The Musical as Drama

and song is the concentrated way to get to the point. Or they are in a carnival spirit and want to sing and dance in groups— or ...

unprofitably in the category of the stage musical, too. The aes- thetic basis of the Disney and Lloyd Webber kind of musical is ...

also among the musicals that connect with the broadly popular forms of song-and-dance entertainment that gave rise to the genre ...

16 CHAPTER ONE Figure1. Fred and Adele Astaire in a pose from Lady, Be Good. Billy Rose Theatre Collection, The New York Public ...

to take the stage as part of the narrative. This device has never ceased to be useful, and it developed into the backstage music ...

every-so-many pages.^18 One reason most early book shows seem unstageable today is that they are second-rate farces. An- other i ...

carried out by characters who were silly, charming, and relent- lessly alike. Oklahoma!, by contrast, concerns women having to r ...

Oklahoma!ran through the war years, and by the time Rodgers and Hammerstein followed with another challenging book show, Carouse ...

characters, but the effect of the numbers is not so much to ad- vance characterization as to double characterization, by turning ...

grief, operatic singing became one of the ways characters could break into song. Opera singers took lead roles in musicals of th ...

musicals. Rodgers and Hammerstein had earlier tried highly unusual book shows that smacked of the concept musical, Alle- groand ...

which characters have two modes of existence in musicals. They were taking the convention literally, putting show business set- ...

form of drama in the age of Rodgers and Hammerstein, when the book became integrated with the music. I wish to say that the musi ...

should be held at an emotional distance from the action, able to evaluate what is before them.^23 Indeed, one of Brecht’s aims w ...

system on Broadway fits Brecht’s complaint closely enough, yet innovation has proved to be entirely possible in the musi- cal. T ...

learned how to produce tunes and verse in the standard for- mats. The most important thing they learned was how to con- nect the ...

the musical has no trouble showing. But the aesthetic of dis- unification also has the potential for resisting structures of wea ...

matter what either would have thought of the idea. I do not argue that Sondheim is a Brechtian dramatist; that would be pointles ...

Chapter Two THE BOOK AND THE NUMBERS Lyric Time O Fthe two orders of time that the musical sets against one another, lyric time— ...

movements of their own discipline, which reflect the music and reinvent it at the same time. Song brings words into contact with ...