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Scheiblhofer Dissertation Final Draft THE SINGING NAZI: REPRESENTATIONS OF NATIONAL SOCIALISM IN BROADWAY MUSICALS by SUSANNE SCHEIBLHOFER A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2014 DISSERTATION APPROVAL PAGE Student: Susanne Scheiblhofer Title: The Singing Nazi: Representations of National Socialism in Broadway Musicals This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Dr. Marian Smith Chairperson Dr. John Graziano Core Member Dr. Lori Kruckenberg Core Member Dr. Loren Kajikawa Core Member Dr. Dorothee Ostmeier Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Susanne Scheiblhofer iii DISSERTATION ABSTRACT Susanne Scheiblhofer Doctor of Philosophy School of Music and Dance June 2014 Title: The Singing Nazi: Representations of National Socialism in Broadway Musicals This dissertation examines representations of National Socialism in American musical theater. The Sound of Music (1959) and Cabaret use two fundamentally different approaches. Based on the German Heimatfilm, Die Trapp Familie (1956), the Rodgers and Hammerstein musical is a lighthearted family musical. In contrast, Cabaret, which was inspired by Christoph Isherwood’s Berlin Stories and John van Druten’s drama I Am a Camera, presents the audience with a political parable, analogizing 1930s Berlin to 1960s U.S. society. Comparing different international productions of Cabaret and The Sound of Music, I argue that over time staging puts a stronger emphasis on the visual presence of Nazi symbols for different reasons, such as shocking audiences, providing more realistic depiction of the Third Reich and exposing younger audiences without first–hand recollections to the full extent of Nazism. The character, plot and musical analyses in this study also explore issues of ownership and agency, when protagonists appropriate familiar tunes to further their political causes. In The Sound of Music, the Trapp family uses the power of music to express their resistance against the Nazi regime (“Edelweiss”), whereas in iv Cabaret the Nazis draw on the same power to demonstrate their unity in a frightening show of force (“Tomorrow Belongs To Me”). The creators of both musicals purposely imitated folk music, which encouraged audiences to fabricate mythologies around these songs, i.e., “Edelweiss” and “Tomorrow Belongs To Me.” The latter example was eventually re–appropriated by White Supremacists as an authentic Nazi song, taking on a life of its own outside its original context in Cabaret. v CURRICULUM VITAE NAME OF AUTHOR: Susanne Scheiblhofer GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Vienna, Austria DEGREES AWARDED: Doctor of Philosophy, Musicology, 2014, University of Oregon Magister philosophiae, Musicology, 2006, University of Vienna AREAS OF SPECIAL INTEREST: Musical Theater Film Music Reception History PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2010–2014 Tutor for Student Athlete Department, University of Oregon, 2008–2011 Assistant Director, Musikfestival Steyr, Austria 2007 Research Assistant, Dr. Edward Nye, Lincoln College, Oxford University, 2006-2007 GRANTS, AWARDS, AND HONORS: International Cultural Service Scholarship, University of Oregon, 2007–2010 Graduate Research Award, University of Oregon, 2009 Fulbright Scholarship, Austrian Fulbright Commission, 2007 vi ACKNOWLEDGMENTS There are many people whose assistance, advice, moral support and encouragement shaped this dissertation and whom I would like to thank in this place: First and foremost Marian Smith, my dissertation advisor, for never tiring of challenging my views and forcing me to express my ideas more clearly. Lori Kruckenberg, for providing fresh perspectives and continuously pushing me out of my comfort zone. Loren Kajikawa, for always asking the questions I do not know the answers to immediately. Dorothee Ostmeier, for offering valuable insights into my research from outside the field of musicology. John Graziano, for not only opening his home to me during my research stays in New York City but also for filling in on short notice for Anne McLucas, who started this project with me but could not see it through to the end. I would not be the scholar I am today without their diligent guidance. Mark Horowitz, from the Music Division at the Library of Congress, for helping me navigate the complex system of their extensive Richard Rodgers and Oscar Hammerstein II Collections. Annemarie von Roessel, John Calhoun, and Jeremy and the other music reference librarians at the New York Public Library for the Performing Arts, for helping me locate hidden treasures and pulling last minute call requests. Gerhard Knopf from the German magazine Musicals for opening their archives to me and making out of print articles available to me for free. vii I would also like to express my gratitude to the Austrian Fulbright Commission whose scholarship made it possible for me to pursue a doctoral degree in the United States in the first place. I am forever indebted to my family, who have unwittingly become research assistants and test objects over the years when they were subjected to countless visits of Broadway musicals, often multiple visits of the same shows, sometimes against their will, all in the name of “research.” My thanks also go to my friends who provided much needed reality checks, comic relief, scholastic exchange and moral support through all the good, the bad and the ugly. You know who you are. viii Für Anne. Too soon. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION ............................................................................................................................ 1 1.1. Art as a Process: Scope and Methodology .............................................................. 1 1.2. Literature Review ............................................................................................................. 3 1.3. Peas in a Pod? ..................................................................................................................... 13 II. THE SOUND OF MUSIC ............................................................................................................... 16 2.1. Fa – A Long, Long Way to Run .................................................................................... 16 2.2. Original Production ........................................................................................................ 22 2.2.1. The De–Politicization of the Plot .................................................................... 28 2.3. The Good, the Bad and the Ugly ................................................................................. 41 2.3.1. Captain von Trapp & Maria – Austrian Resistance ................................ 42 2.3.2. Max & Elsa – Austrian Profiteers ................................................................... 54 2.3.3. Rolf & Herr Zeller – Austrian Nazis ................................................................ 66 III. THE SOUND OF MUSIC RECEPTION HISTORY ............................................................... 79 3.1. American Reception History ........................................................................................ 80 3.2. Austrian Reception History ......................................................................................... 91 IV. CABARET ........................................................................................................................................ 119 4.1. Original Production ........................................................................................................ 121 4.1.1. The Politicization of the Plot ........................................................................... 126 4.1.2. From Passive Observer to Active Fighter ................................................... 151 4.1.3. Ernst Ludwig – The Committed Nazi ........................................................... 158 x Chapter Page 4.2. Weimar Berlin – A Moral Quagmire ........................................................................ 164 4.2.1. Fräulein Schneider – The Pragmatist ........................................................... 164 4.2.2. Sally Bowles – The Ignorant ............................................................................ 168 4.2.3. Herr Schultz – The Victim ................................................................................. 172 4.3. Refining Brecht’s Epic Theater .................................................................................. 176 4.3.1. Non–linear Continuity ........................................................................................ 178 4.3.2. The Emcee – Commentator .............................................................................. 180 4.3.3. Breaking the Fourth Wall .................................................................................. 184 4.3.4. Verfremdungseffekt Mirror ............................................................................. 191 V. CABARET RECEPTION HISTORY ..........................................................................................
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