12 – THE MUSICAL – STAGE AND FILM

The MusicalThe American musical theatre is the direct result of a blending of several performance genres, the most important being the extravaganza, the minstrel show, the revue and the operetta.

Extravaganzas, elaborate spectacles featuring music, a chorus line and special effects had originated in Britain and France and flowered in America in the 1820's. The first major American extravaganza was "The Black Crook"(1866).

Another stage in the evolution of the modern American musical was the minstrel show, a number of travelling troupes satirizing blacks which helped promote among others, the music of Dan Emmett and Stephen Foster. The format generally centered around a series of songs and comedy skits. Later, vaudeville became a vehicle for promoting new songs. Again, it was in a variety format yet not as limited in its subject matter (see Vaudeville, Music Hall And Cabaret).

By the late 1800's, the revue, a series of skits with music became the most popular form of stage entertainment. The idea of the revue was conceived by George W. Lederer who basically added legitimacy and respectability to vaudeville by cleaning up its act and creating production numbers. Songwriters soon realized the power of having a song featured in a hit revue, especially after 1892 when the show, "A Trip To Chinatown," featuring the hit songs, "The Bowery" and "After The Ball," became the most successful American revue of its time. It premiered on Nov. 9, 1891 at The Madison Square Theater in New York City where it ran for an unprecedented 657 performances. "After The Ball," written by Chas K. Harris (see Tin Pan Alley) became a huge hit, eventually selling over 5 million in sheet music copies. From then on, the musical show became one of the greatest vehicles for the promotion of songs.

Next came the revue, "Twirly Whirly." Premiering on Sept. 11, 1902, it starred the great Lillian Russell singing "Come Down Ma Evening Star," written by composer/arranger John Stromberg (1853 - 1902). The sheet music for the song had been found in his pocket after he committed suicide shortly before the show's debut. The combination of the romantic story behind the song and a poignant delivery by Miss Russell made the song an immediate smash.

Revues continued throughout much of the century in one form or another. The Ziegfeld Follies, created by impresario Florenz Ziegfeld, ran from 1907 to 1931 and featured the music of the cream of Tin Pan Alley craftsmen such as Irving Berlin and Jerome Kern. In 1919, a new series of revues called The George White Scandals began to rival Ziegfeld and in 1923, The Earl Carroll Vanities debuted featuring nudity in the form of scantily attired models labelled "living statues." May 17, 1925, saw the premiere of The Garrick Gaieties, a musical revue featuring no star attractions. The show was totally dependant on a fresh young cast performing a score by the new songwriting team of Rodgers and Hart. During the late 1920's, the revue was hitting its peak and The Ziegfeld Follies was in decline since a great many of its stars had exited. However, the popularity of the revue lasted well into the 1940's. With the influence of respected European stagings, American writers decided to put their music into legitimate revues featuring one specific theme or storyline as a showcase for plot related songs. Opera was the predominant influence, only now modern themes and dialogue would be applied. Actually, opera did not involve dialogue since all plot lines were sung. The modern musical did not reach that plateau until the debut of the Gershwins' "Porgy And Bess" in 1935. However, the show still relied on some spoken passages.

Basically, operetta or "little opera" consisted of a simple play augmented by song and dance. The two basic styles were comic opera, featuring a comedic storyline and operetta, which was predominantly romantic and sentimental. The storylines were generally "cloak and dagger" plots involving fantasy complete with beautiful heroines, dastardly villains and storybook romances set in elaborate stagings.

One of the biggest influences on American musical theatre was the universal popularity of the shows produced by British operetta pioneers, Gilbert and Sullivan. Later, America became enamoured of the elaborate operettas written by European-born composers such as Victor Herbert, Rudolf Friml and Sigmund Romberg.

GILBERT & SULLIVAN

VICTOR HERBERT

RUDOLF FRIML

SIGMUND ROMBERG

THE AMERICAN MUSICAL

The flowering of truly American musical comedy came with the emergence of George M. Cohan, who single-handedly revolutionized the genre by simply utilizing current American slang with the music and the storylines. Many critics considered his work vulgar but the public could finally relate to the plot and themes. With him, the floodgates opened to embrace a more modern production style and a whole new crop of young American composers such as Berlin, Kern, Gershwin and Porter. Finally, the European monopoly on English language musical comedy was broken.

