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Sample Chapter Copyrighted material – 9781137270955 Contents List of Illustrations vii Acknowledgements ix Introduction 1 PART I Reading Texts Chapter 1 ‘A Tale as Old as Time’: Narrative Theory 9 Chapter 2 ‘A Man Who Can Interpret Could Go Far’: Semiotics and Semiology 26 Chapter 3 ‘Razzle Dazzle ’em’: Performance Studies, Reception Theory and the Epic Musical 44 Chapter 4 ‘Life Is a Cabaret’: Cultural Materialism 61 PART II Interpreting Contexts Chapter 5 ‘You’ve Got to Be Carefully Taught’: Orientalism and Musical Theatre 79 Chapter 6 ‘I Wanna Be a Producer’: Globalization, Capitalism and Consumerism 97 Chapter 7 ‘What’s the Buzz?’: Meta-narratives and Post-linearity 115 PART III Performing Identities Chapter 8 ‘Marry the Man Today’: Feminism and the Performance of Identity 135 Chapter 9 ‘The Bitch of Living’: Youth Cultures, Power and Sexuality 152 Chapter 10 ‘I Am What I Am’: Sexuality and Queer Theory 169 v Copyrighted material – 9781137270955 Copyrighted material – 9781137270955 vi CONTENTS PART IV Rethinking Relationships Chapter 11 ‘It’s the Last Midnight’: Playing with Time and Space 187 Chapter 12 ‘I’m Just a Broadway Baby’: Intertextuality in Music and Lyrics 202 Chapter 13 ‘Dreamgirls Will Make You Happy’: The Pleasures of Voice and Body 217 Chapter 14 ‘Make ’em Laugh’: The Politics of Entertainment 233 Notes 249 Bibliography 252 Index 263 Copyrighted material – 9781137270955 Copyrighted material – 9781137270955 Introduction It can be diffi cult to know where to start exploring musical theatre. ‘Start at the very beginning’, someone once said – very sensibly, no doubt. But Maria didn’t really give any of us a proper handbook for getting to grips with the wonderful world of the musical. She sang at us a lot – thrilling us with infectious energy and charming us with her voice; and she taught us that you can banish the demons of the world just by coming together as a community, joining together in song and thinking of a few of your favourite things. But even though we might want to believe that musical theatre can banish demons – dealing with serious issues like ‘proper’ drama; gaining respect in society like literature, classical music or ballet – that’s really all fantasy, isn’t it? Musicals are fl ossy and fl imsy; wonderful but lightweight. They don’t really matter , we are told; and if we show more than a passing interest we become one of them – a character from Glee who must be a misfi t or an emotional wreck or who must keep to himself/ herself the fact that he/she likes musicals. Yet when no one is watching we still sing those songs out loud, diving into that fantasy world just for a moment, until the fear that we might get caught makes us stop being Little Orphan Annie or Tracy Turnblad, or the sweet transvestite Frank ‘n’ Furter in front of the mirror. Perhaps starting with our favourite things is the right idea – shows we have grown up with, been involved in, or seen on life-changing trips to the big city. Perhaps learning how to talk about them intelligently, know- ledgeably and critically is a way to make them less fl imsy, a way to make them matter. If this nervousness about musical theatre makes our involvement with it rather self-conscious, that’s a trope that is familiar from the shows them- selves. Like Glee, many of the stories of musical theatre are refl exive (they tell stories about musical theatre itself) or contain diegetic songs or dances (songs or dances that are performances within the story of the show). Show Boat (1927) contains scenes from shows on the boat; the leading ladies in Chicago (1975) are both performers imprisoned for murder; Kiss Me, Kate (1948) concerns the onstage and backstage antics of a company performing The Taming of the Shrew ; and The Producers (2001) focuses on the economic diffi culties experienced by mounting a supposed sure-fi re fl op on Broadway. 1 Copyrighted material – 9781137270955 Copyrighted material – 9781137270955 2 INTRODUCTION Throughout its history musical theatre’s stories have created plausible opportunities for performers to sing and dance. In the long-running hit A Chorus Line (1975), Cassie tells us of her passion for the musical. The show is a real-time audition to sing and dance in the chorus of a new Broadway musical. ‘All I ever needed was the music and the mirror and the chance to dance for you,’ she sings, giving voice to the dream to which many of us may aspire. But it’s not just on stage that characters sing and dance; one of the most important features of musical theatre is that characters also sing and dance away from the stage – expressing emotions, narrating events, discussing, debating and deliberating life’s enigmas. Like those deliberations, musical theatre questions and explores the dynamics of our lives – and it does this in song and dance, excessive expressive gestures