- Golden Age of Musical Theater (1943-late 1960s)o Oklahoma! And the integrated musicalo Elements: text, song, dance, work to push plot forwardo Carouselo Dance does not integrate as quicklyo West Side Story: Robins figured out how to use dance- Characteristics of Golden Age Musicalso Representational (behind 4th wall)o Plot centeredo Elevated importance of lyrics and danceo Serious themeso Happy/ hopeful endings- 1940s-1950so isolated Americans- The Concept Musical (1960s=1970s)o Centers around a theme/danceo Rarely have happy endings – more about exploring an ideao “Hair”, “A Chorus Line”o characteristics of concept musicals theme over plot presentational-break 4th wall episodic-order of songs won’t effect plot dark themes with no easy resolution- Sir Andrew Lloyd Webber vs. Stephen Sondheimo Stephen Sondheim Took conventions of tutor and blew them away Worked with Karl Jung psychology (reoccurance of stories across cultures)-archetypes, collective unconscious, fairy tales Into the woods-learn about character and what they learn through song 3 adolescents (Jack, Little Red, Cinderella) language and lyrics- word choice, rhyme, word play, patter song (lyrics in a rapid succession that work with music)- Musical- “Assassins”-sympathizes with assassins- Megamusical (spectacle musical, British invasion)o Guaranteed success-you know its goodo Massive, exciting spectacleo First musical: Andrew Lloyd Webber- “Catso Marketing-heavily marketedo Characteristics- representational, spetacle driven, commercial entertainment, accessible music (poperetta or pop opera), heavily marketed, tourist attractions- Concerns with mega musicalo High cost of productiono High cost of ticketso Musical as tourist attractiono Producers not willing to take risks on newcomers- Reviewo Oklahoma was created as a serious play, first integrated musicalo Conceptual (intellectual, dark) musical vs. mega musical- Jonathon Larsono Designed RENTo Compared best to the character of Marko He didn’t have AIDSo Day before it was set to open, he died and the play moved almost unaltered to Broadwayo It was bringing young audiences into the theatre- Casey Kalebao Stage combat – really is a magiciano Three things that he ensures: the safety of the actors (making sure his props work to do the job they are supposed to do), teaching the actors how to use props or do certain things like fall, and he tells a story with violenceo What audiences expect: The cool sound And the sword moving and making that swishing noiseo He is the dramaturgy of
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