From Vaudeville to Hamilton: Introduction to Musical Theater THTR/DANC 1505 Revised 10-28-17

Prof. Sarah Bay-Cheng Office Hours: M/W 2-4pm, and by appt. Fall 2017 http://doodle.com/sbaycheng T/R 1-2.25pm 608 Memorial Hall SAUD – Sills Hall Phone: 207-725-3419 http://blackboard.bowdoin.edu email: [email protected]

Give'em the old Razzle Dazzle; Razzle Dazzle 'em. Give 'em an act with lots of flash in it, and the reaction will be passionate. ~ Chicago (1975)

The theatuh, the theatuh, what's happened to the theatuh, Especially where dancing is concerned? ~White Christmas (1954)

DESCRIPTION

Among the many forms of live performance, musical theater remains one of the most popular and successful genres from the nineteenth century to today. Echoes of musical theater appear in films, popular television, and circulate extensively through social media (e.g., #ham4ham). This course surveys the cultural history of musical theater from mid-nineteenth-century entertainment in vaudeville and music halls, to contemporary productions on Broadway and in London's West End. We will focus predominantly on American and European productions, while also observing how these performances change as productions travel around the world. We will read scripts and librettos, listen to cast recordings, and where possible, watch videos and films of performances. We will also cover shows that move from stage to screen (e.g., Rent) and from movies to theater (e.g., Groundhog Day, American Psycho, among others).

OBJECTIVES

• Trace the development of musical theater as form, genre, and style • Assess the elements of musical theater production • Analyze musical theater within its social, cultural, and performance histories • Develop a critical vocabulary and framework for performance analysis of musical theater • Apply that framework to musical theater productions in performance (stage and screen)

REQUIRED TEXTS

All texts are available from Chegg and other online sources. Recordings of the relevant shows can be purchased online and, often through other sources such as iTunes, Spotify, Tidal, etc. CD recordings of these shows are available on reserve in the Media Commons. You do not need to purchase the recordings, but be sure to listen to shows in advance of class discussion. We will be covering at least one show per week and sometimes two, so be sure to make time to listen to each cast recording completely. Whenever possible, film adaptations have also been made available through reserve. Please keep in mind that in

1 most instances, the film version differs significantly from the stage production. (This is a topic that we will explore in several of the shows included here.) If you have difficulty purchasing any of these texts for any reason, please let me know as soon as possible.

Scott McMillin, The Musical as Drama (Princeton UP, 2006) Larry Stempel, Showtime: A History of the Broadway Musical Theater (Norton, 2010)

Librettos for the following shows (in order of their appearance in the syllabus)

Musical of Musicals: The Musical (2003) Shuffle Along (1923) Carousel (1945) Guys and Dolls (1950) Threepenny Opera (1928) West Side Story (1957) A Chorus Line (1975) Evita (1976) Assassins (1993) La Cage aux Folles (1983) Rent (1996) Chicago (stage 1975; film adaptation 2002) In the Heights (2008) Hamilton (2015)

Optional/recommended: Fun Home (2013). This version of Fun Home is Alison Bechdel's graphic novel from which the musical was adapted. It's a relatively quick read, so recommended. However, it is not required for the course. This is a change from what is posted on the Chegg website.

Note:

This is a reading-intensive course that requires significant time to read, listen, and think about the musicals studied. The best way to study a musical is to first listen and read along at the same time before you watch a recording. I want you to imagine the staging choices before you begin analyzing what other people have done before you. Be sure that you have listened/read the entirety of the musical before coming to class to discuss it.

REQUIRED VIEWING

All students are required to attend the Department production of Threepenny Opera, Nov. 16-18. Tickets are free, but please be sure to reserve your tickets ahead of time. If you cannot attend one of these performances due to a sanctioned College activity, please let me know as soon as possible, preferably within the first 2 weeks of the semester. Note that you are also responsible for watching the DVD of Oklahoma! (1943; filmed version 2003). This video is available in the media commons of H-L library. Because we have limited copies, I recommend watching Oklahoma with others and be sure to schedule time to watch the film in advance of the review (due: 10/3).

2 EVALUATION

Prompt attendance to every class is expected. Missed classes and frequent tardiness will lower your final grade (see Course Policies).

