A Study of Music as an Integral Part of the Spoken Drama in the American Professional Theatre: 1930-1955 By MAY ELIZABETH BURTON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA August, 1956 PREFACE This is a study of why and how music is integrated with spoken drama in the contemporary American professional theatre. Very little has been written on the subject, so that knowledge of actual practices is limited to those people who are closely associated with commercial theatre-- composers, producers, playwrights, and musicians. There- fore, a summation and analysis of these practices will contribute to the existing body of knowledge about the contemporary American theatre. It is important that a study of the 1930-1955 period be made while it is still contemporary, since analysis at a later date would be hampered by a scarcity of detailed production records and the tendency not to copyright and publish theatre scores. Consequently, any accurate data about the status of music in our theatre must be gathered and re- corded while the people responsible for music integration are available for reference and correspondence. Historically, the period from 1930 to 1^55 is important because it has been marked by numerous fluc- tuations both in society and in the theatre. There are evidences of the theatre's ability to serve as a barometer of social and economic conditions. A comprehension of the ii degree and manner in which music has been a part of the theatre not only will provide a better understanding of the relationship between our specific theatre idiom and society, but suggests the degree to which it differs from that fostered by previous theatre cultures. Another reason for undertaking this study is to be able in some fashion to predict the future use of music in the American theatre. Will it become better integrated or disappear altogether? It is hoped that the study will be of some value to directors desiring Information about ways of using music In productions. Finally, and most Important, this study, by isolating a phase of theatre, can enlarge the understanding of theatre as a whole. To understand completely the integration of music in theatre since 1930, both qualitatively and quantitatively, this study first considers outside pressures which may in- fluence the use of music. Foremost among these is conven- tion. Other factors are the theatre's social and economic structure during a given period and the general popularity of music in society. Finally, by looking at the productions in which music is used and by analyzing and comparing the types of plays, the musical Idioms, and instrumentation, one can determine the status of music in contemporary theatre and approximate the worth of that music. iii For purposes of consistency, certain terms should be clarified. Throughout this study, the term "theatre” is used in referring to professional productions of spoken drama. Certainly, opera and musical comedy are theatre, but this study deals only with that theatre of which music is an integral, but not a major part. In theatrical circles, the terms "integrated" and "incidental" are often used in- terchangeably. For the sake of specificity, the point of view taken in this study is that when music serves a dramatic or theatrical purpose it is integrated, though it may be referred to by the trade, the Union, and the critics as incidental. The trade tends to label music in any show that is not a musical, "incidental," with no thought of the use or value of that music. When the Musicians' Union classifies a production as "straight with incidental music" or as a "play with music," they judge in terms of quantity, not purpose. This study adheres to the contention that music may be incidental by these standards and yet be an integral part of a pro- duction. The total number of minutes of music in a pro- duction is not the factor which determines the degree of integration. If this is a degree which can be measured at all, it is measured in terms of the position of music in the particular production, or in terms of the nature of the music and its ultimate contribution to the production. iv ACKNOWLEDGMENTS The progress and completion of this study have de- pended on the guidance, understanding, and cooperation of many people. Sincere appreciation is expressed to the faculty members who directed this work, librarians who aided in finding data, and to all those who gave of their time in personal interviews and correspondence. A special degree of gratitude is felt for the encouragement, patience, and direction of the Chairman of the Supervisory Committee, Professor H. P. Constans. Equal thanks are extended to Professor Leland L. Zimmerman for his careful counsel during many stages of planning and writing. Gratitude is also expressed to other members of the