In the early days of the musical, a great majority of the songs had absolutely nothing to do with the storyline. Numbers were performed and then the plot continued. Later, songs were strategically placed in order to emphasize the mood of a scene. Then, after the overwhelming success of "Porgy And Bess," writers began perfecting shows featuring little or no dialogue and the songs themselves furthered the storyline. Basically, the modern musical was heading closer to opera in structure, except that its themes and lyrics were current.

Some shows could run for years. Financial returns for a successful production were tremendous. Writers like Rodgers & Hart were capable of creating several hit shows per year. Most productions were perfected on the road in smaller towns before premiering in New York City. If certain numbers or scenes failed, they were either revamped or replaced.

THE MOVIE MUSICAL

In Aug., 1926, Warner Brothers' "Don Juan" starring John Barrymore became the first feature film to use the Vitaphone sound-on-disc system. It had no dialogue or songs but featured sound effects and a score by William Axt. The Warner brothers, Sam, Jack, Harry and Albert were on the verge of bankruptcy, yet the success of "Don Juan" encouraged them to take yet another risk and experiment with the idea of a musical. "The Jazz Singer," based on the Samson Raphaelson short story, "The Day Of Atonement" had been a great success on Broadway starring George Jessel. However, Jessel demanded too much money and second choice, Eddie Cantor thought the project too great a career risk. The Warner's then approached the biggest singing star of the period, Al Jolson who immediately accepted. On Oct. 6, 1927, "The Jazz Singer" premiered, eventually grossing over three and a half million dollars. In reality, the film was only a partial talkie. In the sections where Jolson sang, the sound-on-disc system was used.

When sound pictures burst into the spotlight in 1927, one of the first film genres to achieve instant popularity, thanks to the overwhelming success of "The Jazz Singer" was the musical. Large spectacles featuring the latest song hits became the rage. Many Broadway performers, songwriters, choreographers and designers were recruited for the burgeoning sound film industry.

Sometimes, Broadway stars were replaced by established film personalities who had more box office clout yet were often musically inept. Many had to be taught to sing and dance while others used ghost singers. The movie industry was in transition. With the arrival of the talkies, it was discovered that many silent actors had atrocious speaking voices or heavy foreign accents and the entire film community experienced drastic changes. Many careers went down the drain. Sound recording was in its infancy and some early endeavors suffered catastrophic results.

When it became apparent that the public hungered for musicals, many Broadway classics were revamped for the screen and numerous established composers were contracted to create new vehicles especially for the new medium.

The movie musical shot to the forefront with the release of the first all-singing, all-talking, all-dancing film, "The Broadway Melody" starring Charles King, Anita Page and Bessie Love. It premiered in February of 1929 and set the standard for other film musicals to follow. Another milestone was the first full length all-black sound musical, "Hallelujah"(1929). Directed by King Vidor, it starred Daniel L. Haynes and the vivacious Nina Mae McKinney. Also in 1929, the first all-talking, all-singing operetta, "The Desert Song" came to the screen. Shot in two colour Technicolour, it starred John Boles and featured a score by Sigmund Romberg and lyrics by Oscar Hammerstein II.

As film musicals gained in popularity, shows were written specifically for the screen. Some of the earliest and most creative were the Gold Digger films designed by Busby Berkeley (William Berkeley Enos) (Nov. 29, 1895 - March 14, 1976) such as "Forty Second Street"(1933), "The Gold Diggers Of 1933"(1933), "Dames" (1934) and "Flirtation Walk"(1935). During the same period, the classic Fred Astaire/Ginger Rogers musicals became major box office successes. Some of their screen hits such as "Top Hat"(1935), "Swingtime" (1936) and "Shall We Dance"(1937) featured songs composed by the cream of Tin Pan Alley writers. In 1934, "The Continental," composed by Con Conrad and Herb Magidson, from the Astaire/Rogers film, "The Gay Divorcee" received the first Oscar ever awarded to a song.

Early movie musicals became extremely elaborate even by current standards. Some of the awe inspiring production numbers in a film such as "The Great Ziegfeld"(1936) would be absolutely impossible to stage now in terms of expense alone.

In the history of movie musicals, MGM had the market cornered. Starting with "The Broadway Melody" and continuing well into the 1950's where the genre hit its peak with classics like "Singing In The Rain"(1952) and "An American In Paris"(1951), MGM definitely reigned supreme. The worldwide success of its vast number of movie musicals could only be matched by the calibre of its star roster. The company was famous for its star grooming system which provided its artists with classes in acting, singing, dancing, grooming and etiquette.

