Class #1Background

Our resources…Broadway: The American Musical

3-part dvd by PBSmusicals101.com

A terrific web site by John Kenrick

Where does it all begin?Greek theater (5th Century, BC)Roman theater (3rd Century, BC)Middle Ages

Religious Dramas Hildegard of Bingen: Ordo virtutum

Renaissance French Commedia Dell’arte

Pulcinella (Igor Stravinsky)Opera (Italy)

England Ballad and Comic

Baroque OperaArias, Recitatives, ChorusLittle dramatic actionQuality of the singingExcessive stage tricksAristocratic/Noble audience

Mozart & DaPonte

What’s new?Everything!

Character development!Subconscious thought!Ever expanding ensembles!Middle-class target audience!

OperettaParis, Vienna and London

VernacularSpoken dialogueComediesPredictable characters, plots and situations

Paris: Jacques OffenbachPopular yet refined musicSilly plotsSpoken dialogueHappy endingsLa Belle Helene (1864)

Vienna: Johann StraussMore refined and “classical” musicSpoken dialogueInfectious melodiesDie Fledermaus (1874)

England: Gilbert & SullivanW.S. Gilbert (librettist)

Pioneering stage directorArthur Sullivan (music)14 comic operas

(Richard) D'Oyly Carte Opera CompanyPirates of Penzance (1880) (Kevin Klein)

“Topsy-Turvy” 1999“Three Little Maids Are We”

Gay Men’s Chorus of Los Angeles

England: Music HallsLegitimized saloonsIntermingling of classes300+ in London by 1875

“Ye Ole’ English Music Hall” 1926Stars included

Laurel & HardyCharlie Chaplin

Next week…Before Showboat 

i.) Review of Vaudeville, Minstrel shows, Variety, Burlesque.

ii.) Integrated musical vs. Musical comedy and reviews

iii.) Florenz Zeigfeld and the Folliesiv.) George M. Cohanv.) Irving Berlin

(1) Influence of World War I