of the body and voice that excite, stimulate and beguile us. Studying the narratives or plots of musical theatre is not suffi cient to understand the form. We also need to know when and where characters sing and dance, why they do so, and how singing and dancing contributes to the performance. These considerations, about the very dynamics that make up the aes- thetic (or rather, aesthetics) of the musical stage, bring complexities to our study but deeply enrich our relationship with the musical. Why, for example, do the violent gang members of West Side Story (1957) dance with such unexpected grace? Why is Fantine’s dream expressed in the music of a 1980s power ballad rather than a mid-nineteenth-century street song? Is it really plausible that the lifelong gambler and cool cat Sky in Guys and Dolls (1950) should end up banging a drum for the Salvation Army, all because of love? These questions cause us to refl ect about the musical more seriously. In its wonderfully evocative worlds, its enchanting music and its dynamic physicality, it excites all sorts of passions within us. But those worlds have relationships with the real world, and like all art, the refl ection of the real world that is revealed in ‘the music and the mirror and the chance to dance’ can teach us a great deal about our relationships, our attitudes and our ideologies in real life. As such it is fascinating to consider the assumptions that are expressed in the stories of musical theatre – the fact that every boy falls in love with a girl and in the end gets wed; or the fact that any wannabe performer can fi nd his/her way to fame and fortune. What about those that don’t fulfi l their dreams? What about boys that don’t fall in love with girls? What about audiences that don’t see their real world refl ected on stage? What about communities that aren’t represented at all? Since musical theatre is a commercial form that is extremely popular, the reach of its ideologies is also large, but perhaps the way audiences respond Copyrighted material – 9781137270955 Copyrighted material – 9781137270955 INTRODUCTION 3 to musical theatre varies from time to time and place to place. How can we begin to account for how audiences might understand or read a work – or the performance of a work? How is the audience affected by singing and dancing? Is that affect the result of the story being told, or the char- acter doing the singing and dancing, or simply a physiological response to the song and dance? The complexity of musical theatre’s combination of elements (singing, dancing, acting, orchestration, design, production, global marketing) requires that students focus on particular aspects separ- ately and with considerable clarity. Is it the story that you’re talking about? Or the song lyrics? The orchestration? Or the performance by a particular star? And what dramaturgies are revealed when all these elements come together, as ultimately in performance they must? From this preamble it is clear that musical theatre is an enormously complex theatre form, and it can be very diffi cult to know how or where to begin to study it. Clearly, one part of that study must include an under- standing of the signifi cant developments of opera and musical theatre history. Some musical theatre histories begin by documenting the devel- opment of the commercial form of musical comedy on Broadway in the early twentieth century – the Princess Theatre shows in New York; the ‘Girl’ shows of George Edwardes in London; and the musical revues that thrived on both sides of the Atlantic. Others begin by identifying the genesis of the musical play with Show Boat in 1927. Still others identify a starting point by discussing the idea of ‘integration’ and Oklahoma! (1943). But there were infl uences on musical comedy from Europe, especially the work of Gilbert and Sullivan, Offenbach and Lehár and later the European-styled shows of the Americanized Rudolf Friml and Sigmund Romberg. In turn, their work developed in the context of European opera, which we can’t ignore. So that takes us back about 400 years and covers a wide geographical area. What any study of musical theatre’s histories reveals is that there is not a single linear development of musical theatre and opera across Europe and the United States that can tell the whole story of all the diverse lines of devel- opment and relationships that impact on musical theatre. But what is the difference between musical theatre and opera, not to mention opera comique, opera buffa, opera seria and grand opera, music drama and dramma per musica, musical plays, music hall, vaudeville, variety and burlesque? Perhaps, rather than thinking about the differ- ences between these forms and their terminology, or the ways they have infl uenced one another historically we might focus on their similarities.
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