Performance Reviews (15% x 2 = 30%) 10/3, 12/5

You will write two performance reviews of musicals during the semester: Oklahoma! (dir. Trevor Nunn, London 2003) and Threepenny Opera (dir. Davis Robinson, Bowdoin 2017). These reviews should be 5- 6pp. (~1500 words, Times New Roman 12 pt font; 1" margins) and should follow the Writing Guidelines posted on Blackboard. I will accept your review assignments either in stapled hard copy in class or via Blackboard assignments. I will not accept assignments via email or in hard copy without staples. Please be sure to submit your work by the deadlines listed in the syllabus. I will not accept late work except in case of serious emergency. If you are aware of a potential or upcoming conflict, be sure to plan ahead and let me know ahead of time.

To support your writing and revision process, I will accept one revision for the first review. To submit a revision, you must have submitted the original paper on time and you must include the first version of the paper with original comments. I cannot accept any revisions after 12/5.

Exams (30% midterm; 40% final) 10/17 @ 2.30pm; 12/18 @ 5pm

There will be two cumulative essay exams for this course. These exams are designed to evaluate your comprehension of material and, more importantly, your ability to apply critical principles of analysis to musical theater history, structure, and style. Exams will draw on material both assigned in reading and presented in class. Exams are to be completed individually and should not duplicate work among students.

Midterm (30%) 10/17 by 2.30pm

The mid-term is a take-home exam that will be available via Blackboard from 10/16 2.30pm until 10/17 @ 2.30pm. You do not need to attend class that day, but I will be available online and in my office to answer any questions. The exam is comprised of essay questions and is designed to be completed in approximately 80 minutes, but you may take longer as needed. (Note: Longer responses do not guarantee a better grade.) The midterm responses must be posted to Blackboard on 10/17 @ 2.30pm. Late submissions will not be accepted except in situations of series, verified, and unforeseen emergency.

Final Exam (40%) due by 12/18 @ 5pm

The final exam will be available on Blackboard on 12/17 @ 5pm and your response must be posted to Blackboard on 12/18 by 5pm. This exam is designed to take approximately 2-3 hours to complete. Your responses should draw from course materials and discussions and need not include outside references. However, if you do consult materials outside of those assigned in class, you must clearly cite and attribute these sources in your exam responses. Failure to do so is considered a form of plagiarism (see Course Policies.) Late submissions will not be accepted.

Late Assignments

All written assignments and exams are due by the deadlines stated above and in the Course Outline. Late exams will not be accepted. Writing assignments submitted after the stated deadline will be penalized a full letter grade for each day it is late, starting with the day of the deadline if not submitted by the stated

3 time (i.e., submitted 5 minutes late = 1 day late = B+ → C+). Work that is more than 3 full days late will not be accepted. All work should be submitted via Blackboard after having been carefully proofread. Please do not email me with your assignments.

4 COURSE OUTLINE

Each week, we will cover a range of musicals in social, cultural, and historical context. We will also focus on one or two particular musicals as key examples of the topic, style, or historical moment (noted in syllabus). Various other examples will be referred to in the class lectures and will be available on reserve in the media commons of the H-L library. The readings listed below are required (or recommended, "Rec.") for the class in which they are listed. Please bring all required readings in hard copy with you to every class. All readings are to be completed by the date for which they are listed. For each show, please read the libretto or listen to a recording before coming to class (preferably both and it's ok to do this at the same time). Material discussed in class assumes that you have read the assigned readings and will not necessarily repeat specific information. Exams are comprehensive and will draw both from class lectures and discussions, as well as assigned reading.

Generally, Tuesdays will be predominantly lecture with Thursday courses focused more on discussion, but this may shift throughout the semester. Please read all the materials thoroughly for the class in which they are assigned and be ready to contribute your own thoughts and ideas in every class.

Overture

Course Introduction – Why Study Musical Theater? Or Spectating in Abstentia

8/31 Review syllabus in class: Moulin Rouge (2001), "Grey's Anatomy" S7:E18 (2011), "My Crazy Ex- Girlfriend" S1:E1 (2015) #Ham4Ham (2016)

Act I

Analyzing Musicals: Genre & Form Musical of Musicals: The Musical (2003)

9/5 Stacy Wolf, "In Defense of Pleasure: Musical Theatre History in the Liberal Arts [A Manifesto]" (BB) Musical of Musicals: The Musical

9/7 David Savran, "Toward a Historiography of the Popular" (BB) McMillan, Preface, Chp. 1

