Throughout the greater part of the twentieth century the American musical has entertained audiences of all ages and backgrounds. The musical has become a reflection of American life: sometimes tragic, somewhat unpredictable, but always persevering. The American musical has taken many shapes throughout the years, constantly adapting to keep pace with the time and the demands of changing audiences. Musical theater originally formed from comic opera and the operetta. It also added elements of the burlesque and variety shows, borrowed the idea of large company numbers from grand opera, adapted popular music styles for the stage, and transformed traditional characters and plots into people and things to which the general public could more easily relate. Musical theater got its start in both New York and London, but the former would become the powerhouse most often associated with the genre.
[...] The New American Musical: An Anthology From the End of the Century. Pp Kate Rockland, “Where the Midtown Direct, Oz and Springsteen Meet.” New York Times 25 December 2005, Arts and Entertainment. http://www.wickedthemusical.com/press/press_nytimes_051225_02.htm. Accessed 26 March 2006. Wicked. Synopsis. http://www.wickedthemusical.com/synopsis.htm. Accessed 25 March 2006. Michael John LaChiusa, The Great Gray Way: Is it Prognosis Negative for the Broadway Musical? Pp 33. Michael John LaChiusa, The Great Gray Way: Is it Prognosis Negative for the Broadway Musical? Pp33-35. Margo Whitmire, “'Jersey Boys' Light Up B'way: Musical Bucks Trend; Can Johnny Cash Show Follow?” Billboard 117, no (Nov. [...]
[...] And, for each successful attempt at a new variation there are considerably more failures that attract a large amount of published criticism.[12] Created to appeal to both (pop)rock and theater fans with its combination of singable, memorable tunes and the new-age relatable characters, the rock musical was one of the first subgenres to take to the stage.[13] Though the subgenre of musical has been in recognizable existence for over forty years, Rent was one of the first largely and long-lasting successful rock musicals. [...]
[...] “Where the Midtown Direct, Oz and Springsteen Meet.” New York Times 25 December 2005, Arts and Entertainment. http://www.wickedthemusical.com/press/press_nytimes_051225_02.htm. Accessed 26 March 2006. Schumacher, Joel. Q&A With Joel Schumacher. < http:>. Accessed 26 March 2006. Snelson, John. Musical to 1918: History. Grove Music Online. http://www.grovemusic.com/shared/views/article.html?section=music.19420. Accessed 25 March 2006. Stahl, Matthew. Moment Like This: American Idol and Narratives of Meritocracy” In Bad Music: The Music We Love to Hate, ed. Christopher Washburne and Maiken Derno. New York: Routledge Whitmire, Margo. “'Jersey Boys' Light up B'way.” Billboard 117, no (Nov. [...]
[...] Though the idea of a musical on film is hardly a new one (in 1927 Warner Brothers released The Jazz Singer which revolutionized the movie industry.), there has been a recent explosion in the movie musical scene. The latest wave of musical movies started in 2003 with the reworking of Chicago for the big screen. It pulled in more than $170 million at the box office in the United States.[23] Its success not only drew in the American audiences, but also the producers and directors of musicals across the nation. [...]
[...] During an interview with the New York Times, cast member Sean McCourt commented “Wicked is a rock concert we put on each night.” What makes Wicked different from Rent is the attempt to bring in families along with the pop rock fans and theater-goers; though it is not intended for extremely young children (children under four are not granted admission).[16] It is a prequel to the classic The Wizard of Oz which almost every American adult or child has seen on cable television or the recently digitally re-mastered DVD recording. [...]
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