Musicals Workbook

Total Page:16

File Type:pdf, Size:1020Kb

Musicals Workbook Music Department Cover Work MUSICALS Name Class Date MUSICALS Read the passage and answer the questions on the back. PART 1 The structure of a musical is similar to opera. A musical is a type of play that tells a story through a mixture of spoken dialogue, song, choruses and dance. However, musicals use much more spoken dialogue than operas. Also, their musical style is rooted in forms of popular music such as jazz, rock and Latin American music rather than the classical music of opera. Whilst musicals do sometimes deal with serious subjects, their style is more lighthearted than opera. Today, musicals are the most popular form of theatrical entertainment and attract audiences from all parts of society. The music usually consists of both instrumental and vocal pieces. This will include some powerful, catchy songs which may be successful enough to enter the Top 20 Charts. Thus Don’t Cry For Me Argentina, from Evita reached No 1 in 1976. However, the music is not just there for entertainment. It is used to heighten the tension of events. The musical as we know it today is a blend of light opera and the less refined tradition of the music halls from the late 19th century. The light operas of British writers such as Gilbert and Sullivan and continental composers like Sigmund Bomberg and Franz Lehar were to have considerable influence on the early development of the musical in both Britain and America. From the 1920s until the 1970s the most popular musicals on both sides of the Atlantic were American productions. In the 1920s these generally had rather unrealistic, thin story lines. Often, the songs did not fit particularly well into the story. However, they were an exciting mixture of good singing, lavish scenery and exotic locations. The Desert Song (1926) was a typical example of this kind of musical. All this was changed in 1927 by Jerome Kern’s production, Show Boat. The songs, such as Ol’ Man River helped to tell the story. This was the first musical in which the songs were an important part of the story, rather than being thrown in to give the show a bit of a lift with a few catchy numbers! The plot covered the more serious and dramatic theme of racial discrimination and the characters seemed more real than earlier productions. 1. Finish this sentence, ‘A musical is __________________________________________________________________ 2. Is the following sentence true or false: The structure of a musical is similar to opera. TRUE FALSE 3. Write out 3 differences between musicals and opera. i) _____________________________________________________________________________________ ii) _____________________________________________________________________________________ iii) ____________________________________________________________________________________ 4. Which musical did the song, Don’t Cry For Me Argentina come from? Desert Song Show Boat Evita 5. Fill in the missing letters of the following writers and composers: G_ _B_ _T _U_L_V_N S_ _M_ _D B_ M _ _ _G F_ _ _ Z L _ _ _R 6. Were the most successful musicals between 1920-1970 American British Australian 7. Write a few sentences describing the musicals of the 1920s. 8. Describe the musical Show Boat in a few sentences. PART 2 The 1930s saw some exhilarating productions in new musical styles such as Cole Porter’s Anything Goes (1934) and George Gershwin’s Porgy and Bess (1935). However, it was Rogers’ and Hammerstein’s Oklahoma! of 1943 which extended the boundaries of what was possible in the musical. Oklahoma! was a dramatic story of life on the American prairies. It had catchy songs, elaborate dance scenes and some excellent singing and acting. Rogers and Hammerstein blended these elements tightly together so that the finished result was a more powerful and polished production than anything which had been seen before. Oklahoma! was followed by a string of Rogers and Hammerstein hits such as South Pacific (1949), the King and I (1951) and the Sound of Music (1959), all of which were afterwards made into very successful films. Realism in the musical reached new heights in 1957 with Leonard Bernstein’s West Side Story. Bernstein took Shakespeare’s love story, Romeo and Juliet and transferred it to the streets of New York. Its portrayal of street life, passion and fights to the death was grimly realistic. Bernstein mixed ballet, jive, and Latin American dance to create a thrilling musical full of movement and spectacle. During the 1960s the musical was adapted to rock music. Examples are Hair (1968), Jesus Christ, Superstar (1972), Evita (1978) and Grease (1978). Although these were hits at the time, most of them have not been successfully revived since. In recent years, there has been a spate of musicals shaped around the lives and hit songs of rock ‘n’ roll stars such as Buddy Holly and Elvis Presley. They consist of the live performance of the hit songs of the star, padded out with some brief references to the story of his or her life. Although, these musicals may lack depth, they are very popular as audiences seek to relive the heady days of their youth! From the 1970s onwards, British musicals came to rival the popularity of American productions on both sides of the Atlantic. Many of these such as Cats (1981) Phantom of the Opera (1986) and Starlight Express (1984) were created by Andrew Lloyd Weber. Indeed, Cats has been the longest running show in the history of both the London stage and Broadway in America. 1. Match up these musicals with their composers: Anything Goes George Gershwin Porgy and Bess Cole Porter 2. Why was Oklahoma considered to be such a good musical? 3. Which Shakespeare play was West Side Story based on? 4. Why has West Side Story been described as a very realistic musical? 5. Which of these was a rock musical? West Side Story The Sound of Music Hair 7. Who created Starlight Express? Lionel Bart Julian Lloyd Weber Andrew Lloyd Webber 8. Which was longest running show in both America and Britain? MUSICALS Annie Calamity Jane Chess Chicago Evita Grease Guys and Dolls Hairspray Hello Dolly Les Miserables Lion King Matilda Oklahoma Oliver Show Boat Sound of Music We Will Rock You Wicked .