Later on, recording stars had musicals tailor-made to showcase their specific talents. By the 1950's, one of the most popular formats for a movie musical was the biopic where the lives of past music legends were glorified and fictionalized.

Although the movie musical has since lost its mass appeal, the Broadway musical is experiencing a resurgence in popularity with the emergence of Andrew Lloyd Webber, who debuted his first musical, "Joseph And The Amazing Technicolour Dream Coat" in 1969 and has since churned out an amazing spectrum of hit shows from "Jesus Christ Superstar" to "Sunset Boulevard."

A SELECTED LISTING OF LANDMARK MUSICALS

ROSE MARIE

NO NO NANETTE

FUNNY FACE

SHOWBOAT

THE BANDWAGON

ANYTHING GOES

PORGY AND BESS

DU BARRY WAS A LADY

CABIN IN THE SKY

OKLAHOMA

CAROUSEL

ANNIE GET YOUR GUN

BRIGADOON

KISS ME KATE

SOUTH PACIFIC

GUYS AND DOLLS

CALL ME MADAM

THE KING AND I

CAN-CAN

SILK STOCKINGS

DAMN YANKEES

THE MOST HAPPY FELLA

MY FAIR LADY

WEST SIDE STORY

FLOWER DRUM SONG

GYPSY

THE SOUND OF MUSIC

CAMELOT

FIDDLER ON THE ROOF

HELLO DOLLY

FUNNY GIRL

MAME

CABARET

SWEET CHARITY

HAIR

JESUS CHRIST SUPERSTAR

GREASE

GIGI

A CHORUS LINE

ANNIE

EVITA

CATS

DREAMGIRLS

LES MISERABLES

PHANTOM OF THE OPERA

OTHER NOTABLE SHOWS

A SELECTED LISTING OF MUSICALS CREATED SPECIFICALLY FOR FILM

FORTY SECOND STREET - (1933)

TOP HAT - (1935)

THE WIZARD OF OZ - (1939)

STORMY WEATHER - (1943)

MEET ME IN ST. LOUIS - (1944)

EASTER PARADE - (1948)

AN AMERICAN IN PARIS - (1951)

SINGING IN THE RAIN - (1952)

CALAMITY JANE - (1953)

WHITE CHRISTMAS - (1954)

A STAR IS BORN - (1954)

THERE'S NO BUSINESS LIKE SHOWBUSINESS - (1954)

A SELECTED LISTING OF MOVIE MUSICAL BIOGRAPHIES

THE GREAT WRITERS

GEORGE M. COHAN, JEROME KERN, GEORGE GERSHWIN, IRVING BERLIN, COLE PORTER and DeSYLVA, BROWN & HENDERSON

RICHARD RODGERS

LORENZ HART

OSCAR HAMMERSTEIN II

KURT WEILL

JIMMY McHUGH

HARRY REVEL & MACK GORDON

LERNER & LOEWE

NACIO HERB BROWN & ARTHUR FREED

AL DUBIN & HARRY WARREN

FRANK LOESSER

HAROLD ARLEN

RICHARD ADLER & JERRY ROSS

JERRY HERMAN

JULE STYNE

SAMMY CAHN

STEPHEN SONDHEIM

SIR ANDREW LLOYD WEBBER

THE GREAT MUSICAL PERFORMERS

AL JOLSON

MAE WEST

BING CROSBY

FRED ASTAIRE

GINGER ROGERS

ETHEL MERMAN

BOB HOPE

SHIRLEY TEMPLE

DICK POWELL

JUDY GARLAND

JEANETTE MACDONALD & NELSON EDDY

DEANNA DURBIN

MARY MARTIN

BETTY GRABLE

ALICE FAYE

MARTHA RAYE

CARMEN MIRANDA

LENA HORNE

GENE KELLY

JUNE ALLYSON

BETTY HUTTON

KATHRYN GRAYSON

DORIS DAY

GORDON MacRAE

DONALD O'CONNOR

MARIO LANZA

JULIE ANDREWS

MARILYN MONROE

GWEN VERDON

BARBRA STREISAND

BETTE MIDLER

LIZA MINNELLI

AWARDS

THE DONALDSON AWARDS

THE TONY AWARDS

THE NEW YORK CRITICS AWARDS

ALSO SEE

BIBLIOGRAPHY