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Grothues, Master's Thesis

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Grothues, Master's Thesis CELEBRITY & THE BROADWAY MUSICAL: PERCEPTIONS, PRACTICES, & PROSPECTS FOR AN AMERICAN ART FORM Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Nicole M. Grothues, B. S. Graduate Program in Arts Policy & Administration The Ohio State University 2011 Thesis Committee: Wayne P. Lawson, Ph. D., Advisor James J. Bohr, M. F. A. Copyright by Nicole M. Grothues 2011 ABSTRACT Since the birth of Broadway in the late 19th and early 20th century, musical theatre has become a special part of America’s indigenous cultural heritage and cultural exportation. Broadway has long created its own headliners who made their living performing on stage in front of live audiences night after night and who were lauded for their theatrical prowess. However, beginning in the early 1980s, celebrities most famous for their work in other entertainment media (such as the television, film, and music industries) began to appear on Broadway—both on stage and off—in an effort to capitalize on the celebrities’ popular appeal and boost ticket sales. This capitalization on popular celebrity in Broadway musicals has steadily increased since the 1980s, and other uses of celebrity culture, such as adapting popular music and popular films, have also become ubiquitous in the Broadway musical. Through the voices of professionals in the musical theatre industry, this thesis explores how the current trend of Broadway musicals’ use of celebrity is affecting the art form of the American musical as an indigenous art form. The methodological approach used is discourse analysis, and 21 professionals in the field were interviewed in an effort to understand the qualitative repercussions of this financially motivated trend. The findings show that participants see the field as being affected both positively and negatively by celebrity on Broadway, and conclusions are made about which effects are most foretelling of what the future could hold for the American musical. ii ACKNOWLEDGEMENTS First and foremost, I must thank Mr. Lawrence Barnett. Your incredible generosity to The Ohio State University’s Arts Policy and Administration Program within the Department of Education made my pursuit of a master’s degree a financial reality. I am eternally grateful to my Advisor, Dr. Wayne P. Lawson, for his seemingly endless well of knowledge and experience, which guided this project and my entire academic career at Ohio State. I am indebted to Program Director Dr. Margaret J. Wyszomirski, who unexpectedly took on the role of my data collection Principal Investigator on short notice and whose always-thoughtful comments helped to clarify and refine this research in its early stages. Thank you to James J. Bohr, who graciously cast me in an Ohio State Theatre Department production and then took on the commitment of serving on this thesis Committee. Your practical experience and knowledge of the Broadway theatre community proved an invaluable contribution to this project. I would be remiss if I did not include Dr. Candace J. Stout in the list of Ohio State professors that influenced this research. The two research courses I iii took with you during my time at Ohio State provided the much-needed focus and confidence to complete this report. This thesis would not have been possible without my many research participants who generously shared their words of wisdom; thank you to Ann Arvia, Jen Bender, M. Jason Blaine, Jed Cohen, Lauren “Coco” Cohn, Eddie Curry, Zak Edwards, Leo Ash Evens, Stephen Flaherty, Brian Golub, Travis Greisler, Brad Haak, Hilary Hamilton, Justin Huff (with special thanks for referrals), Jack Lane, Matt Leisy, David Nehls, Tom O’Connor, Jessica Redish, and Erica Lynn Schwartz. Sloan Grenz is owed extra special thanks for not only his participation but also his highly detailed proofreading of this document. Collectively, your expertise, observations, opinions, and dreams for the future informed not only this research but inspired me personally. I must also thank some of the greatest teachers I have had during my time at Ohio State: my classmates and friends. Thank you to Caitlin, Verónica, Liz, Sarah, Mini, Brea, Jerome, Angela, and InSul. Your varied backgrounds, interests, and perspectives kept me thinking and questioning, and your friendships kept me sane. Finally, I would like to thank my friend-family—especially Scott, Joseph, and Kate—and my actual family: Charlene, Tom, Yvonne, and Caroline. Without your unconditional and undying support and encouragement, I would not have had the determination to complete a master’s program, nor the courage to pursue the career about which I am most passionate. I love you all, and I hope I that I will someday be able to repay the innumerable favors. iv VITA September 4, 1981 ............... Born, Omaha, Nebraska May 1999 .............................. Diploma, Millard South High School Omaha, Nebraska June 2003 ............................. B.S., Communication (Theatre); Music Theatre Certificate Northwestern University, Evanston, Illinois 2003–2009 ............................ Professional Actor; Member Actors Equity Association New York, New York & Nationwide 2004–2006 ............................ Supervisor, Dizzy’s Club Coca Cola, Jazz at Lincoln Center New York, New York 2008–2009 ............................ Event Planner, Great Performances/Ronnie Davis Productions New York, New York 2009–2011 ............................ Barnett Fellow, The Ohio State University Columbus, Ohio 2009–2011 ............................ Coordinator, Barnett Symposium on the Arts & Public Policy Columbus, Ohio Summer 2010 ....................... Marketing Intern, Roundabout Theatre Company New York, New York Field of Study Major Field: Arts Policy & Administration v TABLE OF CONTENTS Abstract..............................................................................................................................ii Acknowledgements...........................................................................................................iii Vita.....................................................................................................................................v List of Figures ................................................................................................................. viii Chapter 1: Introduction ..................................................................................................... 1 Statement of Purpose ........................................................................................... 1 Historical Background ........................................................................................... 2 The Stance of the Researcher .............................................................................. 5 Research Questions.............................................................................................. 7 Definition of Terms ................................................................................................ 7 Scope & Limitations of the Study ........................................................................ 10 Significance of the Study..................................................................................... 11 Chapter 2: Literature Review .......................................................................................... 15 Structure.............................................................................................................. 15 Musical Theatre’s Social History ......................................................................... 16 American Art Meets American Business............................................................. 30 Entertainment Media & Celebrity Culture............................................................ 45 Summary & Conclusion....................................................................................... 56 vi Chapter 3: Methodology.................................................................................................. 58 Qualitative Research Design............................................................................... 58 Data Collection Methods ..................................................................................... 58 Participant Sample .............................................................................................. 59 Methods of Data Analysis ................................................................................... 62 Presentation of the Research.............................................................................. 62 Chapter 4: Research Findings & Analysis ...................................................................... 64 Introduction ......................................................................................................... 64 Marketing & Audiences ....................................................................................... 66 Artistic Integrity.................................................................................................... 76 The Marginalization of Musical Theatre Artists ................................................... 85 Replacing the Irreplaceable ................................................................................ 97 The Effects on Regional Theatre ...................................................................... 101 Visions for the Future ........................................................................................ 106 Chapter
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