Recommended publications
  • The Golden Age Exposed: the Reality Behind This Romantic Era
    Illinois Wesleyan University Digital Commons @ IWU Honors Projects Theatre Arts, School of 4-28-2017 The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Follow this and additional works at: https://digitalcommons.iwu.edu/theatre_honproj Part of the Theatre and Performance Studies Commons Recommended Citation Adams, Danny, "The Golden Age Exposed: The Reality Behind This Romantic Era" (2017). Honors Projects. 22. https://digitalcommons.iwu.edu/theatre_honproj/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Illinois Wesleyan University The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Honors Research April 28th, 2017 1 In the spring of 2016, I took a class called "Music Theatre History and Literature" which is about exactly what it sounds like: a course on the history of music theatre and how it evolved into what it is today. From The Black Crook, the first known "integrated musical" in 1866, to In the Heights and shows today, the class covered it all.
    [Show full text]
  • YCH Monograph TOTAL 140527 Ts
    UCLA UCLA Electronic Theses and Dissertations Title Transformation of The Musical: The Hybridization of Tradition and Contemporary Permalink https://escholarship.org/uc/item/1hr7f5x4 Author Hu, Yuchun Chloé Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Transformation of The Musical: The Hybridization of Tradition and Contemporary A dissertation submitted in partial satisfaction of the requirement for the degree Doctor of Philosophy in Music by Yu-Chun Hu 2014 Copyright by Yu-Chun Hu 2014 ABSTRACT OF THE DISSERTATION Transformation of The Musical: The Hybridization of Tradition and Contemporary by Yu-Chun Hu Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair Music and vision are undoubtedly connected to each other despite opera and film. In opera, music is the primary element, supported by the set and costumes. The set and costumes provide a visual interpretation of the music. In film, music and sound play a supporting role. Music and sound create an ambiance in films that aid in telling the story. I consider the musical to be an equal and reciprocal balance of music and vision. More importantly, a successful musical is defined by its plot, music, and visual elements, and how well they are integrated. Observing the transformation of the musical and analyzing many different genres of concert music, I realize that each new concept of transformation always blends traditional and contemporary elements, no matter how advanced the concept is or was at the time. Through my analysis of three musicals, I shed more light on where this ii transformation may be heading and what tradition may be replaced by a new concept, and vice versa.
