Musical theatre is able to address important and controversial topics such as racism, women’s rights, and violence in an entertaining and fresh way. Audiences can relate to characters who embody American life and values. American musical theatre positively affected and reflected the culture of 20th century America by addressing the social issues of each generation. One of the most pivotal musicals of the 20th century was Show Boat which helped make theatre what it is today. Show Boat, composed by Jerome Kern and Oscar Hammerstein II, opened December 27, 1927, and was the first musical to be based off of a novel (Show Boat Introduces American Musical Theater).
Andrew Lloyd Webber has become a household name throughout the entire world. Not only do people flock to see his shows, but the pure fact that people outside of the theatre world know the composer of certain musicals is an accomplishment in itself. He has changed the musical theatre world. Some call him a “Broadway master” because his musical Phantom of the Opera surpassed his own record for the musical Cats to now hold the record for the longest running musical on Broadway as well as London’s West End ( Snelson 1). Cats has been translated into eleven languages and has grossed over a total of two billion dollars.
It was a rich, intricate era of theatrical developments and changes. In The Cambridge Guide to American Theatre, Wilmeth states that American theatre “became one of the largest industries in the country, encompassing not only dramatic performances and musical theatre… but also minstrelsy, vaudeville, amusement parks, circuses, and the new media of film and radio” (Wilmeth 107). This proves that American theatre was just as influential and popular as the theatre groups of Europe. The staging of Civil War theatre was the time of the proscenium, which we still use to this day. The theatre was for audiences of many kinds, aristocratic and the common-man; many performances were done on the streets of large cities like Philadelphia, New York City, and Boston.
He produced his first play when he was only twenty years old and his next two plays followed right after.With every new play, he became more famous and Rostand’s name began to attract distinguished actors and actresses to star in his productions.In 1897, Rostand produced Cyrano de Bergerac. The play was a huge success. Late nineteenth-century theater had been based on realistic stories and unsentimental characters. But in Cyrano de Bergerac, Rostand the traditional way of theatre to present an unabashed historical romance, set in the 1640s and featuring a flamboyant hero. Audiences loved the play’s passionate love story, comedy, fast-paced action, and tragic ending.
His pieces are branded by “the intensity and compactness of their expression and wide variety of mood” ranging from reflective and emotional to upbeat and comical. “He had the ability to make the most complex movement appear effortless, and totally reflective of the musical score, as if it were created spontaneously for that exact moment in time” (New York City Ballet). One of Jerome Robbins biggest impacts on the world of musical theater was that he redefined theater dance “as an integrated, dramatic element of musicals, setting out to demonstrate that artists like himself need not divide their artistic works from their commercial works, but could create at their highest level for the Broadway stage” (Smith). Robbins had a curious mind and wanted to “explore new influences and ideas”
The musical featured music by John Kander, directed by Hal Prince, lyrics by Fred Ebb, and book by Joe Masteroff. The book was based off of John Van Druten's 1951 play, I Am a Camera, which was adapted from the short novel Goodbye to Berlin (1939) by Christopher Isherwood. (Miller). Historically, the musical Cabaret was written for the stage. In it’s time on Broadway, it was revived three times and was originally
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 music was lightly based off of Giacomo Puccini 's opera La Bohème (Miller). The film adaption was directed by Chris Columbus and produced by Chris Columbus, Robert De Niro, Mark Radcliffe, Michael Barnathan, Jane Rosenthal. Historically, the musical Rent was written for the stage. In its time on Broadway, it was nominated for ten Tony Awards and won four, including Best Musical, Best Score, and Best Book (Miller). It also won six Drama Desk Awards, three Obie Awards, the New York Drama Critics Circle Award for Best Musical, an Outer Critics Circle Award, and a Drama League Award (Miller).
Aurora Productions has an extensive line of credits, further boasted by their multitude of credits even at this time. Currently, they are working on ten different Broadway shows and tours, including An Act of God, Cats, The Curious Incident of the Dog in the Night-time, and The Cherry Orchard. The production stage manager of Les Liaisons Dangereuses is Jane Grey and the stage manager is Chris De