Momma’s Gotta’ Let Go: A Character-Driven Analysis of the Mother Archetype in Musical Theatre Richard Oakman MA (by research) University of York Music December 2017 Abstract A focus on character-specific research in musical theatre has often formed a peripheral focus of many scholars. Within this thesis, I aim to explore how a specific character archetype can be explored through its relationship to pertinent social and psychological discourse. For the purpose of this thesis, Rose from Gypsy will form a core example upon which discussions of behaviour, identity, dependence and gender will be discussed. I aim to build upon this by cross-examining the behavioural patterns presented by Effie in Dreamgirls and explore how identity and the relationship with pregnancy influence her dramatic actions. Social issues surrounding race and gender will be discussed with regards to the two previous examples as well as the cultural implications and impacts of war in the narratives of South Pacific and Miss Saigon. A broader discussion of the theatrical and performative conventions relating to motherhood will inform a consideration of how social and psychological patterns impact the dramatic developments of mothers in musical theatre. 2 List of Contents Abstract 2 List of Contents 3 List of Tables 5 List of Figures 5 Preface 6 Acknowledgements 8 Declaration 9 Chapter 1. An introduction to the character-focused analysis of mothers in musical theatre and the related discourse pertaining to motherhood 10 1.1 An introduction to character analysis in musical theatre discourse 11 1.2 Mothers and the methodology: placing the characters within the structure of the thesis 17 1.3 Musical theatre mothers: their placement within social discourse and behavioural identity frameworks 21 Chapter 2. Mothers and the prevalence of social identity, behavioural traits and relationships: An analysis of motherhood in Gypsy, South Pacific, Dreamgirls and Miss Saigon 31 2.1 The implications of nurturance and dependence in the mother-child and sibling relationships in Gypsy 32 2.1.1 An introduction to mother-child dependence and sibling relationship in Gypsy 33 2.1.2 Exploring the sibling relationship between June and Louise and the influence Rose has on their dynamic, focusing in particular on ‘If Momma Was Married’ 35 2.1.3 Rose and her bi-directional dependence on her children: The importance of the scenes before Rose’s Act-ending numbers 38 2.2 A discussion on social and behavioural identity in Gypsy and Dreamgirls: The balance of social structure 40 2.2.1 Behaviour and Identity in Gypsy: Understanding the identity and motivation of Rose 41 2.2.2 Effie’s behavioural revelation in Dreamgirls: Considering ‘I Am Changing’ as a turning point 48 2.3 Placing mothers within relative social discourse: The application of feminist ideology and its relevant intersections within race, culture, and identity and resultant impact in Gypsy, Dreamgirls, Miss Saigon and South Pacific 54 2.3.1 Gypsy and the strength of Rose: How Rose’s narrative pertains to a feminist character 55 3 2.3.2 An initial exploration of female and racial identity in Dreamgirls. 61 2.3.3 Effie and Deena: Gender Identity and Black female empowerment: the film and revival versions of Dreamgirls and the inclusion of ‘Listen’ 63 2.3.4 Orientalism, culture and war: the female image of South Pacific and Miss Saigon 67 2.4 A summation of Chapter 2. 74 Chapter 3: The Mother in Context: An Analysis of Theatrical Practices involving Mothers 77 3.1 A focus on song plotting and the impact on the mother’s narrative 78 3.1.1 The specific utility of the ‘I wish’ song and the ‘eleven o’clock’ number within the narrative 79 3.1.2 Discussion on the variation within song structure and style of mothers 87 3.2 Matters of staging and narrative development: discussions of race, culture, feminism and behaviour 95 3.2.1 Considerations of gender, race and culture and how staging and performance are implicated 96 3.2.2 The implications of gender and identity for the romantic narratives of mothers 102 4. A final consideration of the mother’s involvement in musical theatre 106 Appendix. 113 Reference List 114 4 List of Tables Table 1 - Character development in the scenes before and after ‘If Momma was Married’. Table 2 - A reflection of behavioural patterns and identity in Gypsy as outlined by Stryker. Table 3 - A reflection of behaviour and identity in Dreamgirls as outlined by Stryker. Table 4 - ‘Rose’s Turn’ as a base pattern of feminist ideology. List of Figures Figure 1 - A diagrammatic representation of balance at the end of Act 1 of Dreamgirls as demonstrated in Cartwright and Harary’s "Structural Balance: A Generalization of Heider's Theory". 