Chapter 1: A Brief History of Musical Theater
IN THIS LESSON
What is Musical Theater?
In the book Musical Theater in American Culture, the theatrically acclaimed authors explore the significance of musical theater and its influence to American culture. Authors David F. Walsh and Len Platt claim that a musical is “The combination of song, dance, and drama, which distinguishes musical theater from other theatrical genres, is linked both to historical circumstances and ideological beliefs” (Walsh, Platt 2003). This genre is distinct from plays, operas, and other modes of theater, because it specifically involves the triple threat of the song, dance, and acting modes. Musicals also include the vernacular song - which is a blend of lyrics and music that is inseparable. A musical’s lyrics rely on the tempo and rhythm to make sense, which creates a melapoetic integration.
Although all theatrical genres are usually set on a stage, musical theater functions to communicate something entirely unique. Walsh and Platt assert that, “Musicals articulate values and ideologies through the crafted order, disjunctions, and restraint of their narratives. They can become powerful vehicles of popular collective expression by articulating symbolically, in the patterns of their narrative, lyrical har- monies, and dance, the tensions and reconciliation of everyday relations between individuals and society” (Walsh, Platt 2003). Their views on how musicals make commentary on society poses the question…
What is the history behind this significance?
Here, Walsh and Platt take a look at American Culture in particular. They comment on America’s historical upbringing and democracy, and how this 18th and 19th century experience plays a pivotal role in the creation of many musicals famously known today. They connect how currently popularized musicals - such as Anything Goes, Rent, and West Side Story are examples of using this mode to convey callouts towards social and political issues.
“As radio and film took away the audience from live theatrical entertainment, and most specifically vaudeville and variety in the 1920s and 1930s, the musical became the primary form of live commercial theater… In the 1920s and 1930s a Broadway musical would be highly profitable on a run of 500 performances; by the 1960s, the required run for financial viability was closer to 2,000 performances. In this context, the creation of a musical for Broadway had to be envisaged with a very close eye on its commercial success as a “hit” (this, too, would be true of the West End stage)” (Walsh, Platt 2003). We find that the American roots of musical theater did not hinder it from hitting the global stage.