    [Show full text]
  • Show Boat Little Theatre on the Square
    Eastern Illinois University The Keep 1967 Shows Programs 1967 Summer 7-24-1967 Show Boat Little Theatre on the Square Follow this and additional works at: http://thekeep.eiu.edu/little_theatre_1967_programs Part of the Theatre History Commons Recommended Citation Little Theatre on the Square, "Show Boat" (1967). 1967 Shows Programs. 8. http://thekeep.eiu.edu/little_theatre_1967_programs/8 This Book is brought to you for free and open access by the 1967 at The Keep. It has been accepted for inclusion in 1967 Shows Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. "Central Illinois' Only Equity Stur lZlusic and Drama Theatre" Eleventh Season a May - October 1967 Sullivan, Illinois 6uy S. Little, Jr. Presents BRUCE YARNELL in "HOVJ BOAT" July 25 - August 6, 1967 6y S. littleI Jr. PRESBNTS BRUCE YARNELL "SHOI BOAT' Music by JEROME KERN Book and Lyrics by OSCAR HAMMERSTEIN 2nd Based on the novel "Show BoaP by EDNA FERBER wlth MARCIA KIN6 Jetill Little, Art KQSUI~John KelsoI Stwe S-:. EDWARD PIERSON and BUTTERFLY MaQUEEW Directed by ROBERT BAKER ::.:;:' Choreography by GEORGE BUNT Musical Direction by DONALD W. CHA@ Assistant Murical Direction by ROIBRT MCWCapW . .* Scenery ~esi~nedby KENNETH E. LlQ%f@. Production Stag. Manamr Assistant Stage Mmapr RICHARD GHWON BILL TSOKOS =MEN- Wk ENTIRE PRODUCTION UNDER THE SUPERVISION OT 5 :. --, . ' I CAST , , -: Captain Andy.. ..........................., ....................... ART -1 Ellie .........................................................
    [Show full text]
  • THE SINGER's MUSICAL THEATRE ANTHOLOGY DUETS VOLUMES Bk
    THE SINGER'S MUSICAL THEATRE ANTHOLOGY DUETS VOLUMES Bk. Only CDs Only Bk./CDs D1 = Volume 1 00361075 00740239 00000487 D2 = Volume 2 00740331 00740240 00000492 D3 = Volume 3 00001155 00001161 00001166 SONG SHOW VOLUME Agony Into the Woods D3 All For the Best Godspell D3 All I Ask Of You The Phantom of the Opera D2 All the Wasted Time Parade D3 Almost a Love Song Victor/Victoria D2 An Old Fashioned Wedding Annie Get Your Gun D2 The Apple Doesn't Fall Very Far The Rink D3 Anything You Can Do Annie Get Your Gun D2 As Long as You're Mine Wicked D3 Barcelona Company D2 Bess, You Is My Woman Porgy and Bess D1 Bosom Buddies Mame D2 A Boy Like That / I Have a Love West Side Story D3 Can You Feel the Love Tonight The Lion King D3 Class Chicago D2 Come to Jesus Myths and Hymns D3 Crazier Than You The Addams Family D3 Do You Love Me? Fiddler on the Roof D3 Elaborate Lives Aida D2 Every Day a Little Death A Little Night Music D3 For Good Wicked D3 The Grass Is Always Greener Woman of the Year D3 Guys and Dolls Guys and Dolls D2 I Have Dreamed The King and I D1 I Loves You, Porgy Porgy and Bess D1 I Remember It Well Gigi D2 I Remember That Saturday Night D2 (I Wonder Why?) You're Just in Love Call Me Madam D2 I'd Give It All for You Songs for a New World D2 I'll Know Guys and Dolls D2 I'm All Alone Monty Python's Spamalot D3 In Whatever Time We Have Children of Eden D3 Invocation and Instructions to the AudienceThe Frogs D3 It Couldn't Please Me More Cabaret D2 It Never Was You Knickerbocker Holiday D1 It Takes Two Into the Woods D3 Kiss Me Sweeney
    [Show full text]
  • South Pacific
    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
    [Show full text]
  • Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (Guest Post)*
    “Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (guest post)* Helen Morgan Original album package Paul Robeson Before the long-playing record (or LP) made original cast albums a key component of the Broadway musical, record companies recognized the potential of turning a Broadway score into a unified experience for home listeners. The 1927 musical “Show Boat” was the first to receive this treatment. In 1932, the year of “Show Boat’s” first Broadway revival, the Brunswick label released a set of four specially-recorded 78s of songs from the show. The discs were bound in a handsome album featuring cover art taken from the sheet music for the Broadway show which had, in turn, been derived from the cover of Edna Ferber’s 1926 novel. The lavish set’s liner notes described the collection as an “album of music from one of the most tuneful and popular operettas of the modern day.” Conducted by Victor Young and using custom orchestral arrangements—not those played by the pit orchestra in the theater—the Brunswick set features two singing stars who shaped “Show Boat” both in the minds of its creators and for the show’s enthusiastic early audiences: Paul Robeson and Helen Morgan. Music critics praised the unity of Young’s collection, “obviously recorded as a unit and with great care.” And even though listening to all eight sides would have been a clunky affair at the time—involving much changing and flipping of discs—Young clearly imagined the set as a whole. The inclusion of sides titled “Overture” and “’Show Boat’ Finale” suggest a partial playing order.