5 Preface The musical is a vast and varying piece of theatrical history which has become ever more prominent within the public’s psyche. Often, we remember a specific performer who has caught our eye or dazzled with an emphatic rendition of a song of substance. Whilst musical prowess and theatrical grandeur create the sensory stimulation of performance, the foundations underpinning the frame of the musical are the characters. Much has been written on the historical developments of the musical or discussion has centred on a specific composer but has often placed character-based developments in the periphery. I wanted to consider how choosing a character descriptor as the fundamental premise for discussion can draw comparisons from a variety of viewpoints. Whilst this could easily take the guise of an historically-plotted evolution of a specific character archetype, the aim here was to extrapolate a character archetype and place it within the context of related theoretical discourse, be that social or psychological, to determine how dramatic and theatrical developments are presented in their respective musicals. The analysis of musical theatre in this thesis will be character-based, with a specific focus on the developments of mothers in musical theatre. Motherhood will form the basic societal construct upon which the discussion will be elaborated. With motherhood as the basis for discussion, this work will utilise behavioural and identity theories alongside related gender, racial and cultural discourse to consider how the theatrical and dramatic evolution of mother characters in the musical theatre genre. The premise of motherhood has formed core ideals in social and psychological studies and this thesis will aim to expand those ideals into the social and psychological frameworks of a select group of musical theatre characters. Within the realm of mothers in musical theatre, Gypsy is notable for the depiction of the gender crisis of the mother, Rose. The prevalence and importance of motherhood are intrinsic to the narrative of Gypsy, and as such, it forms the core of this thesis. Her relationship with her two daughters is convoluted and intense; like a woman with her two favourite toys. Rose will be used to demonstrate how behaviour and identity create 6 interesting dynamics between mothers and their children. She will also be considered from a feminist and gender-related viewpoint to establish how her character, and the subsequent impact she has on her children, conform to or oppose fundamental principles of femininity. Race, culture and gender are volatile and emotional areas of discourse that have important links to the historical development of women’s equality. In placing Effie from Dreamgirls, Kim from Miss Saigon and Bloody Mary from South Pacific within the fundamental framework of this thesis, discussions arise regarding the intersectional relationships they find themselves in with regards to race, culture and gender. These characters are used to demonstrate fundamental principles that are not as prominent in Gypsy. Alongside racial and cultural discourse, the implications of pregnancy will also be considered in relation to Dreamgirls. The social, gendered and identity-influenced writings of Stacy Wolf and Raymond Knapp are important works for understanding how theoretical study can relate to performative and theatrical conventions in the musical. Similarly, the theoretical consideration of dramatic devices and theatrical conventions are perfectly exemplified in Scott McMillin’s The Musical as Drama – a work will be examined throughout this thesis. Fundamentally, this thesis aims to contribute to and continue the social and theoretical understanding of the musical whilst demonstrating how character-focused analysis provides a foundation for discussion. 7 Acknowledgements I would like to acknowledge the support of my supervisor Professor William Brooks for guiding me through this work and supporting my ideas. This project would have been far less exciting without him. I would also like to acknowledge everyone who supported me throughout the writing of this thesis. 8 Declaration I declare that this thesis is a presentation of original work and I am the sole author. This work has not previously been presented for an award at this, or any other, University. All sources are acknowledged as references. 9 Chapter 1. An introduction to the character- focused analysis of mothers in musical theatre and the related discourse pertaining to motherhood For many, musical theatre exists as an art-form to be watched or performed, and as such, it is reliant on the audience’s response to audible and emotional stimulation. From this basic construct comes the reasoning for composers and partners of the musical to create their work, for they are the creators of the audience’s escape. They are adapting stories and collaborating with actors and musicians to establish fantasies. However, beneath such fantasies is a reality that reflects strands of society and culture that play a part in the perception of musical theatre. Of particular interest for this thesis is the isolation of characters and their relative positioning within a framework of social and behavioural discourse.