The Impact Of American Musical Theatre

Harris, and started making annual revues at the theater from 1921 to 1924. Berlin grew into a well-known composer, lyricist, and producer that “the average United States citizen [is] perfectly epitomized in Irving Berlin’s music” (Woollcott). In his private life, Berlin met a woman that would later become the mother of his four children, Mary Ellin Barrett. They married in 1926, and sooner enough Berlin started making music of his life, such as “Blue Skies” (1926), “Russian Lullaby” (1927), and “I Can’t Do without You” (1928). The type of styles that Berlin had in composing and writing songs were diverse.

Shrek the Musical is a Broadway musical comedy that is created by DreamWorks Theatricals in 2008. It is adapted from Shrek, a 2001 DreamWorks Animation movie, as well as a 1990 children’s literature Shrek! written by William Steig. The original musical is directed by Jason Moore with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori. 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.

Shrek the Musical is a Broadway musical comedy that is created by DreamWorks Theatricals in 2008. It is adapted from Shrek, a 2001 DreamWorks Animation movie, as well as a 1990 children’s literature Shrek! written by William Steig. The original musical is directed by Jason Moore with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori. 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.

Both created a string of popular Broadway musicals in the 1940s and 1950s, initiating what to be considered the “golden age” of musical theatre. Rodgers was composing the music and Hammerstein was writing the lyrics, five of their Broadway shows, “ Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music, were outstanding successes, as was the television broadcast of Cinderella. “ The King and I” opened on Broadway on March 29, 1951. The idea of the Broadway came from a film in 1956 with Brynner re-creating his role opposite Deborah Kerr. “ The Sound of Music” were Rodgers and Hammerstein las work together, the play told the story of the von Trapp family.

Yet, his acting career was cut short due to his premature balding, causing him to turn to choreography. Fosse’s choreographic style was known to be sexually suggestive, considering he grew up in Cabaret nightclubs. Bob Fosse’s signature style became popular and he began choreographing musicals such as, Pajama Games, Damn Yankees, Sweet Charity, Pippin, Chicago

These musicals were performed in theaters and are a combination of singing, dancing, and acting. “While relating to the harsh times, these settings not only capture the emotions of its audience but also manipulates them with a positive turn of events at the end” (Hollywood in the Depression). These musicals were a great ways to get people to take their minds off of what was going on around them. “In addition to magical worlds of Oz, musicals painted more familiar scenes such as Depression-stricken cities and tension filled homes”(Hollywood in the Depression). Not all musicals were happy but they still told a good story.

In America, Martha Graham (The Queen of Modern), Rudolph von Laban ( Time Energy and Space), and Alvin Ailey (Gospel or Lyrical Spiritual dance) developed and are developing for human movement and methods of instruction that led to the development of modern and expressionist dance. The reason that modern dance is so popular is because it 's the ability to move your body in a way that is comfortable to you. Also people in that time were trying to get out of the strictness of ballet and wanted to be more free in there dancing. The society change during the 20th century changed in the dance style. Several changes were based on political and civil rights, even though dance was used to entertainment people.

The musical “1776” was written by Sherman Edwards in 1969 and filmed in 1972. He wrote the lyrics and songs that was performed in Broadway in 1969. In 1972, Jack L. Warner bought the film rights to the musical for 1.25 million dollars. The musical is about the Second Continental Congress and the Declaration of Independence. The musical portrays the events that occurred in a fun and entertaining way.

As the colonies became more developed, one indicating factor of the colonies’ differences from England was their evolving artistic community. The colonists created new dances and songs that captured the way they felt about their new life beliefs. According to the article “Life in the Thirteen Colonies”, European visitors found the colonial dances to be strange and exhausting. The dances took extensive stamina and were much more upbeat than what the European inhabitants were used to. In addition, musicians such as William Billings, wrote collections of purely American music.

Known for being an all-around theatre man and a master of the Broadway musical, Jerome Robbins was known as one of the most imaginative, influential, and popular American creators of dance in the twentieth century. Robbins, in partner with his sense of innovation, was known for his skillful use of contemporary American themes and was notably praised for structuring ballets within the traditional framework of classical dance. Born originally under the Jewish surname Rabinowitz, Jerome Wilson was born on October 11, 1918 in New York, New York.. Just a few years after his birth, the Rabinowitz family migrated to the city of Weehawken in New Jersey. The Rabinowitz family built showbusiness ties to vaudeville performers and theatre alike through The Comfort Corset Company that Jerome’s father and uncle operated. He developed an early fascination with ballet and puppetry.

Abstract This research is an exploration into how ‘Jukebox musicals’ have influenced modern day musicals and how they are written. This style of musical could be seen as the most recent form of musical and its increasing success in the West End looks appears like it’s going to stay. In this essay I will be investigating into whether jukebox musicals have affected future original musicals, the audiences that watch them and the rising musical theatre writers that make new original west end productions possible.

Hamilton: An American Musical and 1776 both cover identical time periods but with varying zeal. Each show has been met with positive reviews, and both contain their fair share of historical inaccuracies. Both are immensely worthy and beautiful pieces of art. Hamilton: An American Musical and 1776 are both critically acclaimed musicals; however, despite covering the same historical period, they do so with differences. To begin, Hamilton and 1776 each contain a handful of historical inaccuracies to either further the plot or to make writing more convenient for the playwright.

Individuals rushed to see this dark American vocalist with the nasal shrill voice beauty the stage to thundering praise. Bricktop 's was an extremely prominent spot to go through a night with melody and alcohol. Considering the way that preclusion went to the United States in 1920, thousands rushed to Paris to tune in, see, move and drink. It was the new age. Be that as it may, despite the fact that there were French arrangers in every aspect of pop, musical drama, or established music, the American 's vicinity troopers and their Jazzy music, changed states of mind for Parisians

New York City Ballet was founded in 1948 by George Balanchine and Lincoln Kirstein. Kirstein’s goal was to create a place for young dancers to train in American ballet with the greatest ballet masters. They met in London in 1933, where Kirstein encouraged Balanchine to come to America. They opened the School of American Ballet in 1934, before starting the professional company. It was designed as a way for Balanchine to train dancers in his innovative style and technique.

Following the Todd School, Welles left for Dublin, Ireland, paying his way with a small inheritance he 'd received. There, he captivated audiences in a production of Jew Suss at the Gate Theatre. Welles convinced the producers in Dublin he was a confident Broadway Star, the young actor made his Broadway debut with his role as Tybalt in Romeo and Juliet. His performance caught the attention of director John Houseman, who cast Welles in his Federal Theatre Project. Welles and John Houseman built sort of a ‘Dynamic Duo’ creating a version of Macbeth, at the Mercury Theatre.