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Complete libretto to the 1866 musical extravaganza. A phenomenon of the 19th Century, "The Black Crook" was the Broadway blockbuster musical of its day. With its suggestive story of wickedness, its chorus of scantily clad chorus girls, and its breathtaking scenic efforts it was, as The New York Times claimed, "decidedly the event of this spectacular age." Considered the first "book musical" because it supposedly interrogated music and dialogue into a unified story, its creation has become the basis that America invited musical theatre. After it opened in September of 1866 at the 3,200-seat Niblo's Garden on Broadway, the musical ran for a record-breaking 475 performances, toured throughout the United States and England, was revived numerous times, and copied by other musicals for the next three decades.
Musical theatre choreography has indisputably evolved over the years and choreographers develop methods of working and philosophical approaches that should be documented but rarely are. Textual information is limited, and what has been written is generally more practical than theoretical, and is minimal compared to those books written for choreographers of modern and contemporary dance. By pointing out the similarities and dissimilarities between concert dance genres and theatre dance, and by identifying the specialized demands of crafting artistic and script-serving theatre dance and staging, this text differentiates musical theatre choreography as a separate and bona fide art form and suggests that 1) universities recognize it as such by offering training possibilities for future musical theatre choreographers, and 2) established choreographers of musicals begin to write down their own artistic processes to help fill the choreographic toolbox for young choreographers wanting to work in this field. In 1943, a light switch was flipped with the musical Oklahoma! when Rodgers' and Hammerstein's mission to keep the book absolutely central to the making of a musical was established. After that, other musical theatre artists followed suit causing standards to change. Now, no other artistic element in a musical makes a move without first ensuring that it serves the script. By creating original material that is integral to the telling of a story, composers and lyricists came to be thought of as dramatists. Likewise, Oklahoma! choreographer Agnes de Mille seamlessly integrated her dances and staging into the action and created character and situation-specific movement that actually helped forward the plot. Because of her groundbreaking advances, choreographers are now also expected to create dances that serve the script and help to tell the playwright's story. The choreographer, like the librettist, composer, and lyricist, is now positioned as dramatist, as well. In Part 1, the choreographer as dramatist is stressed as the author uses each chapter to reflect upon ways she analyzes librettos and scores to determine the function of each song in a musical and the stories that should be told through dances and staging created for each song. Drawing from her own experiences as a musical theatre director/choreographer, she reflects upon and shares her artistic process, not in a linear way, but anecdotally, to illustrate the kind of thinking that will lead her to effectively tackle the job at hand. At the end of each chapter, assignments are suggested that may be useful to aspiring choreographers and directors of musicals. This text is a valuable resource for teachers designing a course in theatre choreography on either the undergraduate or graduate level, as well as for professional directors and choreographers who want to think more deeply about their own work. Students of choreography will be asked to reflect upon and to work with techniques that are sometimes similar to, but also often oppositional to those learned in modern dance choreography courses. Part Two offers an overview of the scope of literature and representative articles that have been published on both topics, modern dance composition and musical theatre choreography, as it concisely traces the history of modern dance choreographic pedagogy, aligning it with concurrent trends happening within the American musical theatre since the mid-19th century.
"Drawing on the recollections of renowned theater critic David Austin Latchaw and on newspaper archives of the era, Londre chronicles the "first golden age" of Kansas City theater, from the opening of the Coates Opera House in 1870 through the gradual decline of touring productions after World War I"--Provided by publisher.
A lively and accessible account of the most popular form of nineteenth-century English theatre, and its continuing influence today.
Vol. 1. A-F, Vol. 2. G-O, Vol. 3. P-Z modern period.
An expanded and updated edition of this acclaimed, wide-ranging survey of musical theatre in New York, London, and elsewhere.
A collection of essays revealing how operetta spread across borders and became popular on the musical stages of the world.
Musical Theatre: A History is a new revised edition of a proven core text for college and secondary school students – and an insightful and accessible celebration of twenty-five centuries of great theatrical entertainment. As an educator with extensive experience in professional theatre production, author John Kenrick approaches the subject with a unique appreciation of musicals as both an art form and a business. Using anecdotes, biographical profiles, clear definitions, sample scenes and select illustrations, Kenrick focuses on landmark musicals, and on the extraordinary talents and business innovators who have helped musical theatre evolve from its roots in the dramas of ancient Athens all the way to the latest hits on Broadway and London's West End. Key improvements to the second edition: · A new foreword by Oscar Hammerstein III, a critically acclaimed historian and member of a family with deep ties to the musical theatre, is included · The 28 chapters are reformatted for the typical 14 week, 28 session academic course, as well as for a two semester, once-weekly format, making it easy for educators to plan a syllabus and reading assignments. · To make the book more interactive, each chapter includes suggested listening and reading lists, designed to help readers step beyond the printed page to experience great musicals and performers for themselves. A comprehensive guide to musical theatre as an international phenomenon, Musical Theatre: A History is an ideal textbook for university and secondary school students.