    [Show full text]
  • Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
    EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun.
    [Show full text]
  • Program Notes by Joshua S. Ritter, Education Director
    Program Notes by Joshua S. Ritter, Education Director There’s No Business Like Show Business! Irving Berlin’s unforgettable tune captures the essence of life in the entertainment business like no other song in history. Only Berlin could so eloquently express the highs and lows that accompany a theatrical career. Remarkably, Berlin was concerned about including “There’s No Business Like Show Business” due to a muted initial response from his colleagues. Unbeknownst to Berlin, their silence was one of awe rather than disapproval. When Berlin submitted his score to producers Rogers and Hammerstein for the second round of rehearsals without the famous song, he drew the following reaction: “Where’s that ‘Show Business’ thing?” Hammerstein asked, sure that he had misplaced the number. “I left it out,” Berlin said somberly. “In Heaven’s name, why?” Hammerstein inquired. “I didn’t think you liked it,” Irving retorted. “You didn’t say enough.” Later, Hammerstein reflected on the situation: “He was just going to throw it away. Now out of context of the play, it’s merely the song that means show business.” However, despite Berlin’s incredible work on the production, he was not the original intended composer and lyricist for Annie Get Your Gun. Dorothy Fields conceived the idea for the musical and she intended to write the lyrics and co-write the book with her brother Herbert. She stated that the idea formed in her head after witnessing a decorated soldier who was extremely successful at a Coney Island shooting gallery. This observation conjured images of the famous sharpshooter Annie Oakley and the idea for the show was born.
    [Show full text]
  • YCH Monograph TOTAL 140527 Ts
    UNIVERSITY OF CALIFORNIA Los Angeles Transformation of The Musical: The Hybridization of Tradition and Contemporary A dissertation submitted in partial satisfaction of the requirement for the degree Doctor of Philosophy in Music by Yu-Chun Hu 2014 Copyright by Yu-Chun Hu 2014 ABSTRACT OF THE DISSERTATION Transformation of The Musical: The Hybridization of Tradition and Contemporary by Yu-Chun Hu Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair Music and vision are undoubtedly connected to each other despite opera and film. In opera, music is the primary element, supported by the set and costumes. The set and costumes provide a visual interpretation of the music. In film, music and sound play a supporting role. Music and sound create an ambiance in films that aid in telling the story. I consider the musical to be an equal and reciprocal balance of music and vision. More importantly, a successful musical is defined by its plot, music, and visual elements, and how well they are integrated. Observing the transformation of the musical and analyzing many different genres of concert music, I realize that each new concept of transformation always blends traditional and contemporary elements, no matter how advanced the concept is or was at the time. Through my analysis of three musicals, I shed more light on where this ii transformation may be heading and what tradition may be replaced by a new concept, and vice versa. My monograph will be accompanied by a musical work, in which my ultimate goal as a composer is to transform the musical in the same way.
    [Show full text]
  • Spamalot the Talent Behind the Show
    Summer 2007 CAMP BROADWAY LLC CAMP BROADWAY ® NEW YORK SSttaaggeeNNOOTTEESS A FIELD GUIDE FOR TEACHERS Table of Contents Welcome from Dallas Summer Musicals . .3 Using the Field Guide . .4 A Brief History of the Broadway Musical . .5 Spamalot The Talent Behind the Show . .8 Spamalot: A Production History . .8 Spamalot: Synopsis . .9 Spamalot: Background Information . .10 Spamalot: Lesson Ideas . .12 The Broadway Guide to Theatergoing Etiquette . .14 The Dallas Summer Musicals School of Musical Theatre and Kids Club . .16 2 WelcomeDallas from Summer Musicals Summer 2007 Welcome to Dallas Summer Musicals! We’re so glad you could join us! Musical theater is a unique American creation. It’s also a joyful mixture of song and story, and, since 1945, Dallas Summer Musicals has brought the finest musicals to Dallas. Want to know what goes into making a musical? Just two simple ingredients: singing and acting (song and story). There’s just something about a song that makes a story mean more than just regular speech. It touches us in a different way. Whether a show uses classical music or rock, a musical uses music to tell its story, to suggest feelings, emotions, and attitudes. As long as it mixes song and story, musical theater can be about literally anything, and this season’s shows are great examples of the wide range of subjects. From the blockbuster musical Wicked to the sweeping epic of Camelot, each production reveals a different aspect of what makes musical theater so special. The story of Dallas Summer Musicals is a long and honored one, and by learning about and attending one of our shows, you are now part of that story too! Sincerely, Michael A.