Historical Origins: Vaudeville & Minstrelsy Shuffle Along (1921)

9/12 Stempel, pp. 53-93 Shuffle Along Rec. Stempel, pp. 21-52

9/14 David Krasner, A Beautiful Pageant (excerpts, BB) Stempel, pp. 203-239

From Songbook to Script: Evolution of Form Carousel (1945)

5 9/19 McMillan, chp. 2 Carousel

9/21 Stempel, pp. 241-327 Rec. Bruce Kirle, "Reconciliation, Resolution, and the Political Role of "Oklahoma!" in American Consciousness" (BB)

Political Guys & Social Dolls: Mid-century America on Stage Guys and Dolls (1950)

9/26 Stempel, pp. 409-455 Guys and Dolls

9/28 McMillan, chp. 3 Stacy Wolf, "The 1950s: Marry the Man Today" from Changed for Good: A Feminist History of the Broadway Musical (BB)

Against Richard Wagner: Alternatives to the Integrated Musical Threepenny Opera (1928)

10/3 Brecht, Brecht on Theatre (excerpts, BB) Stempel, pp. 459-513

Due: Oklahoma! Review Rec. John Lahr, "O.K. Chorale: an English take on Rodgers and Hammerstein"

10/5 Guest presentation – Davis Robinson on Threepenny Opera Threepenny Opera

10/10 Fall Break – no class

Song & Dance West Side Story (1957)

10/12 Stempel, pp. 367-407 West Side Story Liza Gennaro, "Evolution of Dance in the Golden Age of the American 'Book Musical'" (BB)

Entr'acte

10/17 Mid-Term Exam due by 2.30pm

10/19 In-class workshop: London Dramatic Academy

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Act II

"All That Jazz": Meta-theatrical Musicals A Chorus Line (1975)

10/24 McMillan, chp. 4-5 A Chorus Line

10/26 Brian Eugenio Herrera, "Little Steps: The Absurdity of A Chorus Line" (BB) Stempel, pp. 557-599

Staging History: Politics & the Musical Evita (1976) & Assassins (1993)

10/31 McMillan, chp. 7 Evita Rec. Stempel, pp. 515-555; 607-617 (locates the historical context for the shows)

11/2 Jim Lovensheimer, "Stephen Sondheim and the Musical of the Outsider" (BB) Assassins (important to read the show)

"You're a Queer One": Gender & Sexuality La Cage aux Folles (1983) & Fun Home (2013)

11/7 Alisa Solomon, "Great Sparkles of Lust: Homophobia and the Antitheatrical Tradition" (BB) La Cage aux Folles

11/9 Stacy Wolf, "Gender and Sexuality" (BB) Fun Home (listen to cast recording) Rec. Fun Home: A Family Tragicomic by Alison Bechdel (2007)

Putting It Together: Adaptation, Media, & the Movie-Musical-Movie-Musical… Rent (1996) & Chicago (1975)

11/14 Stempel, pp. 645-685 Rent (for this you may watch the film version as well)

11/16 Raymond Knapp and Mitchell Morris, "The Filmed Musical" (BB) Chicago (for this you may watch the film directed by Rob Marshall)

***11/16-18 Attend Threepenny Opera – Pickard Theater @ 7.30pm ***

11/21 Discussion of Threepenny Opera

11/23 Thanksgiving Break – no class

7 Lin-Manuel Miranda and 21st-century Musical Theater In the Heights (2008) & Hamilton (2015)

11/28 Schyler Ritchie, "How Lin-Manuel Miranda Challenged West Side Story's Cultural Stereotypes" (BB) In the Heights Rec. McMillan, chp. 6

11/30 Edward Delman "How Lin-Manuel Miranda Shapes History" (BB) Hamilton Rec. McMillan, chp. 8 (strongly recommended; it's a great chapter synthesis)

Curtain Call

Musicals in the Avant-Garde Einstein on the Beach (1976, 2012)

12/5 Stephen Bottoms, Review of Einstein on the Beach (BB) Guest Presentation – Tina Satter '96 Artistic Director, Half-Straddle Theater (NYC)

Due: Threepenny Opera Performance Review

12/7 Einstein on the Beach (CD and DVD in H-L; score on BB) Summary & Conclusion Review for Final Exam

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COURSE POLICIES

Being present, attentive, and on time shows respect for yourself, your instructor, and your fellow classmates. With this in mind, please read the following policies closely.