Supervisory Committee: Professors Lester L. Hale, T. Walter Herbert, C. A. Robertson, David Stryker, and <7. Clark Weaver for advice and constructive criticism. Other faculty members whose assistance the writer wishes to acknowledge are: Professors Robert Bolles, Dallas C. Dickey, Didier Graeffe, and Miss Mickle Newbill, who have assisted with technical matters. Particular appreciation is expressed to George Freedley of the New York Public Library Theatre Collections and two members of his staff, Mrs. Elizabeth Barrett and v William Matthews for assistance in planning interviews and locating data. Gratitude is acknowledged to members of the Library of Congress Music Division staff: Edward N. Waters, Assistant Director and Frank Campbell. Mrs. Mary Myers, copyright information office, also assisted in locating music scores. Recordings analyzed were heard through the courtesy of Thomas J. Valentino, Valentino, Inc., New York City. Special data were obtained through Walter N. McNamara, Public Relations Director of the American Society of Composers, Authors, and Publishers, and William Ten Nyce, Secretary of the Authors* League of Drama Guild. Vital assistance was received from composers, critics, playwrights, and producers in the New York Pro- fessional Theatre who graciously opened their files of compositions or gave time for interviews or correspondence as evidenced in many parts of this text. (Names of inter- viewees and correspondents appear in the Bibliography, pages 410 and 4H). The writer desires to acknowledge her gratitude to the Graduate School of the University of Florida for a Fellowship which enabled her to complete necessary research. To Mary Joy Breton and others who have worked patiently and accurately on the practical problems of producing the manu- script, the writer wishes to state her appreciation. vi TABLE OP CONTENTS Page PREFACE ii ACKNOWLEDGMENTS v LIST OP CHARTS ix LIST OP ILLUSTRATIONS x Chapter I. PRECEDENTS: EUROPEAN AND AMERICAN 1 Greek Theatre: 500 B. C. , 1 Elizabethan Theatre: Music As A Func- tional Art 18 Restoration Theatre: Music and Drama, A Double Bill 38 French Theatre: Seventeenth Century .... I4.7 The Veil of Music in Victorian Theatre ... 51 Twentieth Century European and British Highlights 56 American Precedents 6 l; Conclusions 76 II. AMERICAN PROFESSIONAL THEATRE: 1930-1955 ... 78 III. RISE, FALL, AND RESURGENCE OF MUSIC IN CON- TEMPORARY AMERICAN THEATRE 109 Tendencies Promoting the Use of Music. ... 110 Factors Curtailing the Use of Music 1 )|)| The Present Status 161; vii ) TABLE OP CONTENTS Continued Chapter Pag© IV. BEHIND THE SCENES: WORKING PHILOSOPHIES ... 156 Playwrights 16 7 Producers I 7 I4. Directors 179 Music Contractors 181+ Composers 186 Critics 222 Conclusions 227 V. DIVERGENT OPINIONS 230 The Writing of Integrated Musical Frag- ments 232 Supplementary Compositions 2l+3 A Mixture of Methods 254 Summary. 257 VI. CATEGORIES AND ANALYSES 260 Music and Realistic Dramas. ........ 261+ Music In Non-Reallstic (Expressionistic Drama 271 Music in Revivals 3 L+I Foreign Acquisitions. .... 366 VII. AN INTERPRETATION 382 APPENDIX 389 BIBLIOGRAPHY 399 BIOGRAPHICAL ITEMS ^12 viii LIST OP CHARTS Chart Page 1. New York Productions with Integrated Music . 118 2. Musicians’ Wage Scales —Effective Labor Day, 1955 . 151 lx LIST OP ILLUSTRATIONS Figure Page 1. Dorian Mode 13 2. Phrygian Mode 13 3. It Was a Lover and His Lass 27 1|. 0 Mistresse Mine 28 5. A Soldier and a Sailor I4.6 6 . Motif from Mary Rose 63 7. Excerpt: "A Dance," A Tale of Mlstery 68 8 . Excerpt: "Valse," The College Widow 70 9. Excerpt: "Piu mosso," The College Widow . ... 70 10 . Excerpt: "Slumber Song," Peer Gynt 71 11. Excerpt: "Arabian Dance," Peer Gynt 72 12. Excerpt: Waltzes, Dolly Madison 73 13. Excerpt: "I’d Do Anything for You," Models Abroad 7^ li|. Excerpt: Wind music, Ondlne 235 15. Flute glissando, Ondlne 235 16. King’s music from Ondlne 237 17. Excerpt: "Waltz for Andy and the Lion," Androcles and the Lion 237 18 . "Fanfare" from Antony and Cleopatra 238 19. Excerpt: "Variations on a Gregorian Theme," Another Part of the Forest 2U1 x LIST OP ILLUSTRATIONS Continued Figure Pag© 20. Excerpts: "Prologue,” Lucrece Suite 245 21. Excerpts: "Spinning Song," Lucrece Suite . 248 22. Excerpts: "Finale," Lucrece Suite 2^0 23. Excerpt: "Ben’s Theme," Death of a Salesman . 293 24. Excerpt: "Willy's Theme," Death of a Salesman . 294 25. Excerpt: "Grandfather's Theme,” Death of a Salesman 296 26. Music for the off-stage crash, Death of a Salesman 297 27. Song 1, Roll, Sweet Chariot 3°7 28. Song 3, Roll, Sweet Chariot 3°8 29. Song 10, Roll, Sweet Chariot 309 31° 30 . Song 19, Roll, Sweet Chariot Chariot 31° 31 . Song 25, Roll, Sweet 32. Song 26, Roll, Sweet Chariot 3H The Grass Harp 314 33 . Music Cue 1, 34. Music Cue 2, The Grass Harp 315 35.