    [Show full text]
  • FOR IMMEDIATE RELEASE: October 16, 2013 MEDIA CONTACT: Sasha Fields Public Relations Manager Sasha [email protected] Phone: 941.351.9010 Ext
    FOR IMMEDIATE RELEASE: October 16, 2013 MEDIA CONTACT: Sasha Fields Public Relations Manager [email protected] Phone: 941.351.9010 ext. 4800 THE GREAT AMERICAN MUSICAL IS DOCKED AT ASOLO REPERTORY THEATRE ASOLO REPERTORY THEATRE PRESENTS SHOW BOAT Director Rob Ruggiero Steers the First Modern American Musical This Timeless, Heartwarming Musical Launches Asolo Rep’s 2013-2014 Season and the Second Year of the American Character Project (SARASOTA, October 16, 2013) — Asolo Repertory Theatre is proud to open its 2013-2014 season with SHOW BOAT, based on the novel by Edna Ferber, music by Jerome Kern and book and lyrics by Oscar Hammerstein II. This winner of the 1994 Tony Award for best revival features a score of timeless classics, including “Ol’ Man River, “Can’t Help Lovin’ Dat Man” and “Make Believe.” Previews will be held November 12 – 14 and the show will run from November 15 – December 29. Opening night will be held on Friday, November 15 at 8pm. SHOW BOAT will take audiences aboard Captain Andy Hawks’ Cotton Blossom, a19th-century riverboat that travels from town to town on the Mississippi River with a troupe of performers. The musical chronicles these performers’ lives during a crucially transformative period in U.S. history, spanning 1887 to 1927, from the dawn of the Progressive Era to the eve of the Great Depression. SHOW BOAT explores many poignant topics, including racial diversity in marriage and economic hardships, that still challenge the world today. “The love of family and family in the larger sense – the family of man – that’s what the show is about.
    [Show full text]
  • Program Notes
    Program Notes by Joshua S. Ritter, Education & Library Director Show Boat is a monumental American classic and a revolutionary masterpiece of the lyric stage. With Hammerstein and Kern’s groundbreaking work on the production, a new art form emerged in the American musical theatre. For the first time, visionary writers dared to integrate music, humor, libretto, lyrics, and décor into a single artistic entity. Arguably, this approach left the traditions of the American musical comedy and Viennese operetta behind, giving birth to the first “musical play.” Long before Show Boat opened in 1927, a renowned composer of the American musical theatre, Jerome Kern, had grown weary of the standard musical-comedy formula. The typical 1920s musical was lacking meaningful social commentary; dramatic truth; a plot with a rational, believable line; three-dimensional characters; and authenticity of background and atmosphere. After the “Princess Theatre” shows such as Very Good Eddie and Oh, Boy!, Kern’s work hadn’t diverged significantly from the artistic endeavors of his fellow composers. However, after reading Edna Ferber’s sprawling family saga Show Boat, he endeavored to be the first to compose a popular musical version of a serious novel. Kern was a bibliophile who had long admired Ferber’s work and Show Boat’s title immediately caught his interest. Kern adored the richly romantic plot, filled with tenderness, humor, and high drama. He was confident that Show Boat was the novel that could help him bring artistic dignity to the American Musical Comedy. Kern telephoned the thirty-one-year old Oscar Hammerstein II and suggested they create a Broadway musical version of Ferber’s novel.
    [Show full text]