Attendance

Attendance for every class is mandatory, except in situations of serious emergency verified by documentation (doctor’s note, etc.). If you know you will be absent for reasons related to academic, departmental, athletic requirements, or medical issues, please inform me in writing as soon as possible (e- mail is also acceptable) with verification as appropriate. In the event of an unexpected absence, please contact me via email at your earliest convenience, preferably before class, and do your best to get the material from the class you missed. You are responsible for any material covered during your absence. You are allowed one absence during the semester to allow for situations beyond your control. Use it wisely.

Each absence over your one allowable absences will lower your final grade by one-third (i.e., 2 absences: B+→B). For the purposes of grading, late attendance three times will equal one absence. This will also necessarily affect your participation grade.

Disclosure Statement

Study in performance and cultural studies can involve material that may be personally disturbing, even offensive. This includes issues of gender, race, sexuality, religion, and various moral concerns, all of which may be included in readings, performances, and films selected for this course. I expect that students will contribute ideas and critiques freely, and will be respectful of diverse perspectives, especially those with which you disagree. As a professor, I am committed to a learning environment in which we all recognize the value in exploring and testing new ideas, while remaining continuously aware of the effects of language and behavior on others, even in fictional contexts. If you have any concerns about material assigned or brought into class, please contact me as soon as possible. If anything occurs that you feel is inappropriate or compromises trust, please feel free to discuss these feelings with me, or any faculty or staff member with whom you feel comfortable.

Mobile Phone and Laptop Use

Please turn off your cell phone before you come to class. If there are circumstances that require you to have your phone turned on (i.e., you are on-call pending some potential emergency), please contact me at the beginning of the semester or prior to an individual class for approval.

There is strong and compelling evidence to show that taking notes on a laptop provides limited benefit to students and may even work against memory retention. (I am happy to provide the relevant studies to you, but feel free to consult Sherry Turkle's research at MIT.) Because the whole point of going to class is to learn, interact, and ostensibly remember what happened, I strongly discourage laptop use in this course. I recommend that you take handwritten notes unless you require specific accommodations that require a laptop. Even then, I may suggest that we attempt an alternative before resulting to laptop note-taking. If this is the case, please let me know in the first week of class and we will make appropriate accommodations.

9 Office Hours

I encourage you to come to office hours, particularly in advance of upcoming assignments. Office hours are Mondays and Wednesdays, 2-4pm. If you cannot attend at these times, please go to http://doodle.com/sbaycheng to schedule an appointment.

Blackboard

Readings, assignments, and grades will be posted on Blackboard. Please let me know if you have difficulty accessing or using the site. Be sure to check the site frequently for announcements as well as materials. Take-home exams must be submitted through the site. I will accept written work either in hard copy or uploaded through Blackboard. Please do not email me your assignments.

Student Accommodations

I encourage you to get the support and resources you need to be successful. To this end, I adhere to the Accommodation Policy for Students with Disabilities and will work to provide whatever accommodations are necessary. If you have any diagnosed condition that will make it difficult for you to carry out the course work as outlined, or requires accommodations, please advise me during the first two weeks of the course so we may review possible arrangements for accommodations. If you are feeling overwhelmed by any of the course requirements, please contact me as soon as possible. Information provided in this context will be kept confidential in accordance with state and federal law.

Academic Dishonesty & Plagiarism

Plagiarism is literary theft and a betrayal of trust. The term is derived from the Latin word for kidnapper and refers to the act of signing one's own name to words, phrases, or ideas, which are the literary property of another. Plagiarism comes in many forms, all to be avoided: outright copying or disguised use of words and phrases from an unacknowledged source. This includes copying and pasting from any online source. It is also expected that all work for this course will be created originally for this course. You may not use work from previous courses, unchanged, as fulfillment of assignments in this course. To avoid Plagiarism, students are encouraged to make it their habit to put quotation marks around words and phrases, or to isolate and indent longer passages that you are using from someone else's writing. Students can cite the source in a footnote/endnote, or within parentheses in your text. I prefer MLA or Chicago Manual of Style citations. If you're not sure about how to do this, please see me, reference librarians, or consult the Writing Center for more information.

All students are expected to abide by the Bowdoin College Honor Code (http://www.bowdoin.edu/studentaffairs/student-handbook/college-policies/index.shtml).

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