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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer

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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. Theatrical dynasties seem to have been important in protecting and in training young performers, in keeping them `grounded', and in helping to manage the transition to adult performer, although the `edge' enjoyed by the children of theatre families was to some extent eroded by the growth of public/private education provision in the 20th century which improved access and started to `level the playing field'. Secondly, the research investigates how well aspiring young performers are served by the UK education system. Although much is written about the education system in general, what has been written specifically about the performing arts appears to focus only on component parts. Relatively little seems to have been done to assess the system in its entirety, taking into account both state and private provision, let alone the part played by the `third sector' in the form of youth theatre and theatre schools. The research reported here considers the contributions made by the various elements of the performing arts eco-system and the coherence and cohesiveness of the system of the whole. The research goes on to consider the end product1, and the context in which musical theatre operates. 1Bearing in mind that, unlike in many professions, young performers often work in the industry long before they have finished their formal training. Contents Abstract v List of Figures xi List of Tables xiii Declaration of Authorship xv Acknowledgements xvii Abbreviations xix 1 Introduction1 2 History of young people in musical theatre7 2.1 Background...................................7 2.2 The embryonic stage: pre- and proto- literate society............8 2.3 The first steps: The theatre of the ancients.................9 2.4 Finding its feet: Medieval and Renaissance theatre............. 13 2.4.1 Transition................................ 13 2.4.2 Socio-political.............................. 20 2.4.3 Economics................................ 26 2.4.4 Education................................ 29 2.4.5 Creative................................. 31 2.4.5.1 Plays and playwrights.................... 31 2.4.5.2 Performance......................... 33 2.4.5.3 Staging and spectacle.................... 39 2.5 Growing Pains: The Restoration to the reformers.............. 40 2.5.1 Transition................................ 40 2.5.2 Socio-political.............................. 42 2.5.3 Economics................................ 44 2.5.4 Education................................ 46 2.5.5 Creative................................. 47 2.5.5.1 Plays and playwrights.................... 47 2.5.5.2 Performance......................... 49 2.5.5.3 Staging and spectacle.................... 50 2.6 Establishing its identity: The modernisers.................. 51 vii Contents viii 2.6.1 Transition................................ 51 2.6.2 Socio-political.............................. 53 2.6.3 Economics................................ 64 2.6.4 Education................................ 65 2.6.5 Creative................................. 84 2.6.5.1 Plays and playwrights.................... 86 2.6.5.2 Performance......................... 90 2.7 The rebellious years: The iconoclasts..................... 90 2.7.1 Transition................................ 90 2.7.2 Socio-political.............................. 93 2.7.2.1 Demographic......................... 93 2.7.2.2 Subsidy............................ 95 2.7.3 Economics................................ 97 2.7.4 Education................................ 101 2.7.5 Creative................................. 106 2.7.5.1 Technological......................... 109 2.7.6 Reflections on the age of the iconoclasts............... 111 2.8 Into the new millennium: A seventh age?.................. 112 3 The education system 115 3.1 Pre-school.................................... 116 3.2 Primary school curriculum (Key Stage 1 and 2)............... 119 3.2.1 Music.................................. 119 3.2.2 Dance (Physical Education)...................... 120 3.2.3 Drama................................. 121 3.2.4 Creative Curriculum.......................... 123 3.2.5 PPA................................... 124 3.3 Secondary school curriculum (Key Stage 3 and 4).............. 125 3.3.1 Music.................................. 127 3.3.2 Dance.................................. 130 3.3.3 Drama.................................. 133 3.3.4 Outlook for performing arts education in secondary schools.... 134 3.4 Specialist performing arts schools....................... 136 3.5 Post-16 education in the performing arts................... 144 3.5.1 A{Level................................. 144 3.5.2 International Baccalaureate...................... 145 3.5.3 BTEC.................................. 146 3.5.4 Specialist Further Education colleges................. 151 3.6 Foundation courses............................... 180 3.7 Higher Education................................ 184 3.7.1 Vocational institutions......................... 185 3.7.2 Universities............................... 188 3.8 Postgraduate courses.............................. 190 3.9 Reflections on performing arts education in the UK............. 196 Contents ix 4 The informal sector 201 4.1 Part-time theatre schools........................... 201 4.2 Youth theatre.................................. 215 4.3 Other opportunities.............................. 220 4.4 Teacher training................................ 223 4.5 Reflections on the informal sector....................... 238 5 Professional theatre 241 5.1 Theatre for children.............................. 242 5.1.1 Quality................................. 245 5.1.2 `Dumbing down'............................ 247 5.1.3 Crossover................................ 248 5.1.4 Value.................................. 248 5.2 Theatre by children.............................. 251 5.2.1 The opportunities........................... 251 5.2.2 Paths followed by child performers.................. 252 5.2.3 Motivations.............................. 253 5.2.4 Auditions................................ 255 5.2.5 Agents................................. 257 5.2.6 Working with child performers.................... 258 5.2.6.1 Creatives' viewpoint..................... 259 5.2.6.2 Production challenges.................... 261 5.2.6.3 Multiple casts........................ 262 5.2.7 Pay/Trade Union (TU) representation................ 264 5.2.8 Licensing................................ 266 5.2.9 Support from parents......................... 269 5.2.10 Good experience............................ 270 6 Conclusions 273 6.1 History of young people in musical theatre.................. 274 6.2 The education system............................. 276 6.3 The informal sector............................... 281 6.4 Professional theatre.............................. 282 A Data sources for the Figures included in the thesis 285 A.1 The change over time in the number of musicals in the West End and on Broadway.................................... 285 A.2 Measuring performance at a drama school.................. 286 A.3 Outcome-related performance measures................... 288 Bibliography 309 List of Figures 2.1 Early flute....................................9 2.2 Books published in Latin........................... 14 2.3 Performances by boy players......................... 17 2.4 Number of published books.......................... 18 2.5 Population of London............................. 21 2.6 Renaissance playwrights............................ 34 2.7 Elizabethan boy actors............................. 35 2.8 Renaissance actors............................... 37 2.9 Wages and living costs in real terms..................... 45 2.10 Child labour: the balance of argument...................
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