You’re at a Halloween party, dressed up as a sexy mouse. Everyone else is dressed up too, one as a sexy version of Rosa Parks, another as a sexy piece of corn, and even a sexy shark. Your eyes are drawn to one person specifically though: a sexy nurse. You approach, and soon enough, you’re helping her in her research to cure, what you both originally think to be, some sexy cancer. After more investigation, you find out you’ve actually been trying to cure sex cancer, and as soon as you realize that fact, sex cancer doesn’t exist.
the terrible thing about the bonnie and clyde musical being so fucking underrated is the fact that so many people don’t sit down and appreciate how hard jeremy jordan goes in “raise a little hell,” like jesus christ
“I’m not a dancer, Michael! I think people think I dance more than I do just because there’s so many guys dancing, and you can’t always quite tell who is who.” (x)
Key: E. Main melody is pentatonic. (Also, notice the intro’s similarity to Suwannee River. Coincidence? I haven’t decided yet.)
My Thoughts: In 1920s America, the dominant theatrical genre was the musical comedy, which told lightweight, contemporary stories about middle-class America. Adapted from Edna Ferber's novel of the same name, Show Boat tells a tale of racism, ruined marriages, and personal demons—it's both heartbreaking and political. But with no word for what this show was, it was billed as the “All American Musical Comedy.” Today, trying to lump this masterpiece into a category with vaudevillian variety acts would be insulting. Hammerstein's aim with the show was to "bring to the Broadway medium something of the thematic scope and narrative authority generally associated with the legitimate theater." Or: a musical play with opera's emphasis on music, the relatability of comedies, and the plot of a melodrama.
Let’s talk impact. Miles Kreuger, THE GUY to talk to about the musical theater, said: "The history of the American Musical Theatre... is divided into two eras: everything before Show Boat, and everything after Show Boat." It is the earliest musical to still be revived with any frequency, and the creators continued editing the show throughout their lives. Hammerstein and Kern set the precedent for writing music for a specific purpose within a dramatic plot. More than dramatic; a plot that says something, unabashed and unafraid. Most importantly, this was the first musical play.
Ol' Man River is part spiritual, part work song. It lacks the pop style of hit songs from this era, leaning more toward an operatic aria in all but form. With the gentle rise of the first line ("Ol' Man River, dat Ol' Man River"), you can almost feel the gentle bob of a boat on the Mississippi. But the accompaniment grows bigger and bigger, until Joe's declaration that "Ol' Man River, he just keeps rollin' along" is almost drowned out with his passion. Just beautiful; a song about something remaining indifferent and uncaring turns out to be the most passionate in the whole show. How have so many people never heard of this show? (Actually, a lot of Americans think this is an old folk tune.)
It’s also the OG Tragic Reprise. The primary melody is an inversion of the show's opening song, "Cotton Blossom." Compare these lyrics:
"Cotton Blossom, Cotton Blossom, Captain Andy's Floating Show! Thrills and laughter, concert after, get your girls and go!"
"Ah gets weary, and sick of tryin'. Ah’m tired of livin', and scared of dyin'. But Ol' Man River, he just keeps rollin' along."
Now try to call that a comedy.
Thoughts? Agree/disagree with something? Any music/shows you want me to write about? Let me know, and help me learn!
Form: ABA' with the standard (aaba, ccdc’, aa) within
Key and Range: E - A - E (B3 - E5). The mezzo range can be partially attributed to Mary Martin, who originated the role in 1949. Her long time belting as Annie Oakley, which made her feel like her "voice had sunk several octaves". Particularly in his later shows, Rodgers frequently wrote for specific actors (think Julie Andrews and Cinderella).
Song’s Purpose: Nellie has realized that she hasn’t known Emile for very long, and he has already mentioned children. With her mother’s letter and Cable’s warning on her mind, Nellie decides to break things off with him (a decision that doesn’t last long).
My thoughts: This song came into existence with Mary Martin's in-shower realization that she had never seen anyone washing their hair onstage. Her husband's response to that was "Don't you dare tell that to anyone... they'll go for it, then you'll have to do it eight times a week." Sure enough, Mary told R&H, they went for it, and now that scene is one of the most iconic (albeit half-hearted) "I don't want to be in love" scenes in the theater.
Before everything, this is a pop song. The cut-time bounce, the mezzo range, the fact that Nellie is literally singing in the shower. It's all to show that Nellie is a young woman from Little Rock who (doesn't know that she) is in love with this "cultured Frenchman".
I can't get over how R&H nailed the musical characterization in this show. First you have "Some Enchanted Evening," and its undeniable operatic textures and lyrics like "Fools give you reasons, wise men never try". But this song has lyrics that are wholeheartedly American, "If you laugh at different comics, if you root for different teams." The cultural references of 1920s and 30s songwriting make an appearance in Hammerstein's unique, modern style.
Thoughts? Agree/disagree with something? Any music/shows you want me to write about? I’m still trying to decide exactly what to talk about, suggestions are appreciated!
The Light in the Piazza, a fucking wonderful show. Please show this show some love, ‘cause it doesn’t get nearly enough here on Tumblr. If you haven’t seen the bootleg of this show: [x] This show is amazing, and I want to see more people love it.
All I want in life is for Julie Andrews to sing the full She Loves Me score because her voice is actually perfect for it and I will be forever salty the movie in the 60′s with her in it never happened
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