting all Broadway productions spiraled out of control even faster than the cost of a ticket, which doubled between 1944 and 1960. Skyrocketing ticket prices kept some former spectators away, and the introduction of television into most American homes noticeably changed the way Americans viewed entertainment. Series like Studio One, Playhouse 90, and Play of the Week showcased versions of current Broadway plays, and musicals, meaning people didn’t have to go to Broadway as Broadway was coming to
From 1920-1930, Broadway produced more musicals than any other ten-year period, with grossing figures for new musicals and revues reaching unprecedented heights.
After the Armistice of 1918, the pleasure-seeking, prohibition-despising, boom-rich American public enabled the musical theatre to revel in a decade of luxury and wastefulness and irresponsibility such as it had never known before and will probably never know again in our time. Money was available to produce anything with the slightest prospect of success, and audiences were lenient, easily amused, and generous with their patronage… …show more content…
The show is widely known as the first large-scale, successful integrated musical on Broadway. The show’s writer, Jerome Kern, attempted to repel the apparent set model of musicals used as a distraction to life and used the musical stage to reflect the actualities of real-life. “Each of the songs…is a direct, logical extension of the action or dialogue, divulging aspects of character, furthering character relationships, helping move the story along, or, at the very least, establishing the ambiance of a …show more content…
Although written based on many elements of the preceding war, The Sound of Music fails to mention the Nazi persecution of Jews and other minorities and, instead, focuses entirely on the fear and hatred of the Nazi. As America continued to prosper from the war, its musical theatre continued to thrive, in terms of profits, but also in terms of the variety, richness and quality of the shows. The period created shows such as Annie Get Your Gun, Kiss Me, Kate, Guys and Dolls, The Pajama Game, Damn Yankees, My Fair Lady and The Music Man. In the postwar years, the cost of mounting all Broadway productions spiraled out of control even faster than the cost of a ticket, which doubled between 1944 and 1960. Skyrocketing ticket prices kept some former spectators away, and the introduction of television into most American homes noticeably changed the way Americans viewed entertainment. Series like Studio One, Playhouse 90, and Play of the Week showcased versions of current Broadway plays, and musicals, meaning people didn’t have to go to Broadway as Broadway was coming to