After watching the recording version of Shrek the Musical, I consider that it is a successful production if the purpose of this musical is to amuse audiences and bring them an enduring audio-visual feast. As a musical that is created based on a blockbuster, the basic story framework is without novelty – an ugly but kind-hearted ogre experiences lots of dangers with a friend, saves the princess like a hero and wins her heart in the end. However, I have to admit that Shrek the Musical does a fantastic job to convert a movie into a Broadway show, considering the high level of complexity and difficulty for a team to humanize animated characters and imitate scenes. There are a lot of details, including Pinocchio’s growing nose, in the musical that show off the elaboration. Undoubtedly, the scenery is one of the brightest spot in this musical.
After watching the recording version of Shrek the Musical, I consider that it is a successful production if the purpose of this musical is to amuse audiences and bring them an enduring audio-visual feast. As a musical that is created based on a blockbuster, the basic story framework is without novelty – an ugly but kind-hearted ogre experiences lots of dangers with a friend, saves the princess like a hero and wins her heart in the end. However, I have to admit that Shrek the Musical does a fantastic job to convert a movie into a Broadway show, considering the high level of complexity and difficulty for a team to humanize animated characters and imitate scenes. There are a lot of details, including Pinocchio’s growing nose, in the musical that show off the elaboration. Undoubtedly, the scenery is one of the brightest spots in this musical.
The song “Caravan” by Duke Ellington performed by Ella Fitzgerald in this rendition has the lyrics written by Irving Mills. This classic song was released in 1937 but Fitzgerald didn’t complete her rendition until nearly 20 years later in 1957 accompanied by Ellington’s Orchestra in her Duke Ellington songbook album. This is a jazz piece of music with whimsical lyrics and a feeling that invokes an exotic atmosphere. On Ella’s rendition, she adds a big element of a swing sound into the piece and even though she does not need the big orchestra she still knows how to use it. Duke Ellington was born in Washington, D.C on April 29, 1899 to his two musically inclined parents.
There were book scenes in the show that were also in the original that went along with the story and music. All of the most iconic songs from the original production that could be seen in the original cast album were included in this rendition of Cabaret, which one could appreciate. Though these songs are enjoyable to audiences, they also play an important and symbolic role to the musical itself (Miller). As Miller states, “One of the clever, usually overlooked devices the score uses is connecting songs and characters through introductions”
1) A BRIEF HISTORY OF THE MUSICAL A musical may be defined as a production for stage or film that typically involves music, singing, dancing and dialogue. Musicals are performed all around the world and may be presented in large venues or in smaller theatres or spaces like school halls. Although music has been an integral part of theatrical presentations since ancient times, the modern musical only emerged during the late nineteenth century. Many of its structural elements were established by the works of “Harrigan & Hart” in America. Theatrical productions that led to the rise of the musical are as follow: • BALLAD OPERA & OPERETTA Ballad operas and operettas both share qualities found in traditional opera.
Styles of Jazz Cool Jazz and Bebop Jazz Cool jazz is often identified by lighter tones and relaxed tempos. It came into style soon after the end of WWII. It is the style of Jazz used in the performance, Take Five. It is usually played a lot slower than Bebop and it sounds very arranged. For example, if there are more than one melodist, one can play the melody and the other one can play a harmony, long notes or another melody in the background.
This marked the advent of the Victorian Burlesque era when prominent classical ballads and operas were parodied into musical comedy pieces that were often dubbed as racy, ridiculous and risqué. Prominent among these were Shakespearean plays such as Hamlet. Sometimes the original music would be used while other times, the lyrics would be altered to bring about the comic effect. It became famous in London theatres around the 1830s and lasted till the 1890s. However, unlike the existing notion of Burlesque, the Victorian Burlesque era was very similar to the English pantomime, although it focused more on the high-end literate class unlike the pantomime which was open to all classes and ages.
A shrewd woman, Bottom’s wife only appears in the film briefly, but when she does it is to disrupt Bottom’s fantasies and cast angry stares from the margins. By giving Bottom a wife, Hoffman humanizes the comical character. “Hoffman surely gives us Bottom’s shrewish wife to help us to see Bottom’s fantasies as understandable and likeable…. Even though he is a failed [socialite] at least he cuts a decent figure. Though he is an ass, he is a cute one” (Jones).
New forms that were developed from the chant were created. This included the trope, the sequence and liturgical dramas. (Grout 22) A trope was an addition to a liturgical chant, Usually this chant was either added at the beginning the end or the middle. At first, these additions were only of music alone but eventually they included the addition of text as well. This form of chant began in France around the eighth century and gained popularity during the tenth to twelfth centuries.
• You Make Me Feel so Young: by Josef Myrow, and lyrics written by Mack Gordon • Time after Time: by Sammy Cahn (lyrics) and Jule Styne (music) Time after Time, in ABAC form, is a moderately slow song, sung by many artists. Furthermore, Sammy Cahn and Frank Sinatra had an extensive association, which led to Sinatra 's recording several of Cahn 's songs. • A Fine Romance: by Jerome Kern with lyrics by Dorothy Fields • Tonsillectomy: by Albert Boyd Raeburn • When You’re Smiling: by Mark Fisher, Larry Shay and Joe Goodwin Glenn Miller had the most famous recording of the song and making it a number one hit; I never thought it was, by Erskine Hawkins. • Tuxedo Junction: by Erskine Hawkins • Come Fly with Me: by composed by Jimmy Van Heusen, with lyrics by
It encourages us to let us know that this isn’t how real behave, its generality similar to other students or teachers. Jonah is a class clown typical troublemaker and Polynesian teenager boy, who thinks he’s better than anyone else. A rich spoilt brat Jaime, who is the most popular private school girl, thinking that she’s hotter and better. Finally, a typical fun loving Drama teacher Mr. G, demands school’s funding and thinks he’s awesome and better than all of the staff members. It illustrates that it is similar to an average of students or teachers.
Anthony --- or Ant, as he prefers to be called --- doesn’t love everything about the mean, harsh streets of East Cleveland, but its his home. However, when things take a turn for the really, really worse, he accepts the scholarship offer he’s gotten from a fancy boarding school in Maine and heads there for his freshman year of high school. Ant knows it will be a major adjustment, but some of the changes aren’t exactly the ones he expects. For one, everyone wants to call him Tony. For another, they all believe he can play basketball because I guess he 's black, even though he’s short and prefers football.
Tony Bennett’s gentle swing version recorded with his jazz group in 1964 follows this pattern as well; the tone in this version is triumphantly cheerful, as this band plays the song courageously and carefully creates a relaxed, danceable feeling. Backing trumpets and low brass section goes from filling in the background during the vocals to swelling up and taking over for the refrain, then quietly exiting again for the final verse sung by Tony. His voice is much more relaxed in this version, framing the lyrics as more of a casual conversation with a lover than a full blown confession. These two versions transitioned the song from its status as a movie musical and got many other jazz artists interested in covering the song themselves, including Miles
Causey has a lot more negative things to say about the play, rather than positive things to say. I do agree “the score, the dancing, the rhythms, and the energy of West Side Story continue to transcend the decades and trendy fads of theatre to reign as one of the best musicals ever written,” but she did shed light